Monday, July 28, 2014

Kaleidoscope Goes Digital


Perhaps, it was inevitable - the country’s oldest magazine of disability literature and art is going digital. As of January, Kaleidoscope will no longer publishes in hard copy. The magazine that for 30 years has given writers with disabilities the opportunity to see their work arrive in an envelope in the mailbox or see it sitting among the periodicals on a library periodical shelf will now, like its companion periodicals, Breath and Shadow and Wordgathering, be completely online.

 To those for whom publication means having something concrete to hold in their hands, this is likely to feel like a loss, but in another sense it is likely to be a boon in disguise. From their new venue at www.KaleidoscopeOnline.org, the work of the writers and artists it features, will hit a much larger audience. Gail Willmott, the journal’s editor, has widely kept access to the magazine free on line – subscriptions were $12 a year – making it its contents available not just to search engines but to links in Twitter, Facebook, Pinterest and other sites. It also potentially resolves problems for visually impaired or blind readers who, unable to read a traditional print journal, will now be able to access it through screen readers (though this is an issue still to be worked out.)

 Kaleidoscope holds an important place in disability literature, being among the first to publish writers like Anne Finger and John Hockenberry, who are now well established. It was also through Kaleidoscope magazine that a call for poetry was put out that resulted in the publication of Towards Solomon’s Mountain in 1986, the first volume of poetry made up entirely of the work of writers with disabilities. Let’s hope the new twenty-first century incarnation of Kaleidoscope proves just as rewarding.

Friday, November 30, 2012

Anthology by Mothers of Children with Disabilities

Although children with disabilities should always be given the opportunity to speak for themselves, parents of children with disabilities also have their own storiesLiz Whiteacre and Lyn Jones of Ball State University have put out the forllowing call for essays and poems by the mothers of children with disabilities themselves:

Seeking Submissions from Mothers of Children with Special Needs for Anthology Project: We believe in the transitive power of story. Our hope is that your stories will illustrate a realistic tableau of the lives of mothers of children with special needs. This anthology is the vision of mothers, writers, disability advocates, professors, and editors Darolyn “Lyn” Jones and Liz Whiteacre. Mothers of children with special needs, please consider submitting previously unpublished nonfiction essays 6,000 words or less (they may be memoir, graphic/illustrated, or photo essays) and no more than 6 unpublished poems that address the challenges you face, empowerment you’ve felt, joy you’ve experienced, or providence you’ve explored. Multiple submissions are allowed. Email Liz Whiteacre at lizwhiteacre@gmail.com for detailed submission guidelines. Submissions must be received by Monday, April 22, 2012.

Here's an opportunity for women to tell their stories. Take advantage of it.

Friday, September 21, 2012

Larry Eigner Redux


Though their influence may be waning, the name Black Mountain poets and the voices associated with them - Charles Olson, Robert Creeley, Robert Duncan - are still familiar to most readers of  twentieth century literature.  One member of this group whose name rarely gets thrown into the mix is Larry Eigner.  Thanks to the scholarship of Michael Davidson, Eigner's name has been rescued from seeming oblivion and his work is now a staple in disability literature courses.  Eigner, who had cerebral palsy, was not physically present at most gatherings of the school of poetry with which he is associated, but his work and associations place him squarely in the same room as the Black Mountain pioneers. At the same time, Eigner had his own distinctive style, one which, though it does not take cerebral palsy as a subject was, as Davidson has demonstrated, profoundly influenced by his physical condition.

Fortunately both for Eigner and for poetry readers generally, Eigner’s legacy is now being given a boost by poet Jennifer Bartlett.  Bartlett is one of the co-editors of Beauty is A Verb, an anthology of disability related poetry which includes among its many offerings a sample of Eigner’s work, a selection from Davidson’s classic essay “Missing Larry” and Bartlett’s own poetry, which shows affinities with Eigner.  Bartlett has embarked on the process of writing a biography of Eigner and his work.  Her first step has been the recent publication of an essay “Anything has to be easy to be done” as a small chapbook through the efforts of Brian Teare – no slouch of a poet himself – and his Albion Press in Philadelphia. Teare takes on only a few carefully chosen projects a year and Bartlett’s pamphlet is one of them.
In the chapbook, Bartlett sets out the basics of Eigner’s background, his mentorship by Cid Corman, poet Denise Levertov’s visceral reaction to Eigner’s physical appearance, and intimations of the relationship between Eigner’s cerebral palsy and his work. Bartlett ends her essay with the following paragraph:

