About JC Reilly

JC Reilly writes across genre and has received Pushcart and Wigleaf nominations for her work. She is the Managing Editor of the Atlanta Review, and the author of What Magick May Not Alter (Madville Publishing), La Petite Mort (Finishing Line), Daughter of the Wheel and Moon (Red Mare) and Amo e Canto (Sow's Ear, forthcoming). Read her (sometimes updated) blog jcreilly.com, follow her @aishatonu, or follow her cats on Insta: @jc.reilly.

Writing the Red Flags

from dreamstime.com

This past weekend at Tybee Island was the first time I’ve set foot on the beach since I was caught in the rip current in Southampton, NY in 2018.  I thought I would feel fear, but when my sister and I went out last Friday night, it was low tide, the water warm, and the waves almost gentle.  In other words, the ocean felt safe to me.  It was a different story the following morning—the wind was crazy, the waves at high tide so rough that I just couldn’t make myself go in.  There was also a red flag warning—and can you get any more obvious than a red flag literally warning you there’s danger?  Three years ago I ignored the warning, and we all know how that turned out. I learned my lesson.

I think writing is the same way—there are times when writing feels easy and safe (and of course we love those times!), but there’s also those red flags that tell us that maybe we need to reconsider, or even back away.  That’s not to say we shouldn’t “write what we’re afraid to write”—we should, absolutely, write our lives, our stories, our poems that challenge us to be our most authentic selves.  Sometimes that means we write about difficult or painful memories.  Sometimes that means we share what we’re afraid will make us look ridiculous, or damaged, or imperfect.  Some danger is good.  Too much danger and we risk losing ourselves.

What do I mean?  I think there’s a chance that we can give too much of ourselves away when we write.  After all, we are “baring our souls” in one way or another—and when we write about unprocessed trauma that’s when the red flags go up.  We can unintentionally re-traumatize ourselves when we really mean to heal.  Of course, writing about the things that have shaped us is necessary, but I wonder how much good we accomplish if writing about an experience that was painful, terrifying, or devastating makes us revisit those dark places?

What boundaries do we have in place that will protect us?  Have we gone through counseling to process our trauma?  How do we know that what we write won’t revisit trauma on someone else?  If we don’t have boundaries, and we haven’t had the benefit of therapy, we are putting ourselves in danger of revealing too much and re-opening old wounds.

That’s always a danger with writing, I suppose, because to write and share something means you risk exposure—you invite the audience in, and once an audience is involved, you’re not entirely in charge of your work or the interpretation of experience anymore. There’s danger to the writer in the act of audience consumption of work.  How will the audience react?  Will they judge the person you were when you experienced what you experienced?  Will they discount your interpretation of events?  Will they harass you?  Will they reject you?

I think about my own experience trying to publish poems about past trauma in my life.  It never goes well.  I’m not afraid so much about sharing my life—I’ve had plenty of therapy, so I’m well and truly “processed.”  I just think I’m really bad at it.  (And honestly, does the world need more poems or a memoir about child abuse?  I doubt it.)

Not every experience that’s happened to us (or we were involved in) needs to be written about and shared.  Maybe that’s the difference.  Maybe, now that I think about it, we should always write the red flags—what scares us, what seems dangerous.  That’s what journaling is for—it’s a controlled environment:  we are both writer and audience, and there’s little chance of discovery and judgment.

But sharing traumatic experiences in published writing can be as dangerous as a rip current, where even the strongest swimmers can drown.  Are we prepared for the fall-out, to ourselves and to others?  If we’re not ready, then the work should probably stay private.  At least for now.  When the waves are less rough, we can always venture back out.

Upcoming Reading at Switzer Public Library

from the NYPL Digital Collections

I will of course be announcing this again closer to the time, but I have been invited as a Featured Reader at the Switzer Public Library The Poets Read series on Tuesday, Sept. 14th, 6:00-7:30.  The library is located at 266 Roswell Street, Marietta, GA  30060, which is a little bit behind Marietta Square, so not too far from here at all.

