Double Issue Upcoming!

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Dear Readers:

Due to a welcomed abundance of excellent submissions, we are announcing that for the first time Issue 7 will be divided into sections of Poetry and Prose. We hope you enjoy wandering through the rich landscape of writing that our contributors have provided. Thank you for your interest in Panoply.

Look for Issue 7 on August 18.

Andrea, Jeff, and Ryn
Co-Editors

Care to donate? Please do!

As we conclude our Call for Submissions for Issue 7, anticipated for publication on or about August 17, we’d like to ask you to consider donating to Panoply. It’s easy, just us the PayPal link in the right-hand margin. This is an all-volunteer activity, with Andrea, Jeff, and Ryn contributing all the time, effort, and finances to the cause. We pay third-party expenses for bandwidth for the site as well as our submissions service.

We pledge to never charge a reading fees for regular submissions. (If we ever get around to a chapbook or other type of contest, we may opt for fees for that specific activity.) If you enjoy Panoply, please consider supporting the editorial/publication team, as well as our wonderful contributors.

Thanks for thinking of Panoply. Look for Issue 7 on our about August 17.

Review of Jami Macarty’s Chapbook, “Landscape of The Wait”

Please enjoy the following review of Jami Macarty’s new chapbook, “Landscape of The Wait.” Co-editor Andrea Walker takes us through Macarty’s poetic impressions of a life-changing series of events. We hope you will take a closer look at Jami’s work!

(We’re thrilled to provide this review service to our audience and plan to review chapbooks three times a year, about midway between issues of Panoply.)

Landscape Cover Shot

Landscape of The Wait by Jami Macarty
Published by Finishing Line Press
ISBN 978-1-63534-235-2
32 pages

Submitted by Andrea Walker
June, 2017

In her succinct collection of poetry, Landscape of The Wait, poet Jami Macarty’s speaker’s nephew William lies critically injured, in a coma after a horrific automobile accident on the interstate. His family gathers near day after day waiting and hoping for his recovery. As months drag by and his condition does not improve, family members try to understand what’s happening to him as well as to themselves. In thirty-two pages of twenty-two poems, Macarty effectively takes the reader through the stages of grief and acceptance of an incomprehensible situation.

As the inhabitants of the poetry find themselves confused and in shock the overriding conflict exists in the helplessness of the speaker in the poems. It is fitting that what seems inaccessible in the poems at first comes strangely alive with the second and third reading. The opening poem “Fracture” describes the unfathomable reality of the occurrence. In this landscape of waiting with “no change,” the subconscious hovers between life and death perhaps heaven and earth, but the words are clear “truth can go different ways,” “three suns/ no change/ no change/ no change,” “is he leaning into healing or receding.”  The structure of “Fracture” literally illustrates the concept of fractured with white space on the page, stanzas in columns, some readable across or down, fragments of thoughts and phrases, repetition that questions or emphasizes. “Fracture” paints the bleak landscape and sets the tone for the fragmented lives represented in the poetry.

In her attempt to make sense of the tragedy, the poet puts herself and the reader into the mind of the young man, imagining with keen perception what could be going on, for example, in the third poem “At the Time of the Accident”:

airborne, he thought. hang-
ing on time’s lost line
suffer suspension,
he thought. near-sighted
horizon. no or-
dinary flying  
falling, he thought. lain
unregainable
in median grass.
reconsider mind-
lessness, he thought.”

She courageously endeavors to inhabit his mind and understand what humans can never know: the mind of another, especially of one who has suffered trauma.

Another aspect of the subconscious is the dream, which the poet uses effectively throughout the collection. Dreams are innately metaphorical, and the “leaky ship” of “First Dream Since” adeptly explains “the space too small … to contain their what’s happened,” speaking to both the overwhelming situation and deference given to William’s mother. Later, Macarty extends the metaphor of life as ship, in this case despite the muddy circumstances of being stranded “Aground,” with the hope of waking up, and “the sea will be a magic again.”

Coma, limbo, dream – all states of in-between – where the participants linger with unacceptable loss of control. Humans want to fix things. Opposing the inability to correct the situation lies the reality in which life goes on. A ventilator becomes the mother doing for the child what the mother cannot. The imagery of baking bread offers a fleeting moment of comfort, and “the leaves fall … whether we see them or not.” Always the contradiction of daily living and surreal exists. The situation demands balance alluding again to the landscape in-between. The fluctuation between concrete and abstract show the inhabitants of Macarty’s poems caught between worlds. Are variables concrete possibilities or abstract? The outcome of the equation must balance (or else it’s not an equation).

In “New Vocabulary” characters are entering an alien land and learning a foreign language – the Latin of medicine and diagnoses. However, William is not learning that language, nor is he part of what’s happening to him despite the writer’s repeated efforts to get inside his consciousness.

Dreams continue to mark phases of mourning versus acceptance. “Second Dream Since” represents denial or hope, picturing things the way they were before. Three months into the narrative, the mother withdraws from others perhaps because she’s experiencing his withdrawal from her. Imagery of map and lost key become metaphor for finding one’s way back, unlocking closed doors. A juxtaposition of abstract enchantment and fresh peaches hammers home the conflict between hope and despair.