What do I take from this? Though Eigner’s body informed his work, it’s important for a critic not to read Eigner’s poems through the lens of limitations she sees as intrinsic to disability, but which Eigner himself did not experience. Rather than impose an imagined lens of disability on Eigner’s work, Creeley and others take the opportunity to connect it to his bodily existence. And like Eigner, we should focus on what is possible.  We should treat him as equal while realizing that, by society’s standards, he wasn’t, and acknowledge that through the content and form of Eigner’s work derived from his body, they were not determined by it.

This is an important point and in establishing it, Bartlett re-enforces the significance of Eigner’s physical body to his work while holding up a caution sign against attempts to impose current paradigms of disability on the minds of a writer no longer living.  It will be interesting to see what she comes up with next.

Tuesday, April 03, 2012

Good-bye to a Unique Contest

As April and poetry month begin this year, something will be missing. For the first time in ten years, the Inglis House Poetry Contest will not be putting out calls for submissions. With my own retirement from Inglis House and the unavailability of funding for the contest and its resulting chapbooks, it is time to put this small, unique, important contest to a rest. When the original contest creators and judges, Stuart Sanderson, Dana Hirsch, Steve Parker and I sat down to plan out the first contest, we had no idea just where it would lead. In reflecting back on what I might want to say about the contest here, I came across a “Foreword” written for She Asks for Slippers While Pointing at the Salt, the chapbook from the 2009 contest, that encapsulates the history and spirit of the IH Poetry Contest so well, that rather than try to go it one better, I am simply reprinting it.

In 2002 the Inglis House Poetry Workshop instituted what, at the time, was a rare phenomenon – a national disability poetry contest. The purpose of the contest was twofold, to encourage the work of writers with disabilities and to help to give shape to disability poetry as a genre.

The poetry we received was so diverse that the workshop felt it was unfair merely to recognize the winners and, therefore, we expanded our original contest concept to include an annual chapbook, comprised of the best selections we received. Four years later, we also added essays to the chapbook that deal both with the specific craft of individual writers and with disability poetics more generally, and last year we incorporated art and photography as well.

Once or twice over the seven years of the Inglis House Poetry contest, the editors have been accused of bias and – as with all misrepresentations – there is a mustard seed of truth in this. When we receive a poem by Sheila Black or Ona Gritz, we have high expectations. As when someone learns from experience that at certain restaurants they always find high quality food, we have come to associate certain writers with quality work. This is a direct result of what the Inglis House Workshop through its contests and its online magazine Wordgathering have tried to achieve. One of our primary missions has been to build up a repertoire of poets that come to represent the best of disability poetry. We are proud of the fact that we have done this. Along with Black and Gritz, we have been able to bring to the public a fair selection of the work of Linda Cronin, Ellen LaFleche, Patricia Wellingham-Jones, Arden Eli Hill, Paul Kahn, Kobus Moolman and Trace Estes. If the poems of these writers continue to resurface in our publications, we take this as a compliment and not a criticism.

As with all our previous chapbooks, the poems include a wide variety of viewpoints and topics. One of the more significant themes that emerges is that of inspiration. As John Lee Clark, a poet who is deaf and blind writes:

Can’t I even pick my nose
Without it being a miracle?

This is a point the Kathi Wolfe picks up in her essay “The Disability Pedestal”, which begins, “Since time began, different cultures have placed people with disabilities on ‘inspirational’ pedestals. They’ve viewed us as ‘seers,’ visionaries, oracles, saintly, innocent ‘holy fools.’ That is if they, on the other side of the coin, haven’t wanted to kill us because we are evil or pity us because we’re such ‘poor helpless creatures.’” Wolfe’s point is that whether it is inspiration, fear or pity, such labels are a way a speaker uses to distance themselves from the person with the disability. It is a way of not admitting them as an equal. In addition, as Wolfe points out, “More often, the poets who use such ‘inspirational’ images of person with disabilities write bad poems. So in addition to the yuck factor of inspiration you have annoying, often cloying, badly crafted poetry.”

