Tag Archives: poetry

The Blarg No. 78: Katie Manning

As I write this, it’s Phoenix Comi—sorry, sorry, Phoenix Comic Fest time! Like the High Holidays, but for nerds, such as myself. We walk the halls en masse, we recognize each other’s costumes and t-shirts without irony, we buy stuff we absolutely do not need. It’s amazing. It will also be over by the time you read this, so if you went as well, I hope we all had a good time.

Phoenix New Times listed us in their list of “Phoenix Podcasts You Need to Hear”, which is really cool. It’s really surreal to see the podcast getting more and more attention. I’ve been doing this show for three years now, and I can’t tell you how many times I wondered to myself if anyone was even listening, let alone thinking it was any good. I’d like to take a brief moment to thank everyone who’s been a guest on the show, and a few people who have been particularly supportive: Leah LeMoine, Mike Pfister, Amy Hagerty, and Cynthia Black.

Quick bit of business: Hoot n Waddle, our little publishing and digital media company, is currently accepting manuscript submissions via Submittable. Please read the guidelines, and if you have anything that fits the bill, please send it our way.

On this edition of Limited Engagement, I talk with poet and professor, Katie Manning. Tasty Other, Manning’s first full length collection of poetry and the recipient of the 2016 Main Street Rag Poetry Book Award, chronicles the experience of her first pregnancy through surrealistic dream, religious allusion, and striking imagery that conveys all the love, hope, and anxiety that clinical texts can’t begin to relate. Get yourself a copy of Katie’s book.

Listen to LE 78 – Katie Manning

Best,

Jared

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The Blarg No. 76: Omar Pimienta and Jose Antonio Villaran

First, the cat update. For anyone following our Instagram account (@limitedengagement), you know that we are once more sharing our home with a cat—and I purposely don’t say “own,” because I don’t think you ever really own a cat, they’re more kind of like that free-loading roommate who doesn’t clean up after themselves or pay their share of the rent. Her name is Susuwatari, after the little black soot creatures in the Miyazaki film My Neighbor Totoro. We’re calling her Susu for short. The name seems to suit her. She is, as was Alison (my previous cat, for newer listeners), a rescue from the Humane Society. Black cats are often mistreated and are hard to adopt out, and I have a fondness for them, so I do what I can. Susu has certainly dealt with some trauma (on top of being recently spayed, she’d been abandoned, and was pregnant), but she’s settling in nicely. She and Gizmo are still working out the kinks in their relationship, it’ll be fine. She’s weird, he’s weird—she likes having her belly rubbed, which is not a normal cat thing, and she likes headbutting stuff.

I spent some time writing poetry on demand again. This time it was for Independent Bookstore Day over at Changing Hands Phoenix. My second time now, and again I found it very freeing creatively. I’ve seen some of the writers I’ve done this with make notes and write rough drafts prior to typing up their finished pieces, but I composed one draft on the typewriter, and that was it. I’d never pretend that’s the best way to go about it, but it works for me. The Changing Hands requests were much more difficult than the ones I got on Roosevelt Row. For starters, I had to write a couple of poems suitable for children, then there was the woman who wanted something happy about retiring on a farm with pumpkins, goats, and chickens. About a third of the people wanted something happy. I don’t do happy.

All told, over the course of about 4 hours, I wrote 18 poems, which is nothing to sneeze at. They weren’t all great, but I actually really liked a few of them that I’ll probably rework and hang onto. I’ll post my favorites up on Instagram.

We went to see Infinity War last night, and I’ll probably talk a little bit about my impressions when I record the next Hoot N Review this week with Jenna Duncan, but I loved it. We’ll see where it falls in the rankings over time, but I think it’s possibly their best. At this point, they’ve reached a critical mass as far as the amount of characters goes, but they pulled it off. For a while there, I thought I was watching a Paul Thomas Anderson film with amazing special effects.

I had the opportunity recently to sit down with Omar Pimienta and Jose Antonio Villaran, the writer and translator respectively of The Album of Fences (available now from Cardboard House Press). With everything hitting the fan right now, it seemed like the perfect opportunity to have this discussion on the poetics and poetic politics of borders, the responsibility of artists (of all disciplines) to create work that speaks out against the prevailing rhetoric of fascism, social regression, and hatred. We got deep.