How did they find me?  I didn’t think to ask, but it’s certainly exciting to be asked out of the blue. (Maybe they found my Poets & Writers page, where I do mention I’m open to readings.)  I’m going to hope that Covid won’t ruin this for me…this will be my first in person reading in I’ve forgotten how long.

Anyway, I hope you’ll come—it’s free!  I’ll read some old favorites, but I’ll definitely be reading some new stuff too.  (Just don’t know what yet!)

A Little Bit About Rain, a Little Bit About Writing

It’s so rare to be enjoying a thunderstorm here in my part of Georgia (Marietta)—usually it rains for 10 minutes and then stops, and the humidity jacks up to 600%.  (To be fair, once this storm is over, the humidity will probably reach 600%, but that’s neither here nor there.)  The point is, I’m not being disturbed by neighbors working on their yards and stirring up a racket with power tools.  It’s tapering off a little now, but I don’t mind, as long as the sun doesn’t try to hack its arrogant way through the gray sky.  (Which is so rude!)

Why am I talking about the weather?  Shouldn’t I be talking about writing?  I think I am.

Writing, sometimes, is like a storm, and sometimes like a drizzle (not to be all binary in my thinking, but…).  Since I’ve returned home from Rockvale, it’s been bone dry.  I don’t say this with a “waaaahh, feel sorry for me” warble in my voice.  I have put the time to good use—supporting my writing by researching venues and submitting work to a number of places I’ve never heard of before but that look interesting.  I’ve also been working on a couple of applications for future residencies, which would be wonderful if at least one panned out. As I was telling myself the other day, publishing is a numbers game—you just gotta keep sending out work to places and hope it hits.

It takes stamina though to submit work.  I know several writers who only submit a few times a year, and then I know a guy on Twitter who bragged about having 266 active submissions in his Submittable queue.  (Not gonna lie, that’s definitely something worth bragging about.)  The highest number of active submissions in my queue ever was probably 75, but I was kind of a submitting machine in 2019, and since then I manage around 30-35.  Of course, logic says, if I believe publishing is a numbers game, I should be submitting more, and I do think that for sure, but I also know that you can’t do everything.  As much as I’d like to have 75 subs in the queue, I will be happy if I maintain a goal of 30-35, replenishing as needed as the rejections (and hopefully acceptances!) roll in.  I can do a lot of submitting over the next four months…you know, assuming those pesky job responsibilities don’t impede me too much.  😊

*****

Recently, I’ve been assisting a new-to-poetry writer.  She found me on Poets & Writers, and just cold-emailed me about helping her develop poems, talk about craft, and work on process and revision options.  It’s been so much fun.  We’ve been meeting via Zoom, and I’ve kind of based my work with her on the creative writing tutorials I’ve run for graduate students at Georgia Tech.  The difference is, she’s older, she has earned an MFA in fiction (so she’s not new to creative writing or the heavy-duty commitment it entails), and she seems really invested in poetry.  (She took poetry up during Covid; she said that coming up with long-form fiction was too difficult with the world so askew, and so she decided to try poetry instead.)  We’ve only been working together since the end of June, and I don’t know if this is a short-term gig or long-term project, but I’m really enjoying it. I bet all writers could use a coach at some point.  I’m sure I could have any number of times.  Hopefully, she’s finding our sessions productive, and the comments I make on her poems to be useful.  It’s definitely been useful to me…now, if I could just remember some of the “nuggets of wisdom” for myself that I’ve passed on to her!

In other—but somewhat related—writing news (related by coaching, that is), I recently became one of the inaugural members of the Georgia Tech Faculty Writing Fellows, a program through GT’s Office of Professional Development.  This honor comes with coaching sessions, writing retreats, and writing exchanges.  It will be a lot of work, but I’m really looking forward to the opportunity.  Of course, most of the writers in the program are tenure-track researchers—I’m probably the only creative writer—but hey, extra eyes on work are always a good thing.  And while I work on this next book I can use all the eyes I can get.  Plus, it’s nice to have a fellowship on the old CV, you know?  Even if it’s just something through work.

