In the Words of Poets- Why Poetry Readings?

Why poetry readings? We gleaned some answers from poets we interviewed for our, 10 Questions Interview Series .

“After a year of touring, I actually started to feel more confident reading my poems to an audience.  With confidence, I believe my “reading” performance has been enhanced.  I have come to the conclusion that there are poems that are “page” poems and “audience” poems.  To elaborate, “page” poems are more complicated and/or heady poems and are meant for a reader to read and re-read slowly, calmly, and in the confines of solitude.  “Audience” poems are those poems that are more musical and/or narrative in nature, which make it easier for the listener to follow, as you read with rhythm, feeling, proper breathing, and annunciation.  By reading and re-reading poems aloud, you learn how to accent the poem where you want the listener to really hear and feel what you are reading. “– Diane Sahms-Guarnieri – Philadelphia, Pa.

.
“Largely that they enable you to finish the act of communication. If you write because you have things to say, that’s essential. Otherwise, you’re just talking to yourself. As far as getting reactions and feedback go – that really isn’t the reason you do it. And you have to be happy with it by your own standards regardless of whatever reaction it gets, or doesn’t get. You don’t do it for the reaction, but you do create the work, most of the time, in order to be able to share it. Then it’s out of your hands.”- Jack Veasey, Hummelstown, Pa.

“I perform because I have to! The poetry keeps me alive. It demands to be written and it demands to be heard…I’m just the vehicle. I’ve always said, if I couldn’t be a poet, I would probably be a preacher. I don’t know. I see the world this way…as poetry, and songs and stories. My first language is poetry. I write because if I didn’t I don’t know if I would be able to breathe. And I guess I perform for the same reason I still pray…everybody has got to have something to believe in!”- Kimmika Williams Witherspoon, Philadelphia

“I’m glad to speak the poems and hear how they sound in a larger auditory space rather than mumbled in front of the computer screen, but I’m always nervous. Some of my poems have visual quirks that can’t be relayed.” – Jane Lewty, Amsterdam, Netherlands

“Reading aloud to an audience is a public event, a gift shared with more than one person in linear time.  I discovered by reading my own stuff aloud, especially while I practiced reading aloud to myself, I caught the glitches in the lines, the skips in the meter, the loss of the music I thought was there.  Thus, by reading aloud, or preparing to read aloud, I was better able to edit my work.” – Stephen Page- Buenos Aires, Argentina

“In fact I love doing live readings. It gives you an opportunity to connect with the pulse of your readers. Gives you instant feedback about your work and the joy of seeing your words settle in people’s hearts. The experience is quite matchless! I’ve had youngsters approach me with endearing trepidation after my readings asking if they could keep in touch with me…I’ve had older, established poets come forth and comment on what they see as strengths in my poetry. These are all the delightful fall outs of live readings! Also, when you read live, you portray not just your work but the entire ethos to which you belong. The way you dress, the way you carry yourself and the way you interact with fellow poets also helps to convey your sensibilities as a poet. It’s a wholesome experience that goes beyond the scope of mere words”. – Vinita Agrawl, Mumbai India

“I travel constantly. As far as how important it is, that really depends on why you’re out there. Do you want to sell books? Are you attempting to build lifelong friendships? Unless you have really bad social anxiety, I think everyone should try to get out there. I myself need the book sales to eat more often than not, but the friendships that I’ve made outweigh $10 here, $20 there  or some silly idea of fame, when 99 percent of people could care less about poetry anyway.” – John Dorsey, Cleveland, Ohio

“Let’s be honest:  being a poet can be a lonely profession.  The creating, crafting, and revising of poems demand concentration, time, energy, and discipline.  For me, it is very important to “get out into the world” and share my work with audiences on a regular basis.  Some poets don’t like to give readings and/or are not very good at public presentations.  I’ve heard some famous poets give awkward, poor readings and some relatively unknown poets give wonderful readings.  The bottom line is that a poem should be strong on the page and in the voice.  After all, poetry started as a purely oral tradition long before the invention of paper, the letterpress, or the laptop.” Linda Nemec Foster, Michigan

“I’m usually able to make a connection. I remember reciting a piece on the top deck of a boat on the way from Hong Kong to Lama Island. Two people were listening, one from Australia and one from England. We were just lying there in the warm air. I was interrupted by our cruise host, but after the host left, the Englishwoman said to me, “Do the rest of it. I want to hear how it ends.” – Thaddeus Rutkowski, New York

“I have been writing since I was a young girl. Reading my work aloud, however, is something I have only done in the last eight to ten years. At first, I was very reluctant to stand up in front of an audience and read. I prefer the quiet, solitary process of writing. But, at some point, I realized that my poems needed to be heard. I had something to say and, even if it only reached one person, I needed to say it.” –Kristina Moriconi- Montgomery County, Pa.

