Sunday, November 23, 2014

This River Will Be Out early December 2014

This River will be out soon!  Printing and shipping is in process, and I expect books by early December.  If you have pre-ordered, you'll have your books well before the December holidays.


Readings and Events so far:

January 10, 2015,  Saturday–11-1 PM.Book signing at Paperbacks Plus, Siler City, Pat Dawson.

January 21, 7 PM (Wed), Reading at Regulator Bookshop (Durham) with Jaki S. Green, recently inducted into the North Carolina Literary Hall of Fame.

January 23, 6 PM (Fri), Conversation with Jackie Helvey on the Wacqueline Stern show, WCOM, Carrboro-Chapel Hill Community radio.  A link will be available afterwards from Judy.

January 27, 7 PM, (Tues), Reading at South Regional Library (Durham)

March 11, Wed. 7 PM Chatham Community Library, Pittsboro, with Jaki S. Green. 

March 24, Tues, Goldsboro.  Reading and Publishing Workshop. Details to be announced.

April 9, Thurs, 7 PM.  Reading at Flyleaf Books, Chapel Hill, with a second poet.  Open poetry reading follows.


This River and other recent Hogan titles (Beaver Soul, Farm Fresh and Fatal, and Killer Frost) are available at The Joyful Jewel (Pittsboro), Circle City Books (Pittsboro), Paperbacks Plus (Siler City), as well as at all the venues for the reading of This River.

This River:  An Epic Love Poem, is also available from the publisher and 


Someone recently sent me this wonderful quote from Ursula LeGuin:  This River fulfills this goal from my perspective.  Judy Hogan


Ursula Le Guin, accepting the Medal for Distinguished Contribution to American Letters last night at the national book awards....

 “I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries—the realists of a larger reality. Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. … The name of our beautiful reward is not profit. Its name is freedom.”

Sunday, November 16, 2014

The World is Mud and Light

My surprising tiger lilies or naked ladies rising up in September.

A THREAD OF LIGHT XI. October 13, 2013

For Sharon Ewing

I wanted immunity.  “Not if you want
to sing words that call old turtles up
onto a log to stretch their necks out.
Not if you want to wake up throaty peepers,
set them shrilling in their muddy nests.
Not if you would learn to soothe the ache
in branches still alive, which ice has
cruelly snapped and left for dead.  You
could not comfort these if you warded off
the mud that plunges you toward grief
and leaves the taste of ashes on your
tongue.  “Remember: the world is
nothing else.  Just mud and light. –Beaver Soul 6.

Living takes more work now.  Coasting,
which I knew didn’t work, is out of
the question.  There will be creaks
in my knees, cramping in my feet, 
more effort needed to keep my balance–
annoying, but nothing drastic.  My
heart, lungs, digestion, mind work
fine.  Some normal forgetfulness,
but I compensate, check for typos,
wait for words to rise from the
mysterious depths where they’ve
lodged themselves.  A larger helping
of courage is required, and I can’t 
get enough love.  My wisdom was in
those words: "Ask everything; expect
nothing.”  I may wish but must
remember how little I control.  Yet
people reach out, remind me that
I still spin light, reassure me that
some days we simply walk the path 
we chose.  Rewards find us if we 
pay attention.  The eager interest
of a listener after I’ve read words 
about love; a friend who took the
time to study my poems carefully
and articulate her finds.  She calls 
me a “maker” of my poems’ world, 
and says “our world is richer for the
making.”  I may fear rejection and
sometimes find it part of my daily 
bread, but such gifts do come, yes,
out of the blue, adding worth to the 
daily work of summoning all my
courage and common sense, 
bringing fresh solace 

to my hungry soul.

Beaver Soul is still available from me for $13 with tax, or $16 with postage, and from

December 1, 2014, This River: An Epic Love Poem will be available for $14 from me, $15 with tax and $18 if postage or from 

Sunday, November 9, 2014

Maya Corrigan: Review and Interview

Maya Corrigan's Debut Mystery Novel, first in her series


By Cook or By Crook: A Five-Ingredient Mystery.  Maya Corrigan.  New York, N.Y. ISBN: 13: 978-61773-138-9. $7.99 mass market paper.  310 pages.  E-book: eISBN: 13: 978-61773-139-6.