She Asks for Slippers attempts to counter this image of inspiration by providing the variety that shows disability is too multi-faceted to reduced to easy metaphors. In this volume, for example, you see Ona Gritz with her son:

My son works his way
from the far end of the kitchen,
New to walking, his halting
steps, mostly on tip-toe
resemble my own palsied gait.

Judith Grogan-Shorbs’ depiction of an ex-gang member:

When teeth grasp paint brush,
Carlos transforms the world. No room
for gangs of sorrow, or regrets
for turf-treading

John Mannone’s soldier says:

Doctors said I’d be all right,
but no one warned me
of the demons hanging on
the ends of nerves.

Kathi Wolfe notes:

Susan, a red-haired girl, gave me my first kiss.
I live on the Sapphic
side of the street.

And Nancy Scott recalls of a friend:

We pulled possible from the air
that looked empty
to people who could see.

Poems like these do not reduce people with disability to easy images. They are not meant to inspire. They do not ask for pity. Instead, they give a taste of what disability literature has to offer.

At this point, to my knowledge, there is still not another annual contest that devotes itself to disability-related poetry. Fortunately, the original intent of the contest’s originators is still being carried on in Wordgathering and Beauty is a Verb: The New Poetry of Disability, the best selling anthology whose pages contain among them some of the poems that readers first encountered in the contest chapbooks. Knowing this, the small group that sat in a room at Inglis House ten years ago wondering what they could do to try to kick start disability poetry and bring it to the general public can’t be too unhappy.

Thursday, March 29, 2012

From Poetry to Action

When Dan Simpson gives a poetry reading, it's almost always a success. He walks up to the podium with his dog Chandler, lays out the Braille text of poems that he reads from, and begins reading in a voice that exudes both compassion and strength. His poems speak of his experiences as a blind man growing up in the United States, and frequently, when he reads poems like “Broken Reverie” - a political poem about why he does not write political poems – the audience will burst into applause as it did last week when he read at Arcadia University.

Last month, however, Dan’s reading was of quite a different kind. In a rally in the parkway in front of the central branch of the Philadelphia Free Library, he spoke out against the state of Pennsylvania’s plan to drastically shear the services of the Library for the Blind and Physically Handicapped by cutting the staff to a minimum and shipping all of the cassettes tapes used by its Philadelphia patrons to a much smaller library in Pittsburgh. Dan’s speech was an impassioned one, and for good reason. Not only have he and his twin brother David (also blind and a poet) used the library for over 50 years, but he helps to provide technical assistance for the blind to the library itself. Dan followed his speech with a written article in the Philadelphia Inquirer.

There are, of course, poets who still consider their work ethereal, a product of the mind that has no connection with the physical body nor with any obligation to take action. If their work is to mean anything, writers with disabilities still cannot afford that luxury. We’re lucky to have poets like Dan Simpson, who puts his actions where his words are.

Wednesday, March 21, 2012

Anne Kaier

Philadelphia Poet Anne Kaier was the subject of a recent article in the Montgomery News. It’s about time. Kaier, the author of In Fire and a contributor to the recent anthology: Beauty is a Verb: The New Poetry of Disability has a take on disability that is quite unusual. In her own words, “I have a rare skin condition called ichthyosis in which the skin does not shed normally, but clots and peels perpetually. It’s genetic, chronic and inelegant.” Kaier’s condition, then is not one like cerebral palsy or blindness, that would inhibit ones mobility nor make it difficult to function in situations which most people would consider ordinary. Nor is it like autism or schizophrenia that affect one’s cognition, emotional responses or ability to communicate. In this sense, though it certainly involves a medical condition, Kaier’s disability is almost totally a social construction. As such, she is possibly the contributor to Beauty is a Verb for whom the entire title of the anthology is most appropriate.

At the beginning of In Fire, the poet sets the stage and context for the standards against which beginning in childhood, she will be measured:

My mother
Works at her mahogany table,
Sketching brows and painting eyes;
After years as a practicing beauty,
She deft.