.
 “I enjoy reading in states outside of my home state, New York. Performance is vital.  To paraphrase the great Harry Chapin:  “You must seduce the audience over and over.” It is important to keep the crowds’ interest.  A poet can connect with his or her audience in many ways. It is up to the novice and/or younger poet to go to readings and study the poet onstage.  Take notes if need be.” Robet Milby, Hudson Valley New York

 

10 Questions for Rebecca Schumejda

Rebecca Schumejda is the author of Falling Forward, a full-length collection of poems (sunnyoutside, 2009); The Map of Our Garden (verve bath, 2009); Dream Big Work Harder (sunnyoutside press 2006); The Tear Duct of the Storm (Green Bean Press,2001); Cadillac Men (NYQ Books 2013) and the poem “Logic” on a postcard (sunnyoutside). She received her MA in Poetics and Creative Writing from San Francisco State University and her BA in English and Creative Writing from SUNY New Paltz. She lives with her husband and daughter in New York’s Hudson Valley.  http://www.rebeccaschumejda.com/

Interview by: g emil reutter 

GER: You often speak of your father and his influence in your life. Could you share with us his impact on you and on your poetry?

RS: When I was in seventh grade, my English teacher asked the class to write poems and I eagerly complied. A few days later, my parents were called into a meeting at the school where my teacher, the principal, the Vice-Principal, and the social worker discussed how my assignment was unacceptable and how they were worried about my mental state. After reading my poem, my father sat quiet for what seemed like forever before he looked right at me and said, “This is a great poem, Rebecca!” Then he looked at the teacher and said, “Don’t ask your students to write poetry if you don’t want to hear their truths.” My father, a hardworking roofer, has always been my inspiration.

GER: What poets have influenced your poetry and why?

RS: There are so many, but the one that stands out most is Raymond Carver because of his narrative approach to writing. I love some of the poems that he wrote to his daughter. Lines like, “You’re a beautiful drunk, daughter, but you’re a drunk,” and “She serves me a piece of it a few minutes out of the oven. A little steam rises from the slits on top. Sugar and spice -cinnamon – burned into the crust. But she’s wearing these dark glasses in the kitchen at ten o’clock the morning – everything nice as she watches me break off a piece, bring it to my mouth, and blow on it.” Poems like “To My Daughter” and “My Daughter and Apple Pie” helped shape my earlier work.

 

GER:  You’ve worked with several presses: Bottle of Smoke, Words Dance, sunnyoustide, New York Quarterly, and Bottom Dog Press. Could you share with us the development of the collections and what is like to work with the small press?

RS: I have been very fortunate as I have worked with some really great small press publishers and have grown and learned from each experience. Bill Roberts, from Bottle of Smoke, is an amazing craftsman, who is well-known for his letterpress printing and hand-binding. The quality of his books are phenomenal. Bill published a limited edition chapbook of mine, From Seed to Sin, which includes artwork by Hosho McCreesh. I love what Bill is doing and highly recommend his books. 

Words Dance published a handmade, limited-edition chapbook for me, The Map of Our Garden. Amanda Oaks did an amazing job and the whole process was intimate. There were so many cool features included such as a map I drew, a picture of me drawn by Hosho McCreesh, glow-in-the-dark fireflies in a jar on the cover and a handmade bookmark that had an actual petal from the sunflowers in my garden. The book sold  out, but Amanda recently released a kindle version. In addition, I still collaborate with Amanda on projects at Words Dance. 

sunnyoutside published my first full-length collection, Falling Forward as well as my chapbook Dream Big, Work Harder and a poem of mine on a postcard. I really enjoyed working with David McNamara, he actually did some editing for my second full-length book, Cadillac Men, published NYQ Books. Most recently, I had the pleasure of working with Bottom Dog Press and being part of their working class series. Larry Smith’s vision for Waiting at the Dead End Diner paralleled with mine and he helped me fine-tune the collection  

GER: Your collection Cadillac Men was influenced by a pool hall you and your husband owned. Tell us of the people who inspired this collection?

