What are those little colour panels, you may ask? Little mini-Mondrians? Not exactly. Read more about clear sky charts--"equal parts Atari and abstract art"--on David's blog.
Ahem. In other (woefully overdue) poetry news, we have a lovely & thoughtful new GoodReport on mythic maps, plus the grounds and airy overgrounds, in Amanda Jernigan's Groundwork. And Marsha Pomerantz, whose Illustrated Edge is now just a little over a year old, was just recently selected as the recipient of a prestigious fellowship from the Massachusetts Cultural Council. Congratulations to Marsha and happy birthday to the Edge!
Last but not least, since it wouldn't be a 2012 blog post without me saying something about Malarky, I'd like to point your virtual eyes towards what's running in this weekend's Montreal Gazette. You know you're in good hands when a review begins "It's a post-Celtic Tiger Ireland," and finishes with with a hellzapoppin paragraph like this:
Toeing the delicate line between tragedy and comedy – the former inherent in the bare facts of Our Woman’s life, the latter in her irrepressible voice – Schofield starts at a pitch of inspiration most novels are lucky to reach at any point and remarkably sustains that level all the way through. The spirit of Joyce’s Molly Bloom hovers around the edges of Malarky, so if you’ve always found the last pages of Ulysses to be the highlight of that difficult masterpiece, you might just find Molly’s modern-day descendant in Our Woman. Others will be reminded of another Irish classic, lately fallen into unjust neglect: Edna O’Brien’s 1960 novel The Country Girls. But here’s one Irish country girl who has grown up and seen and done things O’Brien’s could never have envisioned.Thanks to Ian McGillis for that. Happy weekend, everybody. This brings the trade show season to a close until the fall.