So totally thrilled for an acceptance from this spiffy new journal, Tinderbox Poetry My poem “Proba Vitae” was a request given to me by my son to write a poem for his girlfriend’s birthday. The hardest writing assignment ever. I am so grateful to the editors at Tinderbox for giving space to it. *Eli helped me with the title, loosely translated from Latin, “The Facts of Life” It will appear in the Sept. issue, but here is the masthead, TPJ will launch June 21.
Welcome to a new journal on the block and glad to be in the hood!
Launching in June 2014, the first issue features work by DA Powell, Ed Skoog, Amy Gerstler, Rachel Richardson, Farrah Field, Leslie Harrison, Jennifer Firestone, Kelli Russell Agodon, and Ray Gonzalez, among others. Enter via Submittable online form. http://www.tinderboxpoetry.com/
So very pleased,and grateful for the moving review from Editor, Vince Gotera of North American Review, Spring, 2014–Here are a few highlights:
“Cynthia Atkins’s “In The Event of Full Disclosure” displays the quiet horrors of family, not merely of a family, but family in general, all of our families.
Perhaps this book speaks to me particularly as the child of a schizophrenic father and of a mother who was just trying to make everything all right on a daily basis,moment by moment. But no, I think if speaks to all of us about everyday lives, about surviving and thriving, moment by moment… Atkins gives us a brave book that peels away the veneer and reveals how art can save if pursued with relentless, even if hidden, ardor. Read this book; you’ll be amazed.”—VG, NAR
*NAR issue order here, look at the header & see some of the company (the oldest journal still in print, est 1820 *Note: Two on the header and one getting her book reviewed in an ‘ol’ ‘white boy insty’–Kudos to NAR for moving into the 21c w/ gravitas and diversity—also addressing mental health–cha-ching! So proud to be here!
Laura M Kaminski’s review
May 07, 14
Imagine being invited into the home of a friend, invited to pull up a chair to the kitchen table. Imagine being served an immense bowl of broken glass, and when your brow wrinkles in confusion, you’re led into another room where fragments and shards are examined one by one, carefully pieced and fit and joined into stained glass windows. Not one is left unexamined. Not one is left out.
Cynthia Atkins holds each broken piece — human frailty and fallibility and mental illness, divisions and dysfunction in not just family but the entire global community — up for unflinching assessment, and finds a place where it can fit and become part of something whole and beautiful that lets light in.
In “Divided We Stand” she writes: “we are here to open every door, turn handles, push borders / / to unlock a kite-tale of grace” — Brava, Ms. Atkins! You have done so. I hope to see another book of your poems in the near future.
Nomination for the 17th Annual Library of Virginia Literary Awards, 2014:
Sweet news –A nomination for “In The Event of Full Disclosure” for the 17th Annual Library of Virginia Literary Awards (winners not announced until Aug). Please keep your fingers crossed! Huge thanks to the rainy universe today–I love real mail w/nice news! What will be, will be—but huzzah for the possibilities—best part!
Review by Writer, Anne Champion:
The most difficult thing about reviewing Cynthia Atkins’s second book of poetry is choosing what to write about: this collection covers a broad and scenic terrain of topics including childhood, motherhood, family dysfunction, and life in the millennial age of the internet. Atkins crafts her poems with equal parts wit, wisdom, clarity, and tenderness, showcasing her range as a writer, both in form and in tone. Most poems follow a narrative structure; however, the collection reveals some lovely lyric moments alongside some musical litanies. According to Seb Doubinsky’s blurb on the back cover, these poems “glow in the dark a long time after you have finished reading them, illuminating your heart and guts from the inside.” I have to agree—these poems resonate deeply with their punch-packing lines.
The collection is divided into five sections, and each section contains a poem from a sequence titled “Family Therapy.” These poems serve as an anchor for the book, grounding it in realistically haunting family dramas. All five sections bravely tackle subjects such as grief and abuse with razor sharp clarity through original and surprising images. Consider these two passages, taken from “Family Therapy (I)” and “Family Therapy (IV)”:
“I am my sister. I am my brother.
I am my brother’s sister,
I am my mother’s keeper.
I hold the secrets. I am the writer.
I am the sister of a schizo-
phrenic. My elder split—
My sister taught me how
To shave my legs, little slits of blood
left like a lunchbox in the mud.”
“Hush, we’ll never tell,
yet deep down we know, the mind’s pain
is the last inconsolable and extra gene.
Rabid dog in the school yard—
Mean and mad and frothing.”
In these passages, Atkins alludes to secrets so dark that they cannot be written and a loyalty towards family that overrides the loyalty to the page. These chillingly cryptic passages reveal their secrets through image association: the puddle of blood, the extra gene of pain, the rabid dog. Each of these images speaks to a sort of violence, anger, and disfiguration coming from abnormalcy and disappointment: the sequence speaks to the aches of family in the most visceral way.