RS: Well, pool players, a dying breed, men like Mikey Meatballs who convinced a kid that he shot like shit because he was using a left-handed pool cue, Dee who went out to buy ice cream for his pregnant wife and came back empty handed and in debt, and Wally the Whale who was once a well-known circuit player who now his toughest opponent is his failing vision.

GER: You tour in support of your poetry collections. Traveling can be rigorous, can you share with us any stories relating to touring?

RS: I read here and there, but I don’t tour. I work full time and have a young daughter, so I don’t have the ability to go anywhere for more than a day or so. I will be doing some reading this summer for my new book and will be reading in Cleveland, Ohio in October for LevyFest. As far as stories, I read at the Dire Series in Cambridge, Massachusetts with Nathan Graziano and Daniel Crocker and because we are friends and don’t get together that often, we began drinking very early in the day. Somehow, I thought it was alright to take over for the host and introduce Nate, and then all hell broke loose. Dan and Nate, who could barely stand, had people in the audience read parts of their work and it was pretty chaotic. The moral: I don’t drink heavily until after reading.

GER: Waiting at the Dead End Diner was recently released. Can you share with us the inspiration behind the development of the book and any reactions you are receiving concerning the collection?

RS: I had to wait tables while putting myself through college, and when I was in graduate school I actually worked in the college cafeteria’s dish room and dining hall. My life was very different from many of my fellow classmates because I did not have the luxury of just being a student. On the flipside, I lived in the real world which greatly impacted my writing. An early version of Waiting at the Dead End Diner was actually my thesis for SFSU that was rejected by my graduate advisor. My advisor told me that no one wanted to read about waiting tables, ha ha. So, I went back to the drawing board and the waitressing poems just played out in my mind for decades. Then after writing Cadillac Men, I decided it was time to go back and explore the restaurant world that consumed a decade of my life. I even went back and waited tables when I was working on the collection

 

GER: Where does the voice of Rebecca Schumejda fit in the poetry world?

RS: I don’t know. I kind of hope it does not fit in. I want to write work for people, everyday people. I hope I can do that.

 

GER: Could you share with us your thoughts on the submission process for publication?

RS: It is a little like gambling, the odds aren’t really on your side unless you pick your game wisely. I would not play money games against Wally the Whale or Mikey Meatballs and I would not submit to The New Yorker. I think you have to really read what is out there and see who may be interested in what you are writing. I also think you have to be persistent if you really want to get into a specific publication. I am a huge fan of Rattle and they rejected my work for over a decade before accepting my work. And for what it is worth, they actually nominated my poem “How to Classify a Reptile” for a pushcart. Ha ha. I did not take the decade of rejections personally and I did not stop being a fan of Rattle. I think that it is important not to lose sight of why you are writing.

GER: Do you have any favorite venues to read your poetry and any publications you would recommend to others?

RS: There are so many. I usually enjoy the reading because of group dynamics. I loved the Fox Chase reading because I got to read with John Dorsey and because the audience was receptive and fun. I love reading at the Howland Cultural Center in Beacon, New York because of the acoustics and The Social Justice Center in Albany because of the crowd.

GER: What are you currently working on and tell us something about Rebecca Schumejda we didn’t already know?

RS: I am working on a collection of poems about a working-class neighborhood, characters from Cadillac Men and Waiting at the Dead End Diner make appearances.

.

You can read the poetry of Rebecca Schumejda in The Fox Chase Review at these links: http://www.thefoxchasereview.org/w14schumejda.html  http://www.foxchasereview.org/11AW/RSchumejda.html  http://www.foxchasereview.org/10AW/RSchumejda.html

.

– g emil reutter lives and writes in the Fox Chase neighborhood of Philadelphia, Pa.

http://gereutter.wordpress.com/

The Autumn/Winter 2013 Edition of The Fox Chase Review is now on line

.

.

.

.

.

.