Val Deniston has left her career as a cookbook publicist for a New York publisher and moved to the small town of Bayport on the Chesapeake Bay.  She is living in the old Victorian family home with her grandfather and running the Cool Down Café at the local fitness club.  Still haunting her is the car accident in which she may have been responsible for her former boss’s injury, if only she could remember what exactly had happened.

Val’s best friend and cousin Monique is very angry at Nadia Westrin who’d had an affair with Monique’s husband Maverick. Then Nadia asks Val to give her a ride home after a tennis game.  Val isn’t keen on this, but she does it.  They discover an old wooden tennis racket turned into a torch and burning in Nadia’s front flower garden.  Nadia is sure that Monique did it, but she doesn’t want to call the police.  

An old high school boyfriend of Val’s, Luke Forsa, turns up at the fire and wants to date her again.  Then Nadia offers to help Val get a big catering contract, but she needs the proposal details soon.  When Val shows up with the catering proposal, she finds Nadia dead in her kitchen with a wooden tennis racket whittled to make a sharp point and stuck in her throat.

The police come and Val is interrogated by an unsympathetic sheriff’s deputy.  The police chief, however, is an old friend of Val’s grandfather, doesn’t see her as a murderer, and even shares some info with her, but Val worries that Monique will be arrested and decides to do some investigating of her own.

Meantime Granddad has decided he wants to learn to cook, and Val comes home to find his rum cake burning away in the smoke -filled kitchen at the oven temperature of 525 degrees, and cake batter all over the room.  Considering the trouble he has caused and the mess he has created, Val is incredibly patient.  She offers to teach him to cook, even though he stubbornly insists that he won’t cook more than five ingredients in a recipe.

Gunnar Swenson is a new man in town, who had been Val’s doubles partner in a recent tennis game, and calls to set up a date with her.  Granddad is suspicious of Gunnar, and sometimes Val also wonders if she can trust Gunnar, since he’s always going off to answer his cell phone.

As if Val didn’t have enough worries, a car runs her off the road at night, and she becomes aware that someone is following her.

The plot in this cooking cozy moves swiftly and has lots of twists and turns, but I enjoyed most the interactions between Val and Grandad. Their conflict brings out their characters.  She is very open and tender with him, despite how he infuriates her.  He gives her love and support even while driving her nuts.  He continues to make havoc with her planned cookbook recipe cards, but she’s so worried about Monique and the two men pursuing her affections and someone else following her that she can’t keep up with where Granddad’s cooking enthusiasm is leading.

Three are eight five-ingredient, easy-to-prepare recipes at the end of the book that look delicious.


Maya Corrigan Interview 

1.  When did you begin writing?  Why?

I completed my first novel when I was thirteen, pecking it out on a manual typewriter. As I finished each chapter, I gave it to my best friend and watched her read it. It thrilled me to see her smile and laugh. Knowing I'd created a story that entertained someone made me want to be a writer. I spent a lot of my professional life writing nonfiction, both academic papers and technical manuals—not the most entertaining fare, but that’s what people paid me to write. Now I’m delighted to be writing fiction again and hoping that my books are as entertaining as what I wrote when I was thirteen. 

2.  When and why did you begin writing mysteries?

I’ve been a mystery reader for many years. My fourth grade teacher gave me her Nancy Drew collection. My mother brought home stacks of detective books from the library. I’ve read all the classic mystery authors—Christie, Sayers, Marsh, Tey, Hammett, Chandler. By writing a mystery, I was following the advice most aspiring fiction authors hear—write what you know. I’ve been honing my skills as a mystery writer over the last two decades and, like most people who are publishing their first book, I have manuscripts in my drawer that should never see the light of day and in which I made all the mistakes fledgling fiction writers make.

3.  Are you writing a series or a stand-alone?  Explain your basic idea for your series.

BY COOK OR BY CROOK is the first in the Five-Ingredient Mystery series. Set in a historic Chesapeake Bay town, the series features a café manager and former cookbook publicist who solves murders with help from her foodie friends and grumpy grandfather. The books include five-ingredient recipes.  