Ah well, the sky is getting lighter and I see sun reflections off cars and the cul-de-sac puddles.  And now a blaze of sun.  The storm was lovely while it lasted.

I hear a mourning dove somewhere outside cooing.  I think she liked the rain too.

New Poems in Hole in the Head Review

Well, sadly, I may be back in The ATL again, after my wonderful time at Rockvale, but some good things greeted me on the way back:  Jenny (of course!), and five new poems up in Hole in the Head Review.  So very grateful for their support of writers and their belief in my work!

The poems are kind of a mixed bag–they all belong to several different collections I have going on at the same time.  I was really surprised and delighted they took all of them, especially because they are basically unrelated to each other.  So anyway, if you want to see a range of new work, check out my new poems.

I hope you like them!

Redemption Sandwich

Today is my last full day at Rockvale.  It saddens me to be leaving—I’ve enjoyed unprecedented productivity in the last two weeks (22 different first drafts of poems), and it kind of shows me what my writing life would be like if I didn’t have a “day job” that takes up a lot of my creative energy and squanders it on quotidian crap.  Of course, that day job also pays the bills, so I can’t be too dismissive of it. I am grateful to have a job.  But I’ve been very grateful for these two weeks of “professional development” because I’ve really needed them.

Gerbera daisy in the garden

One of the best things that’s come from being here is meeting two new friends.  We were talking last night about how lonely being an adult is, and how difficult it is to make new friends.  But both Kelly and Rebecca have been a godsend.  We eat breakfast together and unwind at night with wine and tea, and becoming friends with them has been really remarkable—especially after the Year of Covid.  And sure, maybe friendship was born of proximity, but I feel like being around other writers, especially these two women—who are honest about themselves in a way that sometimes, surprisingly, writers are not—has been a real salve to my heart. Just this morning, Rebecca made me breakfast—a fried egg with cheese and kale on French bread—a “make-up” for the breakfast sandwich she made me the other day that was, to her mind, imperfect.  Today’s was delicious, for sure—it’s become a joke, her “Redemption Sandwich” (which she has been singing to Bob Marley’s “Redemption Song”).  But more delicious was her company!  I have felt too sequestered this past year (for good reason, to be sure), but I have missed human company.  Kelly and Rebecca, being writers—and kind, and funny, and goofy to boot—are my kind of people.

Mama (Little Mexico) in the mist

Another thing I’ve enjoyed about being here (besides the writing and my new friends) has been the wildlife.  I love the horses and the cows, and the flocks of goats on various farms.  But I love the other, unexpected, wildlife.  As I was driving a few days ago, I saw three wild turkeys, just hanging out in someone’s front yard, enjoying a colloquy.  I’ve seen deer everywhere.  When I was out at 6:30 a.m. one morning, I saw a whole herd of them, and the other night, when Kelly, Rebecca, and I drove to Publix at twilight, we saw families of deer along both sides of the road, eating dinner.  (So many deer!)

Gladiolus in the garden

Plus, I’ve seen hummingbirds, and butterflies, and even a turkey vulture, sitting on a post.  The rural life is really where I feel the most whole—it reminds me of Grandpa Reilly’s old farm in Pennsylvania, when we escaped the city and just could walk across his fields and take tractor rides and pet the animals in the barn.  That’s what being here has been like for me—a chance to reconnect with rural roots—and realize that in another life, I might have been a farmer poet, instead of an academic.  The trees and the hills and the fields feel like home.

I have always said I want to live in Tennessee, if the fates come together to permit it.  Every time I come to this state, something in my heart blooms. These last two weeks, my heart has blossomed from a year and a half of incubation, of being on hold.  I hope that I can keep blooming when I return to Atlanta—the idyll will be over, but the spirit of it doesn’t have to be.  That’s what imagination and poetry are for—to bring you back, to bring you back even when you only have memories to hold on to.

