#Al Maginnes

[loudlylovingreview]

Al Maginnes: Lydia Loveless's X

She says fuck as many times as she wantswhen she talks between songs of flesh betrayedand reclaimed. And just over her heart, a tattooed X, a set of crossed sticks, stitchedinto the skin with a sewing needle and ink,jailhouse style. Maybe a first tattoo, something small and easy to hide, roadmapsfor the larger designs decorating her armsand shoulders, the way chords point to songs.The vine…

[psychicequalizer]

Not sure if you've already been asked this but what's your favorite poem you've written and what's your favorite by another writer?

my favs of mine are probably the last summer, jesus on sunset, and this untitled one. i couldnt pick just one. my favorites from others are music from small towns by al maginnes, dudes, we did not go through the hassle of getting these fake IDs for this jukebox to not have any springsteen by hanif abdurraquib, and this untitled one by my friend barbi @zigmentality

[jamiededes]

Liberty Circus … A Rogue Band of Outlaw Songwriters and Poets The Liberty Circus are Malcolm Holcombe, Al Maginnes, RB Morris and Alan Kaufman: a rogue band of outlaw songwriters and poets who have thrown in to criss-cross the land in a performing celebration of good old democratic open-heartedness.

[greatlakesfilm]

Poet Al Maginnes to Read From Latest Collection at Penn State Behrend

Poet Al Maginnes to Read From Latest Collection at Penn State Behrend

Creative Writers Reading Series returns Oct. 10

For Al Maginnes, there’s no magic method for writing great poetry. Rather, he prefers to take it one word at a time.

“When I start a poem, I have very little idea of what it’s about or where it’s going,” Maginnes said in a 2014 interview. “When I’m writing, I’m trying to get the next line or the next word right. I am not thinking about the…

[limejuicer1862]

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger. The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Justin Evans

is a poet with four full length collections of poetry and four chapbooks. The chapbooks are Four Way Stop (Main Traveled Roads, 2005); Gathering up the Scattered Leaves (Foothills Publishing, 2006); Working in the Birdhouse (Foothills Publishing, 2008); and Friday in the Republic of Me (Foothills Publishing, 2012). The full length collections are Town for the Trees (Foothills Publishing, 2011); Hobble Creek Almanac (Aldrich Press, 2013); and Sailing This Nameless Ship (BlazeVOX, 2014) which was partially funded by the Nevada Arts Council in the form of a Jackpot Grant, and Lake of Fire: Landscape Meditations from the Great Basin Deserts of Nevada (Aldrich Press, 2015)

From 2006 to 2014 Justin edited the on-line journal, Hobble Creek Review.  He has a fifth collection of poems forthcoming this summer from WordTech, written with his friend, poet Jeff Newberry. He has had over a hundred poems published in peer review journals and a poem of his was recently anthologized in 99 Poems for the 99 Percent.

Born and raised in Utah, he joined the army at 19, served in the First Gulf War, returned to Utah, married, and received his education at Utah Valley University, and Southern Utah University, receiving his degree in History and English Education.  He has been a teacher in the small Nevada-Utah border (read gambling) town of West Wendover for twenty years.  He has a master’s degree from the University of Nevada, Reno, in Literacy Studies.  He was the editor the online literary journal, Hobble Creek Review, for its entire six year run.  My wife and I have three sons.

http://justinevanspoetry.blogspot.com/

The Interview

1. What inspired you to write poetry?

I think my initial attempts with poetry came as a result of my trying to address feelings and emotions which were new to me in my adolescence. What I know now that I didn’t then is that I am on the Autism spectrum, what used to be called Asperger’s. I was confronted with a lot of different emotions, which collided with my history as a child, and I think I attempted to write poetry out of a frustration and inability to express/address my emotions as I saw others doing for themselves. 2. Who introduced you to poetry?

I took to reading the plays of Shakespeare and the collected works of Longfellow, the only poetry books in my house. I had no idea that poetry came in any other form until I started paying attention in my English classes, and even then it was clear that if I wanted to read poetry it would be up to me.

I started writing poetry at the same time. I don’t think there was any thought that I had to learn anything, which was both a blessing and a curse. On the one hand, not seeking permission was the best thing I could have done for myself. I had made the decision to write, and I didn’t need anyone’s approval. On the other hand, I ended up writing way more than I read, which is a big problem. 3. How aware were you of the dominating presence of older poets?