4.  Tell us about your journey to publication with this book.

An early version of BY COOK OR BY CROOK, under a different title, was a finalist in the Malice Domestic Contest for debut mystery writers. I’d queried agents about the book before the judge chose it for the finals, but by the time I found out the results of the contest, I was at work on another mystery and reluctant to take the time to query. As I was finishing that second book, I heard through Sisters in Crime about an agent willing to represent a cozy mystery series based on a proposal. I reworked the earlier book to highlight its cozy elements, wrote a synopsis for two more books in the series, and sent in the proposal. The agent took on the series and sold it to Kensington. 

5.  Why did you choose to write about the topic, community, issues you chose?

Food plays a role in whatever I write even if the subject has nothing to do with cooking. For example, I’ve described a room as painted in lemon chiffon with woodwork dark as chocolate mousse. When I feel like eating, which is most of the time, even the walls remind me of food. A few years ago, I found my niche writing a short story, “Delicious Death,” in which cooking, eating, and conversation about food are the key ingredients in a suspicious death. The story is on my website. My culinary mystery series grew out of that story although the characters in the story don’t appear in the series . . . at least not yet. Maybe I’ll bring one or two of them back in a later book.

6.  How have you found it to be published?  Share that experience.

It’s all been an adventure. The intricacies of getting a book from manuscript into print has amazed me—so many steps in the process, so much needing to be done far in advance of publication. For example, as I’m writing this, I haven’t yet turned in the manuscript for the second book in the series. That book, complete with its cover image, is already up on Amazon and available for pre-order. Obviously, deadline pressure is a key feature of publishing a series.   

7.  Do you have comments from readers or reviewers you’d like to share?

“Cozy mystery readers will the love the puzzle and the enjoyable look into this small tourist town by the sea.” —Nancy Coco, author of To Fudge or Not to Fudge.

“Maya Corrigan's concept of Five Ingredients, Five Suspects, Five Clues fits this scrumptious culinary mystery like a glove.” —Barbara Ross, author of the Agatha-nominated Clammed Up.

8.  What other books have you published and where, when?

This is my first book. Under my full name of Mary Ann Corrigan, I’ve published stories in anthologies: Chesapeake Crimes 3 (2008), Chesapeake Crimes: They Had It Comin’ (2010), and A Shaker of Margaritas: A Bad Hair Day (2012). 

9.  Do you have a work in progress now?  Is it part of a series?

I’m finishing up the manuscript for SCAM CHOWDER, the second book in the Five-Ingredient Mystery series, scheduled for publication on June 30, 2015. Val’s grandfather, now known as the Codger Cook, has a larger role in this book than in the first one. In fact, I’m afraid he might take over the series. I’m going to have to watch him very carefully as I plot the third book.  

10.  If you belong to Sisters in Crime, and/or the Guppies, has that been helpful?  How?

I’ve made many writer friends through Sisters in Crime, taken courses sponsored by the Guppies that helped me develop my craft, and kept up with what’s happening in the mystery world by reading the groups’ mailings lists. The members of SinC and Guppies are welcoming to newcomers and generous with their advice. I would not have received a publishing contract if it weren’t for Guppies who shared their own road to publication with other mystery writers.

11. What benefit to you has it been to go to mystery conferences like Malice Domestic?

Malice Domestic brings together a community of people who love mysteries as I do. I enjoy meeting writers and readers informally. Attending panels gives me a chance to hear what the authors have just published and plan to write next, so I know what to put on my reading list. For the last five or so years, I’ve moderated panels at Malice, which gave me the opportunity to become better acquainted with several cozy authors.  

12. What else would like to say about your books, the next one in your series?

The next book, SCAM CHOWDER, takes up a crime that I’ve seen first hand, and I’m sure many other people in my baby-boomer cohort have also witnessed—fraud against senior citizens. Swindlers preying on older people often operate with impunity. The crime is rampant and under-reported. Like other crimes that the police and the district attorney don’t have the resources to solve and prosecute, this one can lead to murder.




Maya Corrigan lives near Washington, D.C., within easy driving distance of Maryland's Eastern Shore, the setting for her Five-Ingredient Mystery series. She has taught courses in writing, detective fiction, and American literature at Georgetown University and NOVA community college. A winner of the 2013 Daphne du Maurier Award for Excellence in unpublished Mystery and Suspense, she has short stories and essays on drama published under her full name of Mary Ann Corrigan. Her website,, features trivia and quizzes on mysteries.

