Ranch truck, Benton Hot Springs, CA
Letter from the Editor
We had an artist scheduled for this issue bail on us unexpectedly at the last minute. This has never happened before. They were quite enthusiastic to participate until a conversation was had between the artist and their daughter and a concern was raised regarding having no control over the pairing of artwork with poem which might pose a certain threat to the artist’s sensibilities or reputation? This artist’s work is quirky and striking and original, but also outsider work having to do with the detailed punching of holes in paper (and don’t think you can google and somehow figure out who it was! You won’t. This artist is both too good and too unknown for that).
What’s relevant here, not only as a segueway into who/what we did feature as an alternative, but also begging the question raised is that it suggests something wild and unbridled and maybe even dangerous or risky about poetry! The risk of damage through association? At first I found the thought of this funny, ridiculous even, but as I thought more about it, I realized we do live in an era of cancel culture and mob mentality where the wrong thing said at the wrong time or to the wrong person might get you into trouble. Especially if you wish to make money from your art. As poets we often disregard this entanglement. Perhaps the fear in this case was more about fine art possibly being juxtaposed with the puerile, inferior or amateurish. If this is the case, it indicates a lack of familiarity with this publication and its contents. I feel like this is so strange, though, since most of what we do is present outsider art? The pairing would have been fine on both sides and just as this artist probably sees themselves? Also while it’s always a showcase for artist and good promotion, I prefer to think we are perfectly safe in our little bubble of obscurity. Obscurity of poetry, obscurity of circulation, and existing in the eddy of doing our own thing for a tight crowd of appreciators? Our circulation is in the thousands, not tens of thousands. I am quite fine with this personally. So. Where is the risk and the danger? The internet makes us global, though I have tracking that indicates something of our traffic, I really don’t pay any attention to this, and don’t have much of a handle on our reach. Should we worry about this? Or simply thumb our nose at the establishment in our beautiful little backwater? You tell me. I’d love to hear from you. Do you consider your poems pose a threat to other artists or poets? (We should be so lucky…!)
Speaking of backwaters or more appropriately, sun-dappled eddies in a northwest mountain stream, and well off the beaten path of mainstream or popular culture, I decided on a whim to show you pictures from our recent trip south to California and what we found along the way. While the photos might have been more professional or our knowledge of what we were shooting might have been more thorough, what we discovered was awe-inspiring enough. I believe that despite whatever shortcomings are involved, you will be entranced by what you find.
Regarding the poetry on display, we have more poetry from Italy and Ukraine, as well as many from the US, and Oregon :), and some returning friends. One thing to note was the convergence of so many submissions working from and influenced by Asian forms. As this started to pile up in my inbox I began to grow more favorable in my acceptances toward this trend, just because it was tying the issue organically and cohesively together. You’ll see what I mean. Whether it’s the poetry or the artwork that comprises an issue I can never predict at the outset what I’m going to end up with or where we will go. And the surprise adds to the joy of curating. Please have fun perusing Issue #32. I hope you value it as much as we did in offering it up.