            Won’t you help to sing
            These songs of freedom?
            ‘Cause all I ever have
            Redemption songs
            Redemption songs
            Redemption songs

Looks Aren’t Everything

from NYPL Digital Collections, by William Blake

Do you ever think about how poems look on the page?  I confess I’m obsessed with this aspect of writing—how does it look?  Are the lines relatively even?  Or if the lines are irregular, are they regular in their irregularity?  (For instance, stairstep poems, with specific, deliberate indentions?)  If the poem is all over the page, why does it do that?  What stylistically is being communicated?

Sometimes (call it a personal failing), if words are sprinkled over a page like pepperoni on a pizza, it annoys TF out of me, because it feels like, to me, the poet’s arbitrariness serves no aesthetic purpose (that I can tell…please, understand that there are about 1000 qualifiers, and I am speaking only for myself).  (This anathema towards all-over-the-page poems has expanded the longer I’m Man. Ed. of AR—mainly because it’s so damn hard to typeset those poems…so I may be slightly biased for that reason.)

I’ve been thinking a lot about poems on the typed page compared to poems written in longhand. Yesterday, here at Rockvale, another poet and I were discussing this very topic—Kelly is a big believer in longhand. (She returned from the grocery with a pack of three yellow tablets too—which I know she’s going to fill probably just this week.) Other poets I know are Team Longhand as well—and it works for them.  (Sharon Olds also writes her poems in longhand—Katie Farris does too, so really, why have I been so hardheaded?)  As I mentioned the other day, I’ve been “getting messy” and only after I get a draft done longhand do I go back and type it into the computer.  I save these “transcriptions” as “[Poem Title]: raw from notebook” and it has really surprised me.

Far from the regularity that I pride myself on the poem written on the computer, my poem lines written longhand are a variety of lengths (once they’re typed).  It’s embarrassing how irregular the lines are.  Sometimes, of course, this has to do because my handwriting is big and I run out of space on the line, so I carry it down to the next one…which makes one transcribed line huge, and the next one might be half as long.  And it makes me realize that in typing a poem on the computer, I am constraining how the poem visually looks because of some arbitrary decision I have about how my poems should look. (God help a typed line that goes beyond 3.5”—I will butcher that bitch down to make sure I don’t pass that margin.)

To put it bluntly—my poems are constipated. They are uptight, overly controlled, and kind of anal. Typing, of course, I do for convenience’s sake—because I can type quickly, it’s not messy, and I can see what it will look like on the page. Immediately. But writing in longhand this week has really freed me.  Now, not gonna lie, as soon as I type up the second draft (the one after the transcription, where I begin to tinker with the language, music, and lines), I do come up against that 3.5” margin issue again.  I think I really just like poems to look like little blocks of regular text. (Sidenote, wombats poop in little square pellets—make of that what you will.  And yes, you needed to know this fact.)

In fairness, I have to ask myself the same question:  What stylistically is being communicated?  Why do poems have to look this certain way for me? What is it about the uniformity that appeals to me?  Am I trying to demonstrate that I’m an uptight person?  Why would I want to do that?  (To be honest, anyone who knows me, probably thinks that about me already—so I don’t really need to advertise that fact!)

But I really wonder, where did I learn that my poems need to look this certain way?  And how can I break through this rigid form I’ve imposed on myself?  Definitely writing longhand has shown me that when I’m not using the medium of the computer, my lines are more organic, more varied, more free-flowy.  I don’t think anyone ever taught me to make little blocky poems—I must have just picked that up over the years and codified that into what a JC poem looks like.

Or maybe it’s all kind of psychological—maybe I’ve gravitated to that kind of shape because most of my life has been chaotic and at least if I’m consistent on form in my writing I can establish some control.  Not sure where I’m going with this…kind of thinking out loud.  But it’s definitely worthwhile to limber myself up and try different approaches to writing poems.