Her mother, though doing what she has to do to provide for her daughter, is conscious of her own disappointment in her daughter’s appearance, justifying her elf at the dinner table by saying, “I could have let you die when you were born.” In her poem “Mother Love” Kaier writes:

I could not please you
I could not make my arm…
Clean, soft, pretty.

Among many other issues, Kaier also explores the role of that medical field plays in making people with disabilities objects of what Irving Goffman called, “the gaze.”

Like Susanna with the elders,
I tell my story,
Swinging my legs against the metal table.

In childhood, standing in Dr. Shelby’s office,
I stretched my arms to his soft, scientific gaze.
My body came along with me who looked and saw and did not see
But now on this day,
I sit on the edge of the examining table, nakedly me.
The ridges in my skin stick
To my arms and I am one with them
I sit whole on the table edge, Case #18.
Kaier is Harvard graduate, has written and had poems published on many subjects, and teaches at several colleges, so she could simply distance herself – as some writers do – from identification with disabilities poetry on the basis that she does not want to be categorized as a niche writer. Fortunately, she has not. As she herself says,

I have broken the old taboo,
Named my affliction,
Called it mine.

Tuesday, November 01, 2011

Beauty is a Verb - Time to Brag

I’m so proud of Beauty is a Verb: The New Poetry of Disability that I have to come out of my root cellar and talk about it. Collaborating with poets Sheila Black and Jennifer Bartlett to edit the anthology and with Lee and Bobby Byrd at Cinco Puntos Press to get it published has been an invigorating and rewarding experience.

Since the first books appeared barely a month ago ago, the praise has been coming. It received a starred review from Publishers Weekly, and poet/critic Ron Silliman wrote that it will be one of the defining poetry anthologies of the twenty-first century. Poets Molly Peacock Naomi Sahib Nye and disabilities scholars Lennard Davis and Anne Finger have all given it powerfully positive endorsements. Recent readings in Philadelphia, Berkeley, Albuquerque, and Las Cruces have impressed the crowds that they have drawn with more coming up in New York, Pittsburgh, Washington, D.C. and Ann Arbor. Two weeks after publication, the anthology showed up as number six on the Poetry Foundation’s list of best selling poetry anthologies (behind Caroline Kennedy, Garrison Keillor, Harold Bloom, David Lehman and Jeffrey Yang).

What is so special about Beauty is a Verb? At 383 pages, it is the first comprehensive anthology to focus entirely on the work of poets with physical disabilities – most of them, visible disabilities. Moreover, each poet in the book is represented not only by his/her poems but by an essay about their work as well. (For the handful of poets who are no longer living, such as Larry Eigner, the essay was supplied by a scholar who knows that poets work well. In Eigner’s case, it is Michael Davidson.) The book proceeds from “First Voices” like Eigner, to voices of the disability poetry movement like Jim Ferris, to the work of more lyrical poets such as Sheila Black, and finally to experimental writers like Denise Leto in a section called “The New Language of New Embodiment.”

With Beauty is a Verb in hand, college instructors will no longer have the excuse of lack of quality material for not including the work of writers with disabilities in poetry or literature classes just as they now do African American, Latino or GLBT writers. The anthology itself could be used as a course text. The diversity of style, subject and opinion is quite amazing. While not ever reader will be up to the intellectual challenge of David Wollach’s pieces, any high school student can become engaged in a discussion of Laura Hershey’s “Telling” or Hal Sirowitz “A Step Above Cows.” If the readers of Lisa’Gill’s poems send a reader in search of work by Bogan, Zukofsky and Wendell Berry, readers of Jillian Weise’s “The Amputee’s Guide to Sex” may send them in quite a different direction. The writers in the book dialogue, diverge from, and disagree with each other. It would be a willfully obtuse reader who could walk away after reading Beauty and not have gained something from it.

Cinco Puntos owners Lee and Bobby Byrd deserve a great deal of credit for taking a chance on Beauty is A Verb. While they are used to dealing with quality work, this was a considerable undertaking for a small independent publisher. The other the other editors and I, as well as the intelligent reading public, owe them a tremendous debt.

More information at