Best,
Jared

Listen to LE 76 – Omar Pimienta and Jose Antonio Villaran

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The Blarg No. 66: Rosemarie Dombrowski

Get your kicks on The Blarg 66? (Sorry)

If anything can be said to be the modus operandi of 2017, it’s one step up, 2000 steps back; a minor victory followed by countless setbacks; a brief moment of surfacing for air, then right back under water. You get the idea. After a massive effort to keep a pedophile out of congress—a victory so narrow as to not avoid contention or dispute—that same congress voted to end net neutrality, and they’re currently working overtime to push through the most blatantly anti-constituency tax plan ever. To say that the battle is uphill is an understatement of massive proportions. At this point, there is such a disconnect between the government and the people that democracy is flat-out broken, and any meaningful change would take a complete reset—one that could be achieved through votes, but that would first involve a shift in philosophy for the majority of people—a need to make informed, moral, rational, open-minded decisions rather than knee-jerk choices made out of fear and anger.

Barring that, though, here’s an idea: just bench men. The entire gender. There are always exceptions, and I like to think I’m one of them, but another theme of 2017 (and I know it’s not any sort of revelation, believe me) is the inability of men to consider anything beyond the immediate satisfaction of their erection. That can be most obviously seen in sexual misconduct, but it should be pretty obvious that this is likewise the case with all the money boners out there. “You’re giving me how much money? You need me to vote in favor of what? No problem! It’ll screw over which people? The ones who voted for me? Fuck ’em.” So, yes, I’m proposing we take men out of the equation altogether. Who knows, maybe women won’t do any better, maybe they’re equally as corrupt, but I think it’s worth a shot, and my main point is that things are so deeply messed up right now that we’ve got to do something big, drastic, and sweeping in order to progress and break out of this system which is currently hellbent on not only maintaining an arcane, outdated ideology, but dragging us further back into the depths.

One more thing before I put the soapbox away: I am so very, very tired of the standard “man versus Man” defense. Can we just throw that one out? Feeling the need to distinguish yourself as a proper example of the gender doesn’t make you any better, because that is still, in some way, arguing for the superiority of the gender. What really distances you? Being a decent person, that’s what does it. It seems like gender—especially as identity becomes increasingly fluid—needs to move back into the realm of scientific over social function. There are few ideas more exciting than the one that we are the manifestations of our complicated, chemical neural makeup, and not defined by something as simple and arbitrary as the stuff between our legs.

This all has very little to do with my conversation with Rosemarie Dombrowski. Other than the fact that we do spend a fair amount of time discussing the role of art in times of social unrest, turmoil, etc. We also discuss what it means to be the poet laureate of Phoenix, the difference between being a community poet and a feature, and the life-cycle of writing from inception to publication. This also marks Rosemarie’s 3rd appearance on the show (first solo appearance) during December, thus keeping the tradition alive!

Rosemarie Dombrowski is a Senior Lecturer at Arizona State University’s Downtown Phoenix campus where she is the co-founder and faculty editor of the student and community writing journal, Write On, Downtown, and where she teaches courses on the poetics of street art, women’s literature, and creative ethnography. Her collections include The Book of Emergencies (Five Oaks Press, 2014), which was the recipient of a 2016 Human Relations Indie Book Award for Poetry, The Philosophy of Unclean Things (Finishing Line Press, 2017), and the forthcoming The Cleavage Planes of Southwest Minerals [A Love Story], winner of the 2017 Split Rock Review chapbook competition. She is also the inaugural Poet Laureate of Phoenix, AZ, the founder of merge poetry journal (2005-11) and rinky dink press, an editor for Four Chambers journal and press, and the co-founder and host of the Phoenix Poetry Series, now in its tenth year.