It’s ok to be expressive, even playful, in the visual aesthetic of a poem.  That’s part of creativity too.  I just need to remember that being open-minded about a poem’s shape can actually provide an unexpected path.  And that can be exciting.

What My First Week at Rockvale Has Taught Me

A painting of the RWC farmhouse, in the front room

Way back when I was studying for my comprehensive exam in contemporary women’s poetry for my PhD, I remember sitting on my bed with all my books spread around me—opened hither and thither, bookmarks and stickies shoved in higgedly-piggedly everywhere. My love of note cards began here—so much easier for memorizing passages from poems. I could riffle through them constantly.

At any given moment, I was also reading five or six or sixteen books, and I went through so many mechanical pencils underlining important poetic passages, Bic should have given me stock in the company.  The method was decidedly chaotic, but somehow I felt like a true scholar.  This is what I imagined that the life of the mind would lead to:  being holed up with dozens of books around me, taking notes, and writing.

A view from the front porch

Real life, not so much.  But this week at Rockvale has reminded me a little bit of that crazy time.  I have been reading a wide variety of books (from Greek myth to poetry by Katherine Smith and Sandy Coomer [the doyenne and proprietor of Rockvale] to YA fiction by Melissa Marr and Ibi Zoboi to books about immigration) and journaling and taking notes and hand-writing poem-ish things.

I’ve tried sitting down at the computer directly and writing, but that hasn’t worked so well for me.  Instead, I have had some good luck writing messily, not even my best handwriting, just scribbles and scratches and erasures.  And while the poem-ish things aren’t yet poems, I have found that when I go to type them up, they’re not nearly as bad as I fear they might have been.  For sure, they are drafty as an old robe, but there are many potential kernels, waiting to be popped.

I did not come here thinking that I would be transformed (for all the experience is proving transformative)—I am wise enough to know that you take your emotional shit with you everywhere you go—but I have felt open in a way that I’ve not felt in a long time.  How can I explain?  It’s like I’m only responsible to myself.

It’s downright amazing to be cut off from the penny-ante minutia of day-to-day work.  I am still working—probably 12-15 hours a day since I’ve been here—but because it’s “professional development” time, because I am working solely on my creative growth, I feel remarkable.  Awake.  Like I’m not sleeping through my life, filling it up with things that don’t matter.  And I don’t feel guilty about it either.  I can’t check my email?  Oh well.  They’ll have to figure it all out without me.  And that’s totally ok. (It’s fan-fucking-tastic.)

Horse paddock…check out that Tennessee sky!

Of course, the goal is to produce a number of poems that can go in my new manuscript—but maybe part of the problem of the last year is that by not having a break (either a vacation or teaching in Scotland as was planned two summers in a row), I’ve kind of forgotten what my own company is like. I’ve forgotten how to be just “JC the Poet” instead of “JC the Administrator/ Managing Editor/ Teacher/ Cat Lady/ Wife/ who writes poems in her puny spare time” person.

How many poems I’ll have by this time next week, I’m not sure.  But midway through, I’m feeling motivated, expansive, and ready to see what the next seven days will bring.  If Rockvale has taught me anything, it’s that a different setting doesn’t change everything, doesn’t make you any more of a scholar than you are already, but it changes things enough to give you some useful perspective.

Yes, Virginia, I Do Need a Room of One’s Own

Ah, to be outside one’s typical milieu for the first time in 16 months!

I think about how it is when I am at home, trying to write—the cats are constantly jumping up on me, getting in the way of my computer, sitting on the books I’m using for research, whatever.  There are endless things to clean (not that I get up and clean them, but whatevs, they taunt me).  The phone rings constantly.  The emails and work fires intervene.  Someone in the cul-de-sac invariably manicures on his lawn, the incessant whine and growl of lawnmowers and weed-whackers destroying my concentration. It is hard to find a creative “zone” when too many things make demands on your attention.

