Audacious Ekphrasis

by Mary Bast

  "Oh hell, here's that dark wood again" by Mary Bast

If you want to know more about me, Googling my name will first evoke echoes of my now retired life as an Enneagram coach and related books. But I've also written several forms of poetry including ekphrasis, an audacious poetic form that's among many we encourage in our print journal.

You'll find a long history and many definitions of ekphrasis. I prefer the most open, contemporary version:

Ekphrasis: the intersection of verbal and visual arts.

As a visual artist I've explored many ways to interpret "the intersection of verbal and visual arts." For example, in response to Kim Addonizio's poem "Divine" (Oh hell, here's that dark wood again . . .), I painted "Oh hell, here's that dark wood again" (above) then reacted to my painting with the poem "Backdraft." 

Virtually any type of artistic medium may be the actor of, or subject of ekphrasis. I first learned about ekphrastic poetry in a workshop with Melanie Almeder, who drew our attention to two famous poems written in response to Pieter Brueghel's painting, The Fall of Icarus: William Carlos Williams' "Landscape with the Fall of Icarus" and W.H. Auden's "Musee des Beaux Arts." Note that Williams' poem to some degree follows the tradition of describing the visual scene (a farmer was ploughing / his field / the whole pageantry / of the year was / awake tingling / with itself), while Auden's interpretation is a bit wider (About suffering they were never wrong, / the old Masters: how well they understood / Its human position: how it takes place / While someone else is eating or opening a window). 

Almeder invited workshop participants to write our own poems in response to the Brueghel painting, encouraging us to range as far as our muses would go. My poem "plummet" (published in Bacopa Literary Review 2012) imagined Icarus as a woman:

somewhere
there is an Icarus
a woman who flies 

on intricate
feathered web
of covert

sheath
shaft
veins

warm-blooded
she breathes faster
learns to soar

ignores
the admonition
do not fly too high

her efforts full
of sky
of wind

her breasts
still flecked with honey
dripped from wings' wax

heavy with her father's
architecture
heavier than water

when she dives
no sun's light
scuffs the surface

Remember Bacopa's poetry statement: We're looking for well-wrought poems in any form or genre, or none. Intrigue us, move us, surprise us with stunning imagery, lyricism, soundplay, structure. Disturb our well-trod patterns of thought.      

Submissions open until May 31, 2021

Guidelines Don't Limit Your Freedom!

by Mary Bast

Year after year, we're surprised by how many submissions ignore our guidelines. If you want to be published, why would you do that?

Wouldn't you would want to be seen as thoughtful of the editors' time demands when considering the merits of a submission and its fit with a particular issue? If you haven't followed the guidelines, might we fairly assume you haven't read past issues or have any idea of the kind of work we publish?

We are not trying to limit your freedom. We do not want to make your life more difficult. We have these guidelines because we want to give each submission the best chance of an unbiased and positive reaction.

If we've asked for Arial typeface, size 12, why would you ignore that request? Aren't you at least curious about that choice, when you're so familiar with Times New Roman? This matters a great deal because we read submissions onscreen, and Arial size 12 is the best typeface and size for comfortable online reading (we receive more than a thousand submissions per submission period). The familiar serif typeface of Times New Roman ("little feet and embellishments on the tip and base of each letter") is fine for print, but more difficult to read online. Arial's "sans-serif" typeface (no embellishments), size 12 or larger, doesn't use as many pixels and is easier on the eyes, especially for long hours of onscreen reading.

I'll let you in on a secret: I hate Times New Roman. Even on a good day, when I'm feeling patient and haven't yet read ten submissions of up to 2500 words each, I still have to suppress my Times New Roman bias when I hit Ctrl+A ("select all") and change the typeface to Arial so I can read it with my already fatigued eyes.

Submit here to Bacopa Literary Review 2021!