The Autumn/Winter 2013 edition of The Fox Chase Review, our 16^th, is now live and on line. http://www.foxchasereview.org/Welcome.html

In this edition we are pleased to present:

Poetry by: Michael Adams, J.J. Campbell, John Dorsey, Lynn Esposito, Linda Nemec Foster, Maria Keane,  Jane Rosenberg LaForge,  Adrian Manning, Bernadette McBride, Ann E Michael, Sonnet Mondal, Robert Rosenbloom, Wendy Schermer, Lisa Sewell, Michael Steffen, F Omar Telan, Lynne Thompson and Dave Worrell

We hope you enjoy this edition of the review.

The Editors

http://www.foxchasereview.org/Welcome.html

Issue #16 Coming to a Computer Near You Soon

Issue #16 of The Fox Chase Review will be released on line soon. This Edition features the poetry of:

Poetry by: Michael Adams, J.J. Campbell, John Dorsey, Lynn Esposito, Linda Nemec Foster, Maria Keane,  Jane Rosenberg LaForge,  Adrian Manning, Bernadette McBride, Ann E Michael, Sonnet Mondal, Robert Rosenbloom, Wendy Schermer, Lisa Sewell, Michael Steffen, F Omar Telan, Lynne Thompson and Dave Worrell 

10 Questions for Adrian Manning

Adrian Manning is a poet from Leicester, England. He has published 13 chapbooks and broadsides over the last few years and is the editor of Concrete Meat Press.  His poetry has been published in numerous electronic and print publications in Europe, Canada, New Zealand, and the United States.  You can visit with him at Concrete Meat Press at this link:  http://concretemeatpress.co.uk/index.htm.

Interview by: g emil reutter

GER: What drew you to the Meat Poetry movement and do you find there is still an active audience for this school of poetry?

AM: I became an avid reader of Charles Bukowski about 25 years ago through his novels and then his poetry. I was really attracted by his direct approach to writing – putting down the words in a way that anyone could understand and writing about the real things that happened in his life. Through Bukowski I got into reading poetry by William Wantling and Steve Richmond amongst others. I feel that Meat Poetry is about these real experiences and responses that these poets wrote about no matter how ugly or uncomfortable they may be. Because of this I think there is still a valid place for this type of poetry and I feel that in the poets and publications I read there is definitely an active audience still. There must always be a poetry that deals with this, in my opinion – straight, real and having meaning to the non – academic poetry reader.

GER: As an artist can you tell us of the interaction between your poetry and art and how they may influence one another?

AM: I am an artist in a very amateur way! I am totally untrained and some may say of limited skill – I would not disagree. The type of art I like to create is simple, direct and to the point – just like the poetry in many ways, so I guess there is a link there. I also like abstract, collage and mail art – juxtaposing random and unusual bedfellows. In a sense that has a link to my poetry where I like to find interesting uses of description or metaphor – something that would not be the obvious thought. In this way the poems and art may influence each other.

GER: You are the Editor of Concrete Meat Press that publishes chapbooks and broadsides. What do you look for in submissions and do you have a set list of contributors?

AM: The only criteria I look for is that I like the work. I like a poem to hit me and make me think. I like a good turn of phrase and interesting ways of getting a point across that stay with me for a while after I’ve read the poem. I don’t go for rhyming or cliché and I often pass on work that is ‘clever’ for the sake of being ‘clever’. Going back to the idea of Meat Poetry – something that is direct, straight and honest but written in an interesting way will usually be considered for publication. When considering submissions I look at the work. I know a number of poets who always send high quality work consistently and it is always a pleasure to publish something by them. I do also very much enjoy publishing work by poets who may be new or unknown to me. I send out invites to a number of poets I am familiar with, but am always happy to receive submissions from others who I don’t know of.

GER: As a poet your work has been published widely in print and electronically. The submission process is sometimes daunting, what advice would you give to new poets regarding the process?

AM: First of all, be happy with what you are submitting – be confident that you think it is a good poem. Don’t send it if you aren’t happy with it. Follow submission guidelines! Read what the editor says! If you can, read issues of the publications and consider whether you feel your work fits the publication. Most importantly, be prepared for a knockback or two. It may take a while to be published, but don’t give up! Also if you get accepted, don’t expect to be accepted every time! Keep writing, keep submitting and keep working at it.

GER: Kendra Steiner Editions recently released These Hands of Mine. Share with us the development of the collection and what it is about.