Scout, with Sandy petting him

Since I have been here at Rockvale (in Tennessee, 35-ish miles south of Nashville as the crow flies) I have reveled in the almost uninterrupted quiet.  I read here in my “cell” (a beautifully appointed room with a cozy chair and desk and bed with a quilt on it from 1925) or in the fireplace room (which smells of a century of winter fires), and write in a little pool of sunlight on the enclosed porch.  It is almost like I alone have run of the place.  But there are other women here too, working on their own writing, finding their own paths.  Except for a little chitchat in the kitchen when preparing meals, the only noise is the AC turning on and off.  What must it be like to have this kind of quiet all the time?  I think I didn’t realize how exhausted and depleted I’ve been feeling until I rediscovered my own being here in this writer’s colony.  I am truly decompressing.

Mama… a.k.a. Little Mexico

From my window, I can see a paddock, and usually there’s a mama and her foal far out on the other side, nipping the grass.  Today they were over by the fence nearest me, so I went out there and got to pet Scout.  His mama (whose real name is Little Mexico (?)) didn’t come too close, but Scout seemed pretty interested in me, and in debonair Finn and chonky Ollie, the two cats who came running when they saw me.  (I can’t escape cats!)  Scout was so interested that he gave me a big chomp on my forearm—which hurts a bit, but didn’t break the skin.  Still, I’d pet him again if he came to this side of the fence.

Finn

Ollie (who is really Oliver)

I feel grateful to be here.  I think after a year and a half-ish of being shut in the house, I just needed…another house. 😊 I needed a place of clutter-free, basically cat-free peace.  (And wifi and cell service are spotty, so I’m even hard to reach, which actually, I love.) I am hoping to get some good writing done.  I’ve already brainstormed a number of ideas of where to go on my next project, I’ve organized a list of what I have, I’ve done some journaling (I know, what a shocker!) and I’ve read two whole books for research already.

Tomorrow, I’m writing two poems if it kills me.  And maybe I’ll go visit Scout again.

Daughter of the Wheel and Moon Released!

My second print chapbook, Daughter of the Wheel and Moon, has been released as part of the artisanal Red Mare Chapbook Series (#21).  I got copies in the mail yesterday!

The Red Mare Chapbook Series produces a limited print run of hand-numbered, handmade books, with fancy papers, ink-block-printed covers, and hand-stitching.  These are beautiful books that feel decadent in your hands, books that you appreciate for their ephemerality, quality, and uniqueness.  Poets who have been published in the series include Maxine Chernoff, Alfred Corn, Lorraine Caputo, and others.

The press specializes in works with an ecofeminist bent, and Daughter of the Wheel and Moon combines poetry about nature and the environment with a focus on the magickal Wheel of the Year to tell about the life of a solitary practitioner witch.  It may—or may not—be a companion piece to What Magick May Not Alter… you can decide for yourself.

Daughter of the Wheel and Moon is available for $15 + shipping. If you buy a copy, you are supporting a woman-owned, non-profit, small press.  And, of course, you’re supporting poetry—so it’s win-win!

Saintly Visions & a Writing Mania Miracle

Quick Note:  It’s been a while since I’ve written (obvs.)—but in my defense, I was having problems with WordPress’ posting/editing interface, and it took me a while to figure out the sitch. Turns out I’m an airhead.  Anyway, it’s squared for the time being.  Now, onto the post!

So, a few months ago I was lamenting my writing.  Or rather, my lack of writing.

This seems to be a typical thing with me.  I suppose it is for many writers, though—you just go through phases, some of which are productive, some of which suck ass.  And of course, my ever-present and generally intolerable BFF, “Deppie,” has made a real nuisance of herself in my life:  that is to say, the dysthymia and anxiety pretty much kick my ass every day. (Sometimes, I tell myself:  just get through the next hour—and that’s the best I can manage.) But this isn’t a post about effed-up brain chemistry, this is a post about writing.

