I was lucky enough to have the amazing folks over at all the sins decide to publish two of my poems – “Brilliant Moonbeam”, a found poem from the beginning of Roald Dahl’s The BFG, and “Crassostrea virginica”, one of my ecofeminist poems that looks at the world through a marine life lens. The poems will be published in their inaugural edition, which went up today!
The lovely editors over at all the sins wrote a pre-release post entitled “Submissions: Round 1“, where they talk about their transparent editorial process (which, as a poetry reader myself for a lit mag and a struggling wannabe poet, I think is pretty neat). There was also a little nod to one of my works in there: “Some pieces embraced the theme more literally, playing with Dahl-like language and, as you’ll see in our first edition, creating found poetry from his original text” which made me feel all warm and fuzzy inside.
Beyond the warm and fuzzies, another line particularly resonated with me, now that I’m beginning to see the ‘other side’ of the submission situation as a probationary poetry reader over at Storm Cellar Quarterly (more about that sometime later). That line is “we looked for art that had something to say”.
It is so hard to let our art speak for itself. Something in the process of expression gets the art muddled on its way out of us – our fingers mangle it, our synapses do damage as the chemicals that birth the art flow past. We are imperfect vessels for our art, though sometimes it is exactly the way we ‘taint’ the art as we express it that makes it so valuable or revolutionary. Still, at most we should be co-vocal with our art; we should never be its sole orator. And yet, it is hard to let our art speak – instead of us speaking about our art and what it could or should be. It’s a new kind of listening. It is humbling to hear that my art was chosen because it had something to say. Maybe, with each poem I read and write, I am learning more how to listen.