Dog days, anyone?
August 3rd, 2010Read the rest of this entry »
My friend Richie from up the street asks me, “When do you find time to write?”
“Late at night is the second best time,” I tell him, “for me anyway.” He waits for the rest of my answer. ”But my favorite time is before sunrise. Five a.m. While you’re still sleeping.”
Richie cringes just at the sound of ”five a.m.” ”You set your alarm?” he asks.
“No, I just wake up some mornings and know it’s time to write. I awake the hound (Simone, our Italian greyhound) and we go downstairs together. She goes back to sleep on the sofa and I pour a large mug of Kona coffee and head for the keyboard.
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It’s been a long Memorial Day weekend, and I should have been writing, but instead I settled in one evening with a DVD of John Ford’s 1952 film The Quiet Man. Ford, who is best known for his Westerns filmed in Monument Valley in northern Arizona, directed John Wayne and Maureen O’Hara in this beautifully filmed hymn to Ireland.
The Quiet Man was a film Ford had been trying to make for years, until finally Republic Pictures agreed, on the condition that Ford first make the studio a black-and-white Western, to make up for the losses they expected for The Quiet Man.
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The idea of linked poems, so beautifully realized in the new Bamboo Ridge Press book No Choice but to Follow, fits snugly into a larger idea. The four poets—Jean Yamasaki Toyama, Juliet S. Kono, Ann Inoshita, and Christy Passion—linked their poems, one to the next, for twelve months in 2008.
What exactly did they use to link the poems? They used words. Taking the last line of the most recent poem as the starting point for a new poem, they connected not only poems, they also connected experiences, memories, and emotions. One poem built upon the other, the project grew, unfolding like an exotic, yet familiar, flower.
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