“Winter Field” presents another bleak landscape with funereal subtleties, a hint at closure. The poetry attempts to restore order to chaos, to graphically and concretely explicate the accident in detail, the loose lug nuts and, it could have gone badly even with the seat belt, its causes and effects, along with the survivor’s effort to fix things. From the last poem in the collection, the “If Only What If” questions will always be with us:

“if only you hit snooze
what if mid-leaving you slow to feed your fish
if only one thousandth of a second
what if one billionth of a second
if only the car keys slipped between seats
what if the car’s battery needed a jump start”

Their relevancy is felt every day.

In her heartfelt work, Macarty offers a satisfactory resolution where there is no resolution. Her instinctual writing illustrates the coping mechanism of human spirit. By sharing her suffering with the reader, she has written a tribute to her nephew and offered empathy for the human condition.

Jami B:W HeadshotJami Macarty is the author of two chapbooks: LANDSCAPE OF THE WAIT (Finishing Line Press, 2017) and MIND OF SPRING, winner of the 2017 Vallum Chapbook Award (forthcoming fall 2017). She teaches contemporary poetry and creative writing at Simon Fraser University, edits the online poetry journal The Maynard, and writes Peerings & Hearings–Occasional Musings on Arts in the City of Glass, a blog series for Anomaly (FKA Drunken Boat). She is a recipient of financial support from Banff Centre and BC Arts Council, a Pushcart Prize nominee, a finalist for the 2017 Robert Kroetsch Award, and the winner of the 2016 Real Good Poem Prize. Her poems appear in 2016-17 issues of Blood Orange Review, CV2, EVENT, The Fiddlehead, Grain, Minola Review, Prism international, Rabbit Catastrophe Review, and Vallum: Contemporary Poetry. For more info: http://www.jamimacarty.com.

Call for Submissions for Issue 7 Now Open

Announcing our Call for Submissions for Issue 7 of Panoply, now through Sunday, July 23. (We plan to close the call at 11:59 pm US Central time.) We plan to publish Issue 7 on or about August 18. To submit, please visit: Panoply’s Submittable Page.

Some key submissions criteria:

  • Unpublished pieces only.
  • Simultaneous submissions are ok, but please notify us ASAP if a piece is withdrawn.
  • Poetry or short prose (<=500 words for prose – We’ve had to decline some prose pieces that were above our word count limit. Please comply.)
  • We read 100% blind. Do not put your name or other identifying information on the pieces. Use Submittable’s Bio/Notes box for your personal bio of <=60 words.
  • Maximum of 3 pieces per submission.
  • Please submit ONE attachment, preferably in MS WORD, with each piece beginning on a new page.
  • Please submit in 12 pt font, preferably something popular such as Times New Roman, Calibri, or Arial.
  • We prefer single-spaced formats, except when alternate spacing is a deliberate part of the layout.
  • Our software limits our ability to indent and create horizontal space across a line of text. We’ll do our best to preserve original formats, but keep in mind our limitations.
  • Hard copy will not be accepted and will be destroyed.
  • Issue 7 is unthemed.
  • We tend to respond to most pieces after the window has closed. So, please be patient as you await our reply.

Thanks for thinking of Panoply! We look forward to reading your work.

Best wishes,

Andrea, Jeff, and Ryn, Editors

Editors’ Choices, Issue 6 (“Daylight” Theme)

Please enjoy our contributors reading their pieces, which were named Editors’ Choices for Issue 6.

“Blackbird: Watcher in the Desert,” by Delores Merrill

 

Delores MerrillDelores Busbee Merrill, Niceville Florida. With an MFA in Theatre and MA in Creative Writing she taught at a college in south Alabama then retired from working in theatre at a college in northwest Florida. She has had plays produced locally and regionally, poetry, short fiction and nonfiction published in literary magazines and various chapbooks, and has won photography ribbons in regional competitions.

 

 

“On the Funeral of a Rice Farmer,” by Ryan Thorpe

Ryan ThorpeDr. Ryan Thorpe teaches creative writing and literature at the University of Michigan-Shanghai Jiao Tong University Joint Institute. He is the fiction and poetry editor of The Shanghai Literary Review and manages a public workshop for anyone interested in creative writing. He writes columns for The Global Times, has published in numerous literary journals, and is currently working on a creative writing textbook. More information on his work can be found at www.rythorpe.com

 

“Photo of Mom on the Beach, 1950,” by Kathleen Strafford

Kathleen StraffordKathleen Strafford is a student at Trinity University in Leeds studying for her MA in creative writing.  She hopes her first collection of poetry will be published this coming year after graduation, called Her Own Language.  She has been published in magazines & online:  Interpreter’s House; Butcher’s Dog; Algebra of Owls; Fat Damsel; Cinnamon Press Reaching Out’anthology; Trinity’s Journeys; Trinity’s 50th Anniversary Anthology in 2017.