Listen to LE 66 – Rosemarie Dombrowski

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The Blarg No. 65: Joy Young

Wearing sweaters as the world burns…

December showed up as it always does. Right on time. One moment it’s November 30th at 11:59 pm, and then, boom, December 1st is right there on top of things. Despite despising the holidays, I actually really like December. I’d say it’s probably my favorite month, and not just because I was born in it. I like the atmosphere, I like the crisp snap of the air, but above all I like wearing sweaters. I love wearing sweaters. I wish it were sweater weather all the time, but in Arizona, sweater time is very, very limited. I’m not weird about it or anything—I don’t have some weird sweater fetish—I like the softness of them, I like that you can get away with wearing them at work, and they’re super-comfortable, so it’s almost like you feel you’re getting away with something. I guess I should say “I” feel that way, because it is extraordinarily presumptive of me to think anyone else might feel the same.

This year, though, something feels off. I’m not getting to enjoy my sweater time as much as I normally do. Maybe, and I’m just hypothesizing here, it’s because it seems as though the entire world is either literally or metaphorically on fire. Hard to feel good about being comfy and cozy when you are also an empathetic person and paying attention to everything going on around you. Again, that “you” is presumptive, and I’m doing my best to quit presumption. I’m sure there’s some sort of presumptive support group or multi-step program, but I’m determined to quit presumption cold turkey.

I had a really fun conversation with Joy Young. I really like their work, and this was the first time I’ve had occasion to talk to them about their process, where their stories come from, and connect creatively. It turns out the reason for this might be that, although we’re both pretty active in similar, often connecting or intersecting literary circles, we’re also both pretty cripplingly shy and suffer from heavy social anxiety. It’s apparently not terribly uncommon for literary types who appear confident and have success on stage to be incredibly introverted. Who knew? Well, I did know actually, but it’s still nice to connect and not feel so alone.

Joy Young is a performance and teaching spoken word artist based in Phoenix, Az. Their poetry and workshops, much of which centers on transgressing borders, entering topics pertaining to social justice through poetic personal narratives has been featured on Button Poetry and Everyday Feminism as well as on stages and in colleges and classrooms across the country. Joy is a co-founder of Off the Page—a monthly recurring workshop and open mic at Wasted Ink Zine Distro that seeks to build connection and community within Phoenix’s diverse literary and performance communities. Learn more about them at https://www.joyyoungpoetry.com/

Best,
Jared

Listen to LE 65 – Joy Young

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The Blarg No. 46: Ernesto Moncada Pt. 2

I find myself compelled to write about delusions this week. Generally speaking, we delude ourselves all the time. I know that I’ve uttered classics such as, “Everything’s fine,” “No worries,” and “I got this” on countless occasions. You may see a theme there—my self-deluded states tend to center themselves around ignoring, glossing over, or denying the existence of problems. They’re never big problems, because I’m also a realist. If there’s a big problem, I am much more likely to openly admit, “Oh, yeah, things are not cool, I am totally, completely, utterly fucked.” You’ve got to acknowledge the big issues immediately, because they have the tendency (read: absolute certainty) of rolling along and attracting other issues to the point where—to use one of my all-time favorite phrases—everything goes tits up and you find yourself hurtling through the jungle being chased by a huge fucking boulder, carrying a golden idol, and Alfred Molina says he’ll throw you the whip if you throw him the idol, but he’s a lying fuck and leaves you for dead. That is how things look to me right now. The government is both Alfred Molina and the boulder, and the yawning chasm across which we have to jump is highly representative of the one between the president’s ears. Oh, and the poisoned blow darts hurtling our way at high speed are really fucking stupid tweets. So, to answer the question you didn’t ask, yes, the opening sequence of Raiders of the Lost Ark is the perfect analogy for the straits we find ourselves in.

Some delusions probably serve a positive purpose, right? After all, as creative people, we have to shield ourselves with something, or we’d all just give up and go cry ourselves to sleep every night. Confidence, I think, is at least to some degree a delusion. You gotta fake it until you make it. At some point, if you’re lucky, through success—however one wants to measure that—the ratio of earned, experiential confidence to simply talking yourself up in order to put your work out there, or go for that job, or try out for that part, whatever, tips in the former’s favor, and “I got this” ceases being a functional delusion and becomes certainty, and you know which cup is the Grail, you choose wisely, you save Sean Connery and ride off into the sunset with your buddies. I figured I’d round things out with another Indiana Jones reference, and Last Crusade is unarguably the 2nd best film in the franchise.