AM: I wrote a poem which was a meditation on my hand – something that I noticed about it. I found myself focusing on my hands and going into this thought process about how important my hands were, what they have been a part of  and what they are capable or incapable of. I then began a process of writing a number of poems about these things – accidents, work, art, love – all aspects of life and eventually thought I had a short collection of poems which I entitled These Hands of Mine. I contacted Bill Shute, the amazing poet and editor at KSE and he liked the so he put the chapbook together.

GER: Bottle of Smoke Press published three of your chapbooks, Wretched Songs for Out of Tune Musicians, A Tourist a Pilgrim, A Truth, and Repeating The Mantra. What was it like working with Bill Roberts and having the books published on a letter press?

AM: Bill Roberts is incredible! I had published a number of poems in different places when I sent Bill some poems for his consideration having read his first short collection by A D Winans. He wrote back with such enthusiasm and he had a plan including a cover artist, Henry Denander and he was such a professional! I was living in Spain at the time and he was in the USA, but it was a dream. Bill has since published chapbooks and broadsides of my poems and I admire him and his press so much – everything he does is amazing. The letterpress publications have always looked amazing and he is so creative and continues to be so. One of the best presses around!

GER: Silver Birch Press included your poem, Religion, in their Bukowski Anthology. How did this come about and what can you tell us about the anthology?

AM: I heard that Silver Birch Press were putting together a Bukowski themed anthology with writing  about or influenced by Bukowski so I decided to send them a number of poems I had written. Bukowski is my favourite writer and I have written a number of linked poems and luckily they accepted five poems to go into the anthology. I was very happy when they put Religion up on their blog. I haven’t seen the finished publication yet, as I believe it is out in the very near future. I am looking forward to it as I hear there are going to be some great writers in there including the wonderful David Barker, I believe.

GER: Who are your favorite poets writing today and how do they influence you?

AM: I constantly find myself to be impressed by and in awe of so many talented and brilliant poets – it could be a long list! The way they influence me is that they write such fine poetry that I just have to sit up, take notice and think – I need to work to achieve something like that. I think I enjoy their poetry because they write in their own unique voice and they address the issues that affect me or those around me. They are also masters of their craft and the way they write their poems, use their words and know when enough is enough is something that continues to be an influence. To name some names I have read over a long period of time – A D Winans, Ronald Baatz, David Barker, John Dorsey, Robert L Penick and Hosho McCreesh have always delivered. Wolf Carstens is someone I happen to be reading at the moment and he is great. If you look at the contributors to Concrete Meat Sheet at the Concrete Meat Press website, you will see so many great poets who I have had the pleasure to be able to read and publish.

GER:There has been some debate concerning electronic verse print publication. Do you see a difference or not and why?

AM: If I am totally honest, I prefer print publication. There is nothing to match holding a beautiful piece of work in your hands and being able to feel it between your fingers. The incredible work that so many small press publishers create is so breathtaking that I just want to see it. The aforementioned letter press or signed, illustrated copies of items that I get are a wonder and to see your own work in something like that is fantastic. However, often these are limited in number and it can be a costly business so I see why electronic publication is favourable to many. I had the same dilemma with my Concrete Meat Sheet, which started as a print publication. Due to costs and wanting to be able to share the work more widely, I took the decision to publish it online, but as I say, ideally I prefer print.

GER: What projects are you currently working on?

AM: I have just put Concrete Meat Sheet 15 up on line which is a short fiction issue and I’ll be working on issue 16 shortly which will be a poetry issue. I am hoping to publish a small chapbook in the near future which will collect some poems by one of my favourite poets, James Quinton, who sadly passed away last year. My chapbook These Hands of Mine, mentioned in a previous question is no longer available from KSE, but I am going to republish it through Concrete Meat Press. It will have a hand painted cover and will include the poems from the KSE publication plus These Hands of Mine in Dub – a stripped back version of each poem which is how each poem originally started before they were fleshed out. I like the idea of doing something musical, such as a dub version – hey I might even do a remix of some of my poems someday! I would love to put together a publication of a collection of the best poems from all my previous chapbooks, broadsides and magazine publications. If anyone is interested, I’d love to hear from them!

