Weekending

Yes­ter­day I got the rare chance to hang with reader Ben over cof­fee, and even­tu­ally din­ner and some clas­sic Bill Hicks. Ben was around when Well­wa­ter Dredge was in its infancy, and his reac­tions to it as a full-​​​​grown book were fas­ci­nat­ing. I’ve lived in its quirks and stretches so long I’ve lost track of how the rest of the world sees it. Even my Surrealism-​​​​inclined peers think it’s a big bonkers. I think that means it’s time to put it in the world. I love…

42 in the bank, 30 in the recycle bin

There’s noth­ing like slim­ming your man­u­script to its essen­tials. It’s leaner and tougher than ever, and weigh­ing in at 42 solid-​​​​ass poems, not a one of which doesn’t set up or build on another. This part feels good. In the course of giv­ing this sucker a first sequenc­ing, I real­ized just how dark it is. I mean, yes, in terms of tone and con­tent, but also in terms of light lev­els. A truly inor­di­nate amount of this book takes place at night, or at least does…

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What's all this, then?

I’m writ­ing a book to under­stand my hometown’s dis­in­ter­est in its own his­tory, and my role in that. It’s sort of become a novel. This is the full story.

This is my play­ground. It reflects and pre­dicts what’s hap­pen­ing in the book.

Things I dis­cuss: East­ern Mass. his­tory, sto­ry­telling, book­mak­ing, time travel, poetry & nov­els, writ­ing craft, dreams, pub­lish­ing, indige­nous per­spec­tives, spir­i­tu­al­ity, sex, adop­tion and par­ent­ing, research, and what­ever I can’t get outta my head.

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