Saturday, November 1, 2014

Selections: John Howard Griffin's Prison of Culture

My night-blooming cereus in late August 2014.


Prison of Culture: Beyond Black Like Me.  John Howard Griffin.  Edited by Roberto Bonazzi. Wings Press, San Antonio, 2011.  ISBN: 978-0-916727-82-6. $16.95, paper.  Still available.

A friend of mine, Roberto Bonazzi, sent me this book not long ago, and I’ve been browsing in it.  Some years ago I read Griffin’s book Black Like Me, the story of how he dyed his skin with black walnut juice and set out in the South in the late 1950s to see what racism felt like as a black man.  A mind-awakening book.  Still available.  I can’t recommend it highly enough.

It strikes me now that, even though John Howard Griffin, the author of Black Like Me, died in 1980, the way he describes the racist prison that many, maybe most, Americans were still in, is still true. A lot has changed since the era of Martin Luther King, Jr. And Malcolm X, the passage of the Civil Rights Act, but still white and black Americans very rarely communicate.  

All my life, since age seven at least, I have tried to stand on the black-white line and erase as much of it as I could, to move out of race to human.  We are all human.  Why is that so hard to see? Why, in the North Carolina of 2014 does our state government try to suppress the black vote and take other insidious measures to bring back racist thinking and behavior?  Our President is a black man, but that has not changed this “prison of culture.”   His election may even have triggered these new and awful reactions which led to so many backwards thinking politicians getting elected in recent years here in North Carolina and elsewhere.

It did me good to browse in this book, so I wanted to share some of Griffin’s experiences and thinking. The book has nine essays on racism and five on spirituality.  Here are some excerpts which I myself want to remember:

In his remembrance of Griffin, in 1980, the year Griffin died, Studs Terkel wrote:

When he transformed himself in Black Like Me, he was responding to the challenge: To wake up some morning in the oppressed’s skin. To think human rather than white.  To feel human.
... During my last visit, he lay on his dying bed.  He despaired of the mindless official optimism and the unofficial cynicism and yet he clung to the slender reed of hope.  “Life is a risk,” Griffin told me during our last visit.  “And what a horror if you don’t face those risks.  If you don’t, you end up being utterly paralyzed.  You don’t ever do anything.” Page ix.

At the beginning of the book, Griffin’s words:

Take the teaching of logic out of a civilization and reason is reduced to the squalor of prejudice.  All of the classic fallacies of logic then become a sort of weird virtue and man seeks by loudness, fear and violence to win causes that could not be won by rational persuasion.”  1960. p. x.

From "Privacy of Conscience," p. 3

I think we have to struggle to grant every man the maximum amount of freedom and so I loathe every kind of totalitarianism.  I don’t care where it comes from.  I loathe anything that impugns a man’s right to fulfill himself. ... We have to work to assure every man the maximum right to function as fully and freely as possible. There is no such thing as an inherent right to impugn someone else’s right, and it is an utter distortion to claim the freedom to deny someone else’s freedom.  We must see that all men truly have equal rights and then just leave everybody alone.  This trying to gobble everyone up, to make him conform to our individual or group prejudices, our religious or philosophical convictions–and seeking to suppress him if he doesn’t–is the deepest cultural neurosis I know....  Any man–the moment he impugns my rights or your rights–must be battled, because he is involved in a terrible thing; he is involved in the destruction of the common good.  P. 3.

Page 5:  When racism begins, the first thing that goes out the window is respect for due process of law.

From “The Intrinsic Other,” p. 9: ... It is a common anthropological truism that the “prisoners” of any given culture tend to regard those of almost any other culture, no matter how authentic that culture, as merely underdeveloped versions of their own, imprisoning culture.

“Profile of a Racist,” p. 13.  I have encountered two types of racists.  The one who has no respect for one whom Jean Lacroix called the Other–in other words, for any form of human life other than his own.  This type of racist allows his lack of respect to form the permissive basis for cruelty, sadism, violence and murder.  He feels he has the right to indulge those subhuman lusts.... The other kind of racist abhors, or claims to, the orgiastic cruelties, but has no respect for life, for the living and breathing and suffering of the Other.  He denounces the lynching but clings hard to the very ideology that makes lynching permissive and even inevitable.  He weaves the lynch rope that he himself would not use.  He is the fine gentleman who speaks fine words: “We have to take these things slowly.  You can’t legislate morality.  It may take a few more generations.  You can’t cram justice down people’s throats.”