 

“Silly Drunk Mentioning,” by Kristin Fullerton

Kristin FullertonKristin Fullerton currently resides in upstate New York with bucolic views of the Helderberg Escarpment from her very own backyard. She is a proud alumna of both Elmira College and University at Albany. Her poems have recently appeared in The Maine Review and Up the River Volume 4 and online at Zetetic.org.

 

“Once Planed Straight,” by Steve Gerson

01/19/16 ©JCCCSteve Gerson is an emeritus professor who has spent his entire life focusing on academic publications. Now in retirement, he has the opportunity to think . . . and to write creatively rather than academically, to release his inner poet.

 

Issue 6, “Daylight” Theme, Spring 2017

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Photo courtesy of Andrea Walker

Welcome back to Panoply. We’re thrilled and honored to share our first themed issue, this one related to “daylight.” Our contributors responded with inspiration, which we hope will prove illuminating. So many of these pieces bask in the light, but a few may surprise you. Daylight can play many roles. Enjoy exploring the dark side of the light.

Once again, we thank our readers, our contributors, our benefactors, and all of you who share in our joy in creating and sharing Panoply

Issue 7 will arrive in the fall, un-themed. Look for that Call for Submissions to open in late June. And don’t forget we’re now reviewing chapbooks, with our first review nearly secured for later this month. In the meantime, take a breath, take a walk, soak up a little Vitamin D. Happy reading.

Please like our Facebook page: Facebook Panoply Page

Best wishes,

Andrea, Jeff, and Ryn
Editors, Panoply

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Contents
Anoesis – John C. Mannone
April Morning – Virginia Barrett
Arrival – Robert Miltner
As the Parking Lots Lights Flicker – Ki Russell
August – William Blome
Blackbird: Watcher in the Desert – Delores Merrill
Blown Away – Joan McNerney
By the Light of Dawn – Natalie Crick
Chasing Pictograms – Richard King Perkins II
Covered – Sarah Clauson
Daffodils for Papa – Mikaela Curry
Dawn – Sarah Snyder
day – light savings – Ren Weber
Day/ Breaks – Julie Naslund
December Daylight – Patricia Nelson
Desert Wild Flowers – Mike Beck
devil as night / god as day Kris Tammer
Glance – Barbara Lawhorn
Gulls – J. Thomas Burke
Harbinger – Jenifer DeBellis
Heliotrope – Cathryn Essinger
In a Winter Window – Susan Huebner
It’s Like This – Ivy Page
Joy – Jenny Benjamin
Keske XIV – Jennifer A. Reimer
A Lace Stone Wall at Randall’s Ordinary – Eleanor Kedney
Little Birds – Lauren Scharhag
Marriage – Michael Blaine
Morning – Aaron Dargis
Morning – K. Carlton Johnson
Morning in the North Country – Tom Montag
Nankoweap – Rick Kempa
Natural Light – Neil Leadbeater
New Year’s Day Miscalculation – Lynn Houston
Northwest Winter Day – Joan Moritz
On the Funeral of a Rice Farmer – Ryan Thorpe
Once Planed Straight – Steve Gerson
One Memory I Had of Summer – Gina Ferrara
Past Noon – Ann Howells
Patterns of Intimacy – Heather Gemmen Wilson
Phengophilia – Michael Estabrook
Photo of Mom on the Beach 1950 – Kathleen Strafford
Poems – Lola Haskins
The Position of the Sun – Sabrina Hicks
Rain Delay – Early Innings – Bruce Robinson
Self-Portrait – Kirsten Hemmy
A Shaft of Sunlight – Patrick Dixon
Silly Drunk Mentioning – Kristin Fullerton
Soham – Lloyd Milburn
Sunken Ships on Fire – Devon Balwit
Sunrise on Llŷn – Aziz Dixon
Synthesis – Carol Berg
The Third Wish: New Dawn – Rachel Dacus
This Morning – Steve Klepetar
This World’s Light – Lois Harrod
Thursdays, 4-7 – Mercedes Lawry
Venusian Engagement – Rachel Reese
vulture sets the world ablaze – Sanjida Yasmin
Wedding Portraits – Diane Kendig
Welcome – Mary Ellen Talley

Panoply Editors in Action

Andrea, Jeff, and Ryn had a ball at Say the Word in Niceville, FL, joining our gracious hosts Sarah Clauson and Rachel Reese, along with a wide array of talented poets for a night of joy, good cheer, observation, and speaking out. What a way to kick-off Poetry Month! Here we are just before the festivities began.

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Ryn, Jeff, and Andrea at Say the Word in Niceville, FL

Again, we thank those who have donated to our financial cause:

  • Tobi Alfier
  • William Blome
  • Alan Harris
  • Sabrina Hicks
  • Carolyn Martin (twice!)
  • Tracy Mishkin
  • James Penha
  • Rachel Reese
  • Plus newcomers Eleanor Kedney, Bruce Robinson, and Alec Solomita

If you’d like to donate to our financial cause, feel free to use the PayPal link in the right margin.

We’re finishing up Issue 6, the “daylight” theme, which is due on or around May 5. See you then! Thanks for visiting Panoply!

Yours always,

Andrea, Jeff, and Ryn
Editors