–from makeameme.org

As I was saying:  in February (technically, two posts prior), writer’s block (you know I hate that term, and try not to use it because it always feels like a crutch) was a thing.  I mean, THE STRUGGLE WAS REAL. 

(–from Lucasfilm/Disney)

Poetry and I repelled each other, although there was always kind of a Rey/Kylo (Reylo?) thing going on between us. And while it upset me (not just the least of which had to do with thinking about my writing in terms of the most recent Star Wars trilogy), other more pressing things on my mind (like staying alive) took precedence.  So, I just added “writer’s block” to the list of THINGS THAT MAKE MY LIFE MEANINGLESS O WOES ME. And carried on.

And then I had a vision of Mary Magdalene.

I know this sounds hokey.  Just go with me on this.

Digging through some old files on my computer, I came across a poem I had written years ago about Mary Magdalene—it had been nominated for an AWP Intro Award (which it didn’t win—big shock there)—and it got me thinking.  What could I do with this poem?  Would it just continue to sit in the file in perpetuity?  Or could it be part of a sequence?

The only way to see if a poem will be part of a sequence is by writing another one.  And then another one.  And so on. To help myself focus, I looked at image after image of Mary Magdalene through the ages, remembering the bond I used to have with her (as well as other women from the Bible).  I read hagiographic blogs and articles. I wrote a dozen poems or so, of varying qualities.

The Penitent Magdalene

Caravaggio, The Penitent Magdalene, ca. 1594-95

Some poems were ekphrastic because I believe in THE DREAM (writing a good art poem one day—and I do love me some Italian Renaissance/Baroque paintings), some were my typical narrative poems-with-a-wry-bent, some were just fragments (the Caravaggio poem is in limbo…for my sins). While I still need to revise and complete the sequence, it feels like I’ve accomplished something, and that takes a bit of the edge off.

And then (!!!)—I started another sequence of poems.  I mean, I wrote (and revised!!! OMFG!!) 25 poems in the span of 6 weeks.

I was like HamiltonI worked nonstop.

Or to put it another way, it was as if I had a visitation from The Madonna and she told me to me to get into the groove.  So I did.  And I’ve even started sending them off into the world.  Two of the poems will be published in Soul-Lit: a Journal of Spiritual Poetry in the near future.  Maybe more acceptances will be forthcoming.  (I can hope.)

If I sound amazed, I truly am.  But I don’t want to sound like I’m all, “look at me, look at me, I’m so fricken awesome.”  This is not me espousing a pull-yourself-up-by-your-bootstraps approach to writing. (Barf. I would never.) This is not me trying to lure you to my Patreon (which I don’t have—but maybe I should?) or to broadcast an infomercial at 3 a.m. promising that “You too can conquer writer’s block! For six equal installments of $29.99, you can download my step-by-step method…” It’s just me being surprised at how inspiration (another word I hate when it’s applied to writing) works sometimes.

I have slowed my roll somewhat since the middle of April, but I haven’t rolled to a stop.  So that’s a win.

My to-be-read pile                       (from NYPL Digital Collections)

A lot of work is coming my way though—I’m plodding (slowly) through a ton of reading to do for Atlanta Review (now that we’re down to basically only me as the reader/typesetter/social media maintainer), and a pile of research I need to for my next major WIP is accumulating on my bedside table. (Every time I look at it, there’s another book on the pile.) And of course, the new Fall teaching schedule dangles before my eyes, even if it’s still a couple of months away. Not sure I can maintain much rolling at all, with all this going on.  But slow and steady wins the race, or something like that?  I just need to keep trying  (Which is difficult with that beyotch Deppie albatross hanging around, but I’ll try.)

The middle one is “Deppie.”
(from NYPL Digital Collections)

***

Anyway…enough blathering. I hope your writing is going well.  And I hope you, my beloved 5 readers, are staying safe and healthy, even as the world opens back up.