I was aware of some very big names, like I had mentioned: Shakespeare, Longfellow, Poe, but as I started to get more serious about reading more as I was writing, I was very fortunate to stumble on some of the right names: Neruda, Pound, Ferlinghetti. I also picked up a habit of being economical with my money by buying poetry anthologies, which probably made me see a much wider scope. In an anthology, I read widely and I was getting some pretty good poems at the same time. 4. What is your daily writing routine?

I don’t really have a set routine. I don’t really know how to explain why a set routine doesn’t work for me when most everything in my life is based upon patterns I observed. Perhaps because writing is predominantly a solitary act, I actually never developed my own routine. I like to quote Bob Dylan — “I write ‘em as they come.” What I have learned is to have a pen and notebook handy no matter where I am because I do not know when a poem will come to me, and this I do know: I have to make a choice right then. I will not keep the poem in my mind. I either write it at that moment or I let it go.

When I do draft a poem, I need to do the drafting in one sitting. I can think of maybe half a dozen poems where I was able to write half the poem, quit, then return to it later. When I return to a poem it is for revision. I also draft poems rather quickly. Often a draft will take fifteen or twenty minutes, but there are times when a draft will be finished much faster. In this sense I prescribe to the idea of mysticism (think Rumi and Blake) where the poems are ecstatic expressions. Do I think there is some otherworldly muse whispering in my ear? Probably not, but the poems do come from somewhere, and often complete. I also like to address poetry prompts. I think of them as puzzles, and solving them has its own joy.

Once I have drafted a poem, I need to force myself to leave it alone for a few days so I can come back to it with fresh eyes and revise it with honesty. I love all of my poems and I have a real difficulty distinguishing between my successful and unsuccessful poems because if I finish a draft, I believe it was a worthwhile effort. If I can get a poem past the initial revision phase, I will start to submit it, toying with it if I think it still needs tweaking.

Above all, I do most of my writing with a manuscript in mind. Because of this, I often stop writing while I am working on a manuscript, and will not do any serious writing until I know the fate (whether it be publication or the garbage can) of the current manuscript. This habit used to frighten me, make me think I would never write another poem, but after 25 years and 15 years of having books published, I have come to accept it.

5. What motivates you to write?

My mentor, David Lee, is fond of calling poetry a participation sport, and I agree wholeheartedly. I crave the connections poetry creates, whether they be on a one to one basis with other poets, readers, or people in general. I want to feel that I am a part of something larger, and poetry allows me to feel as if I have contributed something, paid the cover charge, if you will. The act of creating poetry is a fantastic feeling. It is what I imagine weaving a spell must feel like, brining something into existence by sheer willpower and desire.

6. What is your work ethic?

My grandfather was fond of communicating the notion that if you can walk, you can work. I think it’s a holdover of the Puritan tradition in America. Most Americans are far too fond of work, and brag entirely too much about their work habits and I am no different. I am most productive as a poet when I am busy with too many other times. It’s almost as if the poetry leaks out because there is no place for it in my brain. I am driven to create, and once I have what I know is going to be the basis of a manuscript, everything else falls to the side of the road. That being said, when I am not working, I tend to be very lazy in my practical life and my artistic life. I gave up trying to meet the expectations of other writers a long time ago.

7. How do the writers you read when you were young influence you today?

I write for them. Every poet has an audience, and I write for them. Of course the act of writing is a personal pleasure, but there are three or four poets I write for in my head, asking myself what they would say about the poem. I continue to read them. I go back to learn new things, which is a wonderful thing when it happens. 8. Who of today’s writers do you admire the most and why?

Just last night I learned of W.S. Merwin passing away at the age of 91. He will always be an phenomenal influence on my writing. In fact, one of his poems, “Just This” from his book The Shadow of Sirius (2009) inspired my book, Sailing This Nameless Ship. Literally. I mentioned my mentor, David Lee. His is an amazing body of work. Poets my age, or from my generation, who are very influential on me, include, Mary Biddinger, Kelli Russell Agodon, Collin Kelley, John Gallaher, C. Dale Young, Eduardo Corral, Diane Suess, Lee Ann Roripaugh, Brian Turner, Gary McDowell, Al Maginnes, Seth Brady Tucker, Ada Limón, Jenn Givhan, Jeannine Hall Gailey, Matthew Thorburn, and Jeff Newberry. I know that seems like a lot of names, but all of these poets have given me so much of themselves to teach me not just about poetry, but what it is to be a poet. If a person was to read a book from any of these poets, their lives would be enriched substantially. Some of them I only know through their work, but many I know by way of social media (I live quite rurally, and I do not teach college as most poets do) and I am blessed to have that interaction. I could list another hundred names with the same reasoning. 9. Why do you write, as opposed to doing anything else?