In “American Racism in the 60s”:

As Father August Thompson, a member of the Black Priests Caucus, remarked when he was chided by white religious colleagues for “stepping out of line” by telling the truth too bluntly: “Blessed are the peacemakers for they will catch it from all sides.”  P. 58.

Very often I will be warmly received by large audiences in the North, but invariably some well-meaning white person comes up after a lecture, offers thanks for clarifying the principles which we call American and then adds, “But of course we have a different situation here.”  We have become a nation of exceptions to the very principles which we applaud, that we claim to espouse.  It is not so much that we do not repudiate the pattern; it is that merely by acquiescing to it, we acquiesce to the racism that is ultimately as destructive of the consenting and dominating group as it is of the victim group.  It is this that black people see so clearly, and really cannot understand how we fail to see; namely the immense cost to the whole community when racists dominate it with fear and violence.  Inevitably, we have been led to the predictable condition of Mississippi, which has become a police state. P. 65. 1968.

From “A Time to Be Human”:

Today, in 1977, many believe that racism and prejudice are things of the past in this country, and that civil rights legislation and greater enlightenment have conquered discrimination.  It is true that things have changed in the past fifteen years.  Blacks and other minority people can eat and find accommodations and most can vote.  But it is also clear that racism and prejudice exist everywhere.  No country is spared. 
...  The deepest shock I experienced as a black man was the realization that everything is utterly different when one is a victim of racism.  To my mind this country is involved in a profound tragedy.  The problems of racism will never be solved until we can learn to communicate with one another.  Yet we have never listened to the words of minority spokesmen who have told us truths about ourselves and our country.  P.68.


Here we are in 2014, in our new century, and we are still a divided society, tragically oblivious to the full meaning of our human nature, our community life, and the justice and liberty for all that most of us believe in.  Time to think and search our consciences about this.  Time to stop making people “other” and in effect dehumanizing them.  We can’t afford, as a human race on a planet troubled with more and more environmental and climate change hazards, not to love our fellow man and woman, all of them.  
Judy Hogan

Sunday, October 26, 2014

The Long Way Home, Louise Penny.  Minotaur Books, NY.  ISBN: 978-1-250-02206-6, Hardback trade, $27.99.  373 pages.

Louise Penny’s tenth Chief Inspector Gamache novel begins in the Canadian village of Three Pines, with Gamache and the artist Clara Morrow sitting on a bench on a hill that looks down on the village, and then through the book we are taken on a journey north up the St. Lawrence River to its upper reaches.

Clara is worried.  She had asked her husband to leave a year earlier, but he had promised to come back in exactly a year to see how things would be between them.  He didn’t return, and she risks hurting Gamache, who so needs this quiet village to heal, to help her find him.  Gamache is reluctant to leave the peace and calm he and his wife Reine-Marie had been finding in Three Pines, but he can’t turn away from helping Clara.

Gamache persuades Jean-Guy Beauvoir, his son-in-law and former assistant at the Surete du Quebec, to accompany him. Clara and her friend Myrna Landers insist on going, too.  

“All his professional life Chief Inspector Gamache had asked questions and hunted answers.  And not just answers, but facts. But, much more elusive and dangerous than facts, what he really looked for were feelings.  Because they would lead him to the truth.... he’d come to agree with Sister Prejean that no one was as bad as the worst thing they’d done.   Armand Gamache had seen the worst. But he’d also seen the best.  Often in the same person.” p. 3.

The four of them leave Three Pines in search of Peter Morrow, going first to Ontario to the art college in Toronto where Peter and Clara studied and met each other.  “Armand Gamache did not want to have to be brave.  Not any more.  Now all he wanted was to be at peace.  But, like Clara, he knew he couldn’t have one without the other.” (P. 41)

They visit Monsieur Bert Finney, Peter’s stepfather, and Irene, his mother.  She was “courteous but not kind.  She’d have made a great inquisitor except that she wasn’t at all inquisitive.”  Gamache already knew she was cruel and had “an instinct for the soft spot.” We watch her go after Gamache.  (p. 56)

Beauvoir traces Peter by credit card and bank charges to Montreal, Paris, Florence, Venice, and Dumfries, Scotland.  Then back to Toronto and Quebec City.  He took out $3000 in April of that year, the last record.  They also visit Peter’s brother and sister in Toronto.

