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Flashback Friday: "His Pantoum"

My father's birthday is on the 26th, and the day always reprises memories of both his life and death, 13 March 2009. I flew home to make it back for his final hours--his last 26, in fact, and I'm so glad I did. He was receiving hospice treatment at home, with two medications, one essentially morphine, to be given to him on a 3-hour and a 4-hour rotation, and while he was unconscious much of the time, we had a few exchanges that assured me that he knew I was there. Today's poem addresses the time his stay in hospital for a kidney biopsy went horribly wrong, with a bedsore leading to an abscess on his spine and then complete paralysis before it was caught. He was in an induced coma for some we

Flashback Friday: "Veer, Oscillate, Rest"

I thought as an occasional series I'd post links to previously published online poems. Today it's a poem from one of my favourite American journals, The Boston Review, and the poem is the as yet uncollected "Veer, Oscillate, Rest." #BostonReview #FlashbackFriday #VeerOscillateRest

Touring Scar

Until last year, I rarely wrote a poem over a page long. Now, my current manuscript, The Weather in Normal, has four poems of 3+ pages, the longest being 'Scar', which also constitutes my chapbook of the same title from Shearsman Books. I've now read it for an audience twice: in Edinburgh in July, in my hometown of Normal, Illinois in September. Reading the entire piece in a single go raises a number of difficulties, most significantly the alternation of multiple voices/perspectives with each new page. I try to use pacing and voice modulation to signal these changes, but it's hard to tell how successful those attempts have been. Saturday I'll give Scar its official launch at the wonderful Fr

Poetry and Pottery: A Collaboration

Almost as long as potter Trevor Lillistone has been my partner, people have asked us whether we've collaborated. That answer was no until recently, when Ginger Fig Gallery in Taunton sent out a call for collaborations between art and text for their 'Book:d' exhibition. I went through my books and ongoing manuscript to find excerpts evocative of colours and scenes in nature that Trev could relate to various glazes. The greatest difficulty was how to get the text on the pot so that it would be clear through the glazing and firing process. Trev tried a number of approaches on small squares of clay, as tests, and here are the results, now at the Ginger Fig: This vase bears a passage from my poem

Copyright 2016 by Carrie Etter

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