I have no earthly idea why it was poetry which caught my attention. I love the visuals of film, I love music, and I am now teaching myself to play ukulele and tenor guitar, but why poetry is my main focus is a very real mystery. My family have always been readers, but not poetry. Maybe it is as simple as when I was a teenager I wanted attention and poetry seemed to be a way to get it without having to compete with my friends and peers. Nobody I knew was writing poems, so maybe it helped me to stand out and then I fell in love with the process.

10. What would you say to someone who asked you “How do you become a writer?”

Read. You have to read. There are only two things you can do to learn how to be a better writer. The first and most important is to read. Read wide and deep. Read non-fiction, read fiction, read old encyclopaedias. Read poems. Carry a book with you at all times. That one is from Stephen King. He’s right. You never know when you will have a few extra minutes to read. Copy out poems you like by hand. Copy out poems you know are eluding you. Read and re-read. The other thing you need to do is write. Write by hand, write on a computer. Write essays, stories, and poems. Write late at night and early in the morning. Spend a few hours writing to see how it feels. My poem drafts may be quick, but that’s because I have been doing this for more than thirty years, and when I write prose, I can sit in front of a computer for hours and not feel time pass because I am so absorbed in the process. Make writing a tactile expression as much as it is an intellectual process.

Understand that your early efforts are going to be mediocre. It takes a long time to get better, and any writer who tells you they have mastered their craft to their satisfaction is either a liar or is afraid to admit the truth —that it takes a lifetime to be the writer you are supposed to be. I started writing when I was fifteen. My first poem was published in 1994, when I was 25. It was another three years before I had a poem published, then another three years after that before I started to see my poems find regular acceptances in journals. My first chapbook was published in 2005, and in the fifteen years since it was accepted to date, I have had three other chapbooks and four full length books of poetry published. 11. Tell me about the writing projects you have on at the moment.

Right now, I am going through the proofing phase with my dear friend Jeff Newberry for a book of epistolary poems we wrote over the last three years. It’s coming out this summer from WordTech Press. I have always wanted to collaborate with another poet on a book of poems, and Jeff was very receptive to the idea. Jeff came up with the idea of writing letter poems to each other because we both admire Richard Hugo’s work. We seemed to arrive together in the early stages of the process that the poems we write should take on an aspect of faith and how we see ourselves as fitting in or not fitting in with worldly expectations. Jeff thought when we had enough for a chapbook, we would be finished and I said I had always intended to write a full length book. We kept on writing and ended up with a wonderful manuscript, naming it Cross Country, referencing both the theme of faith and that I live in Nevada and Jeff lives in Georgia. From there, we split the work load. I submitted individual poems to journals, and Jeff fashioned the manuscript and submitted it to presses. The book must have been a bigger hit than I thought because in a relatively short period of time, the book had a home. That is literally what I have going on right now, aside from the aforementioned tenor guitar and ukulele explorations.

Wombwell Rainbow Interviews: Justin Evans Wombwell Rainbow Interviews I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me.

[thatsgamingnl]

New Post has been published on That's Gaming

New Post has been published on https://wp.me/p4wsnI-8pM

Opnames thriller The Fox starten in februari

De thriller THE FOX, de tweede speelfilm van Klaas van Eijkeren (Patria), speelt zich af tegen de achtergrond van vuil spel in de politiek waarbij onze privacy de inzet is.

De hoofdrol wordt vertolkt door de Ierse acteur Morgan C. Jones, die eerder te zien was in o.a. Game of Thrones, Vikings enRipperstreet. Naast hem spelen Eric Corton (Penoza, Bloed, Zweet & Tranen), Maarten Dannenberg (Good People en dit jaar inStop Over in Hell, The Chess Player), Anita Donk (Voetbalvrouwen, Goede Tijden, Slechte Tijden), Joshua Rubin (Thick As Thiefs, Penoza seizoen 5) en Felix Maginn, de frontman van de band Moke belangrijke rollen.

De opnames van The Fox starten woensdag 1 februari en vinden de hele maand februari plaats in onder meer Den Bosch, Valkenburg (de grotten), Den Haag, Texel en Dublin (Ierland). Naar verwachting zal The Fox medio 2017 in de Nederlandse bioscopen te zien zijn.The Fox wordt onafhankelijk – gedeeltelijk gesteund via crowdfunding platform Cinecrowd – geproduceerd door Pink Moon Entertainment en Expressie Produkties.