The usual mystery plot is here reversed, and the death at the heart of the mystery does not come first.  The search is for Peter Morrow, with the fear that something bad has happened to him.  They all dread that and know that Peter had some terrible weaknesses, among them being terribly jealous of Clara as she began to get good attention in the art world for her painting, more attention that he was getting.  His painting had been successful, but it was predictable.

Clara has the artist’s rich inner life.  Her art is unique.  She sees deeply into people.  Peter doesn’t, and he’s jealous.  He needs her, but she finally realized that he was ceasing to be supportive of her art, as he had been when she was failing to get attention.  The greater her success, the worse he treated her.

Jealousy is a major theme, also that any great art or poetry springs out of the depths of the human soul.  As Alan Bradley says in The Weed that Strings the Hangman’s Bag, “Inspiration from outside one’s self is like the heat in the oven.  It makes passable Bath buns. But inspiration from within is like a volcano.  It changes the face of the world.”

Penny says that poetry begins “like a lump in the throat.”–a saying of Robert Frost’s.  In this novel the emotional journey for all four of the searchers and also for Reine-Marie, left behind in Three Pines, is told in exquisite detail.  All along Louise Penny has been bold and fresh in her take on the mystery novel, but that aspect of her gift increases with time.  She keeps the reader riveted.  We love the characters and suffer with them when they suffer, as well as laughing with them when they laugh.  Don’t miss this one.

Note: The Long Way Home was number one on the New York Times Bestseller List in late August, days after it was released, when Louise Penny read to a large gathering at the Fearrington Barn near Pittsboro, NC, which I attended.  I have loved Penny’s books since 2009, when I read The Cruelest Month.  I later met her and her husband at the Malice Domestic Mystery Convention that May.

For more information on Penny's books:

Louise Penny signing books.

Thursday, October 16, 2014

Taking Pre-Sales for This River

Wrap-around cover of This River, due out December 1, 2014


I have the go-ahead from antoinette nora claypoole, my editor, that I can begin pre-sales now for this new poetry book coming out December 1, 2014, from Wild Embers Press, of Oregon, under their Watersongs Imprint.  

This journey to publication has a fast  pace, but quickly to my astonishment things have all come together.  We have, at Antoinette Nora’s persistence, with the help of Natalya Ilyina, in Kostroma, received permission to use Sergei Rumyantsev’s small painting on the cover, a painting of the Volga River which flows through the ancient city of Kostroma, Russia. We also found Edmund (Mike) Keeley, still teaching creative writing at Princeton, who gave us permission to use his translation of C.P Cavafy’s little poem “Growing in Spirit,” which is the epitaph for poem 18.

This River is about love across boundaries, once hostile, and about rivers and how they water our lives and our spirits.  My new friend Mikhail’s love of his Volga stirred me profoundly.  I, too, in 1990, when we met, lived by a great North Carolina river, the Haw, and it was my custom to go there on a Sunday morning to write a new poem.  So in 1990-91 This River was born as I yearned toward the Volga and was comforted by the Haw.

The books will become available early in November, and you can order them now for $14 + $1 tax, and $3, mailing cost.  So they’re $15 to pick up, and $18 to have them mailed.  If you order two, it’s only $33 to be mailed, or $30 for picking up. I can send two books for the price of one today in the U.S. postal service.  After two, the postage is free from me.  Buy them for gifts in the upcoming holiday season.  Your purchases help me pay for review copies, which I want to get out in early November.  Here are some more comments from fellow poets on This River.

In This River the speaker’s observations of nature are liquid with impassioned drive. The phrases in this poem are smooth flowing, and this fluency in language seems a reflection of the river where she studies and meditates.  Each eddy, and bird, and leaf is clearly drawn and vital to the sense of place and self.  Identities of the self and qualities of desire are pulled into her observations and transformations and move us as the river moves.

Foster Foreman, Poet (Soundings) and Co-Editor of Hyperion Poetry Journal and Thorp Springs Press.