You can read the poetry of Adrian Manning in The Fox Chase Review at this link: http://www.foxchasereview.org/11WS/AdrianManning.html  and

http://www.foxchasereview.org/13AW/Manning.html

-g emil reutter lives and writes in the Fox Chase neighborhood of Philadelphia, Pa. (USA).

http://gereutter.wordpress.com/

2012 Year in Review

2012 was a good year here in Fox Chase. We published three editions of The Fox Chase Review publishing 43 poets and 9 prose writers. We continued to strive to offer diverse selections of poetry and prose to our readers. We encourage you to read the works of these artists at these links:  

Our 2012 Editions of The Fox Chase Review

.and visit: Comprehensive List of Contributors for our archives.

The Fox Chase Reading Series  partnered with Ryerss Museum and Library in Fox Chase to present eight events featuring 16 Poets in the second floor gallery of the museum.       

.

.

.

.

Our Poetry Editor Diane Sahms-Guarnieri conducted 2 workshops in 2012. The Tenth Muse Poetry Workshop for the Delaware Literary Connection in April and for The Fox Chase Reading Series at The Hop Angel in November.

.

.

.

The Fox Chase Review and Reading Series Blog promotes our readings, poets, writers,  interviews, book reviews and general information of interest for our readers and the Fox Chase community.

We are looking forward to 2013 with nine events featuring eighteen poets/writers reading for The Fox Chase Reading Series at Ryerss Museum and Library.  For dates and times please see our schedule at: http://www.foxchasereview.org/12AW/docs/ReadingSeries2013.pdf . In January we will release of the Winter/Spring 2013 edition of The Fox Chase Review and are pleased to announce Poets on the Porch returns with 17 poets reading on the porch of Ryerss Museum and Library on July 13th.

The review and reading series are made possible by

Poetry Editor Diane Sahms-Guarnieri

Fiction/Web Editor S.R. Moser

Fiction Editor T.G. Davidson

Occasional Book Reviewer and Host Rodger Lowenthal

In addition to contributors of book reviews and the poets and writers who grace our review with their work and read at our series. We do this for our love of the art of the written word and look forward to 2013 and your continued support.

– g emil reutter

RIP James D. Quinton 1977-2012

We received the following heartbreaking email from Amy Quinton: On Sat, Sep 15, 2012 at 8:02 PM, Amy Quinton wrote: Dear Fox Chase Review, It is with deepest sorrow and regret that I have to tell you that my husband, James D Quinton, took his own life on 6 September 2012. I would be extremely grateful to you if you could help to memorialise/archive his work, and spread the word around the small press/poetry/writers community. Please feel free to contact me at the above email address if you would like any further information. Amy Quinton James D Quinton was a British fiction and poetry writer. His two novels Touch and The Victorian Time Traveller and his two poetry collections Street Psalms and The City Is On Fire And Has Been For Weeks are now available as rematered second editions. Recently published poetry has appeared in BoySlut, Rusty Truck, Gutter Eloquence, Blacklisted Magazine, Dead Snakes and Spudgun Magazine. He was also managing editor of Open Wide Magazine. ——————————————————————————————— James D. Quinton was a self-taught writer and a publisher of an edgy poetry/fiction magazine for over ten years known far and wide as Open Wide Magazine. I first communicated with James early in the last decade when we were both knocking around the small press across the globe, he far more published than I. Open Wide published established and emerging poets from all corners of the earth and James gave many their first chance at publication. I was fortunate enough to have made two appearances in OW over ten years. James published several collections of poetry and fiction under the xplosive books imprint. Here at The Fox Chase Review we were pleased to publish the poetry of James in two editions and to have published an interview with James at our blog. I do not know why James felt it necessary to take his own life, all I know is his was a life cut too short. Diane and I, Sandra and T.G. extend profound sympathy to Amy and do hope she finds peace and comfort as she tries to understand why James decided to move on. Funeral Services: Notice: http://www.familynotices24.co.uk/19530049 James’ funeral will be will be held at Ipswich Crematorium, IP4 2TQ, on Wednesday 26 September 2012 at 15:15. Afterwards there will be a reception at The Railway, Westerfield, Ipswich, IP6 9AA. Anyone who knows James in any way is welcome. Family flowers only please, with any donations to Plan International, through whom we sponsor a young girl in Bolivia, via the East of England Co-operative Funeral Services

James D. Quinton in The Fox Chase Review: Please visit the Autumn 2008 edition and 2012 Summer edition in our archives at http://www.thefoxchasereview.org/archives.html

An Interview with FCR:  https://foxchasereview.wordpress.com/2012/05/23/10-questions-for-james-d-quinton/