Het verhaal De in Den Haag gestationeerde Europol-agent Simon Fox (Morgan C. Jones) leidt een moeizaam bestaan nadat hij per ongeluk een kind doodschoot. Worstelend met dit trauma wordt Simon geconfronteerd met een geheime naoorlogse verzetsorganisatie genaamd ‘Gladio’. De organisatie wordt misbruikt door illustere politici in hun machtsstrijd, waarbij Nederland dreigt te vervallen tot een politiestaat. Als blijkt dat Simons vader ‘Gladio’ na de oorlog met hele andere bedoelingen heeft opgericht, is Simon vastbesloten het tij te keren…

Regisseur Klaas van Eijkeren over The Fox: “Ik heb mij altijd verbaasd over het gemak waarmee we ons verlies aan privacy accepteren. Dit gegeven vormt voor mij een prikkelende achtergrond waartegen protagonist Simon Fox zijn spannende queeste moet volbrengen, omringt door de sinistere sfeer van duistere politiek.”

Cast en productie Naast Morgan C. Jones, Eric Corton, Maarten Dannenberg, Anita Donk, Joshua Rubin en Felix Maginn worden er ook rollen vertolkt door Caroline Lichtenberg, Nastassia Vuursteen, Noëlla Brennan en Yvonne Molenaar.

Script en regie: Klaas van Eijkeren. Camera: Niels Peetjens. Director of Photography: Pepijn Tebrunsvelt. Productie: Expressie Produkties, Pink Moon BV. Distributie: Pink Moon BV.

In samenwerking met coproducent en distributeur Alex ter Beek (Pink Moon Entertainment) bracht regisseur Klaas van Eijkeren (Expressie Produkties) in 2014 het Eerste Wereldoorlog drama Patria uit. Na een Benelux bioscooprelease werd Patria onder de Internationale titel No Man’s Land tevens uitgebracht in o.a. Groot Brittannië, Frankrijk, Italië, Zuid Korea, Thailand, Turkije, Indonesië, de US, Canada en China.

[ribesorg]

Noves adquisicions

24 formas de mejorar el rendimiento personal y de tu equipo

Michael Maginn

658.3 Mag    (Noves empreses)

En un món profesional tan competitiu, el treball en equipé s imprescindible. 24 formes de millorar el rendiment personal i del teu equip et proporciona les recomanacions clau per convertir un grup de persones en un equip unit que ofereixi millors resultats en conjunt que la suma de les parts. En aquest concís i útil manual trobaràs tot el que necessites per crear equips d’èxit, innovadors i excepcionals. 

Amb ell, ensenyaràs als teus membres a fixar un objectiu clar i comú, definir les responsabilitats, evitar els problemas predictibles, potenciar la col·laboració, convertir les idees en realitat, prendre decisions clares, arribar al consens, gestionar les diferències, confiar en els altres, dirigir les reunions i liderar sense imposar autoritat. Els equips de treball funcionen amb èxit si s’eliminen les rivalitats internes i concentren les diferents perspectives i habilitats en un objectiu comú.

24 formes de millorar el rendiment personal i del teu equip t’ensenya a construir equips que funcionin amb èxit, a treballar amb els individus i amb el grup per obtener resultats creatius, resolutius i recolzats sempre per tots.

Text extret del web http://bit.ly/2hHM6PT

Lanzamiento de productos y servicios

Ramsés Gallego Díaz

658.8 Gal    (Noves empreses)

Aquest llibre recopila la informació necessària pel llançament de productes i serveis, l'argumentari de vendes i la presentació del producte a la xarxa comercial, definició d'accions de màrqueting i promoció, programació del llançament i implantació en el mercat i mesures d'anàlisi i control dels recursos invertits. 

Aquest llibre és el resultat de l'experiència docent i professional de l'autor en les disciplines de Màrqueting i Economia de l'Empresa, així com el desenvolupament de responsabilitats en l'àrea de Màrqueting i Comercial en multinacionals de gran consum. Cadascuna de les seves unitats didàctiques conté la formació teòrica, il·lustracions, gràfics, esquemes, exemples i exercicis per a la seva aplicació pràctica. Al final de cada unitat es recullen els aspectes més rellevants en un resum, una autoavaluació tipus test i activitats a desenvolupar. El llibre s'ofereix com una eina per als alumnes de Llançament de productes i serveis i per a professionals de l'àrea de Màrqueting i Vendes o a qualsevol persona interessada en la introducció en el mercat de nous productes en l'àmbit empresarial. 