In This River, Judy Hogan takes paths forged by Proust and Virginia Woolf down and in to the deepest most nuanced passages of the soul. Using a great Piedmont river as matter, metaphor, and muse she shows one woman’s transcendent journey beyond vulnerability to a place of abiding grace. 
This River is not only beautiful poetry, but a compelling story as well. 

Joanie McLean, author of Place and Up From Dust

Please celebrate with me.  This River has waited 24 years to come into print.  You’ll love it! It may be my best poetry book that has been published so far.

Thanks to my intrepid editor antoinette nora claypoole.

Saturday, October 11, 2014

More About This River Coming Dec 1

Sergei Rumyantsev's painting of the Volga River looking toward the city of Kostroma, Russia.  This is the cover painting.

This River, due out December 1, as a Watersongs imprint from Wild Embers Press is coming along beautifully, and by October 26, I’ll know the price and you can pre-order it from me.  I’ll also be doing some readings in the new year, and I’ll launch the book at my Hoganvillaea Farm on Sunday, December 7, 3-6 PM.  If you’re in the area, and you don’t get an invitation, do contact me and I’ll be happy to invite you.

We had three lovely images of the Volga River in Kostroma to choose from, and we settled on a little study I was given by Sergei Rumyantsev, a wonderful Kostroma painter, of the Volga, looking across the river at the city of Kostroma (above). 

One of my friends who gave a blurb for the cover is Jaki Shelton Green, and on October 12, Sunday (tomorrow), she is being inducted into the North Carolina Literary Hall of Fame. I will be there, so proud of her. When I first came to North Carolina in 1971, she was one of the first poets I got to know and whom I published, first in Hyperion Poetry Journal, and later through Carolina Wren Press (1976-91 were my years as founding editor).  Dead on Arrival came out in 1977, and Jaki has been reading poems, teaching folks to write poetry, often as a way of healing, and winning honors ever since.  Here is what she said about This River:

This River holds our hands up to the magic in the dark moon with figurative language that pulls shards of tenderness from a world that is bloody with sting of sunlit longing and a psychic quest for redemption. These poems resurrect an ancient enchanted necklace worn by a herstorical aching that Judy Hogan bears into utterance.

This collection is a meditation on time, memory, and the fleeting nature of life.  Decoding the threads of aching and the heart of the language of two separate rivers is at the core of This River. These poems are a beautiful terrain forming the powerful backdrop for the magnificence of fragility. 

Part primordial, part philosophical, powerful story inhabiting fluid boundaries between hearts, breaking the pedestrian parameters of space, time, and sensory experiences…. This River is a lesson for weaving the baskets that are needed for carrying water to the Light. 

Jaki Shelton Green, Author of Dead on Arrival, Conjure Blues, breath of the song, singing a tree into dance, Feeding the Light. 2003 recipient of the NC Award in Literature, The Sam Ragan Award, 2009 NC Piedmont Laureate, 2014 NC Literary Hall of Fame Induction. 

Here is poem 23 of This River:

T h i s R i v e r

Twenty Three

Does the holy always come into our life
in the heart of a conflict? I think so.
The heron, his feet in the cold water,
wading and calling throatily to the fish,
agrees with me. “You will suffer,”
he says. “The rain falls, doesn’t it?
So will your tears. But joy enters inevitably
when you are this clear, this content with
what life pours out and into your arms.
“Like those wild grapes you found.
Hundreds of them ripening on vines low
enough to reach by bending down the
little tree they clung to. Keep asking your
heart what to do. Then you’ll know.
Every cove where the water runs shallow
and the fish swim in it has a heron stalking,
one foot at a time, determined on his dinner.
“He comes for you. Take what is given
to a pure heart, a spirit cleansed by the tears
you have shed and will shed. There is no
end to the tears, but joy is in them. Like
light turning muddy water pale yellow or
as blue as the sky over your head, eternally
confident and serene, as you are, as you
will be. It is the gift the gods gave you:
your willingness to take in this love
and give him your beauty back. Let
nothing disturb that clear gift, that joy
which he’ll see in your eyes every time
he looks at you. It will feed his spirit
as well as it feeds yours. This love is
given like the sun and the rain. Turn
your face to its blessed light, bathe
yourself in its unwardoffable * tears.”

*unwardoffable a made up word from a Greek word used in
battle depicting the idea that you can't "ward off" or keep away
the enemy.

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