Something Beautiful by JDQ published 9/18/12 http://canontaff.wordpress.com/2012/09/18/james-d-quinton-something-beautiful/

Remberence:  Before the Frost- The Camel Saloon- http://thecamelsaloon.blogspot.com/2012/09/before-frost-for-james-d-quinton.html

Dorsey on Quinton: http://www.redfez.net/nonfiction/436

Steven Nash   http://starlighttocasualmoths.blogspot.com/2012/10/in-memory-of-james-d-quinton.html http://canontaff.wordpress.com/2012/10/19/steve-nash-taking-stock-and-setting-it-on-fire-a-tribute-to-james-d-quinton/

Adrian Manning  http://www.concretemeatpress.co.uk/james%20quinton%20memorial.htm PCN http://www.pcnbritain.org.uk/index.php/news/post/tribute_to_james_quinton/

Silliman Blog – http://ronsilliman.blogspot.com/2012_09_16_archive.html Empty Mirror Books – http://www.emptymirrorbooks.com/features/literature/in-remembrance-of-james-d-quinton.html

Unlikey Stories – http://unlikelystories.org/blog/content/?p=634 http://unlikelystories.org/blog/content/?p=636

Dead Snakes – http://deadsnakes.blogspot.com/2012/09/in-memory-of-james-d-quinton.html

Haggard and Halloo – http://www.haggardandhalloo.com/2012/09/19/james-d-quinton-dies/ Books Inq – http://booksinq.blogspot.com/2012/09/rip_17.html

Please feel free to leave a comment or a link to James work on line. Books by James D Quinton

. . . . . . Thanks to James Mancinelli of TheMoveable Beats Poetry Series in Philadelphia, Pa for honoring James D. Quinton in the open reading  9-16-12

The Summer 2012 Edition of The Fox Chase Review is now Live

The Summer 2012 edition of The Fox Chase Review is now live and on line. Featuring poetry by: A.D. Winans, Le Hinton, Stevie Edwards, Mel Brake, Stephen Page, James D. Quinton, Frank Wilson, Anthony Buccino, John Dorsey, Melanie Lynn Huber, Jim Mancinelli, James Arthur, Christine Klocek-Lim,  Nicholas Balsirow, Jane Lewty, Elijah Pringle and prose by Russell Reece.

If you are in Fox Chase stop in and visit with us at The Fox Chase Reading Series (our schedule).

The Summer 2012 Edition is coming in June

Coming in June…. The Summer 2012 edition of The Fox Chase Review featuring poetry by: A.D. Winans, Le Hinton, Stevie Edwards, Mel Brake, Stephen Page, James D. Quinton, Frank Wilson, Anthony Buccino, John Dorsey, Melanie Lynn Huber, Jim Mancinelli, James Arthur, Christine Klocek-Lim,  Nicholas Balsirow, Jane Lewty, Elijah Pringle and prose by Russell Reece.

If you are in Fox Chase stop in and visit with us at The Fox Chase Reading Series (our schedule).

 

 

Open Wide 25

The 10^th Anniversary Edition of Open Wide Magazine. This edition of Open Wide is ninety four pages with forty three contributors. To check out how to obtain the magazine  please visit: http://www.openwidemagazine.co.uk/owmissues.htm

Featuring poetry from: Rebecca  Schumejda, William Taylor Jr, John Dorsey, F.N. Wright, J.J. Campbell, Adrian  Manning, Luis Cuauhtemoc Berriozabal, Dan Provost, John Sweet, Nathan Graziano,  Idris Caffery, G. Emil Reutter, Bradley Mason Hamlin, A.D. Winans, Iris Berry,  Jayne Lyn Stahl, Graham Nunn, D.B. Cox, R.C. Edrington, Lyn Lifshin, Jack  Phillips Lowe, K.M. Dersley, S.A. Griffin, Jason Mashak, Arlene Ang, Debbie  Kirk, justin.barrett, Heidi James, James D. Quinton, Owen Roberts, Peter  Finch, Steve Urwin, Ben Barton, John G. Hall, Jessica Stilling and Glenn  W. Cooper.

And fiction from: Ben Myers, Drew Gummerson, James D. Quinton, Marc  Barber, Angela Morkos, Jo Mortimer, Natalia Cherjovsky and Danny Rhodes.