Text extret del web www.amazon.es

from ribes.org http://bit.ly/2iqKeip

[mmwm]

31 Days of Kissing the Wounds :: Day 30 ~ Say Tomorrow Doesn't Come

31 Days of Kissing the Wounds :: Day 30 ~ Say Tomorrow Doesn’t Come

Welcome to day 30 of 31 Days of Kissing the Wounds, a month of posts about the beauty, longing, and soul inherent in our damaged selves; in the world’s brokenness; in the imperfection, incompleteness, and transience of all that we love; in our recognition of each other as the walking wounded; and in the jagged, messy, splintery, deformed, sullied, unhealed parts of me, you, the natural world, our…

[loudlylovingreview]

Al Maginnes: Transition

The day we got wings was a disaster.  Unable to navigate, we swerved into power lines, spiky limbs, hit others as clumsy as we were. There were casualties— the power lines or sailing full speed into windows or brick walls. A few might have tangled with low flying planes. Medics took a long time responding because they had  no control over their wings, over this  new power some already…

[jshoulson]

Today’s Poem

The Dignity of Ushers --Al Maginnes

Their authority did not unfold from ironed white shirts and thin ties or from the funereal seriousness that struck their acne-splashed faces but because they stood heir to our native faith in light.

So we followed the thin white waver of beams they pointed down aisles to seats we never thought of refusing. It was the first job I wanted, especially after birthday outings

far from home showed me the glowing outfits worn by big-city ushers, their get-ups a blend of doorman and military dictator, as gaudy and fine as the plots of movies my Saturdays were swallowed by.

None of us knew, as they took us into the artificial light of the cinema, that they walked the path of the pin setter, the blacksmith or elevator operator, professions reduced to curiosity

by wandering time. Only in the quick steps of floor salesmen, the slim backs of hostesses bringing us to our tables, do they remain, the artful flutters of their flashlights lost in dark we are left to find our own way through.

[howtallcelebrity-blog]

All about Al Maginnes : height, biography, quotes

How tall is Al Maginnes

See at http://www.heightcelebs.com/2016/05/al-maginnes/

for Al Maginnes Height

Al Maginnes's height is 6ft 1in (1.85 m)Albert Bristol Maginnes (April 5, 1897 – January 30, 1966) was a professional football player. He played in the National Football League in 1920 with the Canton Bulldogs and in 1921 with the New York Brickley Giants. Brickley's New York Giants are not r...

[bibliomancyoracle]

But the real lesson was understanding

               how to stop, how to sit grass-stained

*

from "Why We Fight" by AL MAGINNES

[veronicastyles]

Faith is what we have left once we survive.

Al Maginnes, "Legend"

[loudlylovingreview]

Al Maginnes: Creative Writing

Al Maginnes: Creative Writing

Life isn’t like that, one student says, objecting to the end of Raymond Carver’s “Cathedral,” how it leaves the narrator, eyes closed, between his wife and her blind friend, everything suddenly unfinished. Life is just like that, I counter. Our existence is badly plotted, a hegira of things unseen and unfinished. And let us spend a little time in the gardens and steep landscapes of plot, the…

[bitchhhh1]

It was not so hard believing in the end as long as it remained abstraction, shadow the wind dragged through waist-high grass, a passage like the wave some philosophers say our lives are, a body stirred from nothing to brief crescendo, then dropped into nothing once more. Each one of us will take our turn crossing that field, far from the lights of cities, nameless under nameless stars. Alone in that emptiness, the small gears of civilization dither and lock, and the older, larger gears, the ones ever-turning and ever-silent, let themselves be heard for a moment, long enough to let us know the shadow on the edge of the field is no mirage. But we are not the wind. We have a choice which direction we take. You have to stand in that field long enough to realize there is a choice. You can turn and run, but the edge of the field grows wider, claims more of your life's real estate. You can walk into the shadow early, singing a song whose words you forget as they leave your tongue and believe it is courage, not fear, marching you forward. Or you can turn, leave the field deliberately, the great notes of the gears you heard still grinding, song you will keep yourself from swaying to as you turn from the dark to find a place that sells coffee paled with milk, where you can sit in soft light and read the day's temporary news, small matters made important by their power to suspend the soft insistence of the wind that urges you to the edge of the field and the silence waiting there, deeper than music.

[proustitute]

You can walk into the shadow early, singing a song whose words you forget as they leave your tongue and believe it is courage, not fear, marching you forward.

Al Maginnes, from "The Edge of the Field"