This week’s show is part deux of my conversation with Ernesto Moncada. I’m sure I said something last week, but I really enjoyed talking to Ernesto, and I’m excited for you to hear the rest of our conversation. There is more on the notion of things lost in translation, we get to hear some about his experience transitioning from the Mexican literary scene to the arts and culture scene here in Phoenix, and much more.

Best,
Jared

Listen to LE 46 – Ernesto Moncada Pt.2

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The Blarg No.45: Ernesto Moncada Pt. 1

Success is something that has always been difficult for me to accept and recognize for what it is. It isn’t that I’m not proud of what I do, or that I think it isn’t good, I just don’t expect other people to enjoy or appreciate it, let alone champion it in any way. I am always so suspicious of any sort of praise or recognition that my artistic endeavors garner—whether that is Limited Engagement, any of my writing, or actual artwork (as I dip my pencil back into that realm)—that my knee jerk reaction is to first show gratitude (I like to think I’m not a rude individual), and then immediately begin dismissing it, brushing it off to the side, looking to see if the person behind it is working some angle, or whether there is a qualifying “but” or “if only” clinging to the underbelly. I am in a perpetual state of waiting for the other shoe to drop. In my mind, success is something that happens to other people.

Why am I bringing this up? Well, Limited Engagement was named Best Podcast in this year’s edition of PHOENIX Magazine‘s annual Best of the Valley issue, which is awesome! It means that people like the show. Even more important, people are listening! I’m not just some guy sitting in his office at home ranting out into the ether! I really do feel proud of this achievement, and I am thankful to the folks at PHOENIX Magazine for the recognition—it really does mean a lot to me. However, you read all that stuff in the first paragraph, right? I am trying really hard to simply enjoy the moment. It’s a struggle, but I think I’m getting there.

This week’s show is the first of another two-parter. I packed the recording gear into a bag, traveled down to Ernesto Moncada’s place, and we sat at his kitchen table discussing anything that came to mind. There was very good coffee involved. Ernesto pretty much does it all: he’s a writer, actor, teacher, comedian, artist, he just directed a wonderful version of Paul Auster’s Laurel and Hardy Go to Heaven, and he’s a wizard on the stilts. No, that’s not a typo. Ernesto’s got some amazing stories, and it was a great conversation.

Best,

Jared

Listen to LE 45 – Ernesto Moncada Pt. 1

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The Blarg No. 44: Jake Friedman Part 2

Deadlines. I love ’em. There is something about the looming hour of 12 am that gets my creative juices flowing. I lost sight of that. Lately, I’ve looked at deadlines, then I’ve looked over at the pile of unfinished projects sitting next to them, and I have thought, there is no way I can have something ready in time. As a result, I have shied away from contests and submissions. Last week, I mentioned not having a process, and perhaps that’s not the case. Perhaps this is my process. Writing against deadlines. And writing to music. At the time of writing this, I know I have a submission deadline, and Van Morrison’s Astral Weeks is playing in the background, and my fingers are flying across the keyboard. Coincidence? I think not.

I am probably thinking of process too rigidly. What is your process? I’m curious. I want to know. Do you write to music? If so, what type? Does it need to be instrumental? Do you need silence? Let’s not limit this to writers, either. Artists, what do you do? Musicians, what gets your creative juices flowing? I want to do a whole show on this, and I don’t think I’m the only one who would be interested in hearing it. Send your thoughts on this to jared@ltdengagementpod.com, and I will piece them all together for a future episode of Limited Engagement. Tell me a little something about yourself as well. If you’d rather not be named on the podcast, let me know that, too. Let’s have a little artistic interaction, shall we?

This week, we’ve got part two of my conversation with Four Chambers founder, Jake Friedman. We talk more about writing in this one, specifically Jake as a writer, and how what he wants to do as a writer plays into what we’re looking to publish as a press. Which is timely, because Four Chambers is open for full length manuscript submissions through July 31st. Visit the FCP website for guidelines and a link to our Submittable page.

Best,

Jared

Listen to LE 44 – Jake Friedman…Part 2

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