In addition to imagery, Atkins showcases a deft talent for extended metaphor. In “Holes,” the speaker ponders the empty space left by a moth that flew out of her notebook. As the poem progresses, the meditation turns to her interaction with insects as a child, which then prompts thoughts of her dead father;
“But he never said or told me:
Every how many miles do I rotate
The coat I wore to the hole
in the ground has gone to the moths.
So be it.
My insides lined with terrorists, this womb
A terrible coffin—Unborn. Undone.
an armchair or an arm…The hole that the moth left
was an omission, rather than admission—”
Each unexpected turn in the poem reveals the fluidity of the meanings implicit in the speaker’s conception of the moth, texturing the image with layered and complex meaning. The moths in this poem echo Sylvia Plath’s use of bees in her Ariel poems. What starts as an observation of an insect blooms into so much more than that; the insects turn insidious, stinging us with deep, profound truths.
However, Atkins’s poems aren’t so dark that they lack lightness and humor. Several poems in the collection impart messages through a use of sophisticated wit and irony. Some of my favorites are “Google Me” and “Face Book.” While these poems amuse, they also serve as sharp critiques of our millennial times, questioning a landscape tied to technology. In “Google Me,” the speaker lists all the outcomes of a Google name search, which include absurd contradictions such as an “atheist pastor” or a “bald hairdresser.” However, the ending of the poem turns, pointing towards nostalgia and reverie with the lines, “Once upon a time, you were just a girl/running through a backyard sprinkler.”
Similarly, “Face Book” sarcastically exclaims, “This is our body! This is our office!” Then, the poem outlines the hollowness of such carefully constructed personas:
“Salacious minds need routine, packaged
as shiny shrink-wrapped trinkets.
Screens screaming for sex kittens
and war porn—take the place
of breakfast and love.”
By the end of this poem, Atkins has balanced humor and seriousness so well that the result is a triumphant poem of satire, critiquing our cultural habits in a thoughtful, albeit amusing way: the poem turns from laughter to cautionary tale.
Atkins covers much ground in this collection: so many themes emerge as the book unfolds. She looks at loss of innocence, jadedness, motherhood, war, the process of writing, love, and loneliness. Ultimately, this rich collection reveals the myriad of emotions that bind us together into a colorful and chaotic tapestry of community and family.
Anne Champion is the author of Reluctant Mistress (Gold Wake Press, 2013). Her poems appear in Verse Daily, The Pinch, Pank Magazine, The Comstock Review, Thrush Poetry Journal, and elsewhere. She received an Academy of American Poet’s Prize, a Barbara Deming grant, and Pushcart Prize nominations. She holds an MFA from Emerson College.
Amazon.com Review by Writer, Brent Allard:
“A great thoughtful and well crafted work, inviting and intelligent both. It made me consider many aspects of family, and tradition that aren’t often discussed in this way. The overall sense I took away from it was that we all come from a larger work, even if we don’t have all the pieces in view, for all the good and bad that brings along. No sense ignoring that, it has to be dealt with sometime.” —-Thanks to writer, Brent Allard for the 8th Five Star review on Amazon!
Monday, July 22, 2013 – 7:00 p.m.
Sacramento Poetry Center
Launch: In the Event of full Disclosure
Friday, July 26, 2013 – 8:30 p.m. Reading
The Rapp Saloon Poetry and Open Mic
4th Friday of Every Month
Santa Monica Int. Hostel
Hosted by Tresha Faye Haefner
July Features: Cynthia Atkins & Alexis Rhone Fancher
Thursday, September 26, 2013 – 7:00 p.m.
Books & Co., 29 West Nelson Street, Lexington, VA 24450
—Cynthia with Erin C. Murphy
Tuesday, October 1, 2013 – 6:00 p.m.
WordTech Poets Reading
Cornelia Street Cafe: 29 Cornelia Street New York, NY
—Cynthia w/ Debra Bruce, Susana H. Case, Christopher P. Locke and
Alexandra Van Der Kamp and Wendy Wisner
Saturday, October 6, 2013 – 2:30 p.m.
Brownstone Poets at Park Plaza Restaurant
220 Cadman Plaza, West Brooklyn Hts.
—Cynthia w/ Karen Neuberg
2014 CALENDAR OF READINGS
April 14, 2014, – 8:00 p.m.
The Dire Reading Series@The Out of the Blue Art Gallery
Curated by Timothy Geger
106 Prospect Street, Boston, MA
Featured poet at Cultural Weekly! http://www.culturalweekly.com/poetry-sight-signs-cynthia-atkins.html