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Darryl Price, A Poet


Poetic World of Darryl Price

 
VOICES: When did you start writing poetry, and why did you start?
DP: According to my mother I was around five years old. It was about some daisies growing outside my bedroom window where we lived in Kentucky. I handed it to her and just walked away. And that was that. I’d started down the path. And I never looked back. I had my first poem published when I was twelve in the local newspaper. It made me a celebrity of sorts among my school classmates.

Later in high school I wrote a poem for our senior yearbook that was printed on the first page. I thought it was cool because they had superimposed it over a picture of some girl blowing dandelion seeds into the wind. I was kind of embarrassed and happy about it at the same time. Girls used to tell me I talked funny because my vocabulary was so big. Because of this I started to talk in shorter sentences and use smaller words except when I wrote the poems. I always had a poetry journal going. In college I received a scholarship to edit the school’s literary magazine. I came into contact with many poets then like Anne Sexton and Ginsberg and Wendell Berry and Susan Fromberg Schaeffer and Lyn Lifshin. I thought I’d died and gone to heaven.
 
Once we were in a dorm room together with a bunch of other hippie like fellow young men and young women and Allen and I were singing LIKE A ROLLING STONE by Bob Dylan with what I thought was tremendous serious musical enthusiasm. When the applause died down he turned to me and softly said through one side of his hand: that’s not how He plays it. I was somehow greatly taken aback by this crazy out of place remark. My reply: but that’s exactly how Darryl Price plays it. He gave me one of those goofy little elongated smiles from behind his thick little glasses that made his eyes look like marbles and we both let the whole thing drop. But I never forgot the moment.

I still have a postcard Anne Sexton sent me with a drawing of a flower on it. But being a poet was never easy. It alienated just as many people as it attracted. And it made guys with girlfriends very jealous. So I decided to try to write songs instead. I started out in folk groups and moved to rock as I went from acoustic to electric and back again. There are still tapes floating around. My daughter likes to listen to them. Nobody else gives a hoot that I know of.  

 

 
 
VOICES: You have quoted people as varied as Kafka, Seneca, Vonnegut, and The Beatles, and you clearly draw inspiration from the wisdom of others. Who are some people who inspire you most (writers or otherwise), and where else do you find inspiration?
DP: My biggest inspiration comes from nature. I’m also inspired by music as you have already stated. My love of the Beatles is legendary among my family members. But the truest inspiration for me is simple; wind, leaves, stars, meadows, lakes, boats, clouds, bees, flowers, basically anything that moves catches my poetic attention. And a certain kind of headspace that is hard to describe. Sometimes I’ll just be walking along and it will hit me; I can write right now. It’s a feeling I get.
 
Another great influence was Jennifer Bosveld, founder of Pudding House (the largest literary small press in America) for never wavering in her dedication to poets and poetry her entire life. She has inspired countless individuals from all walks of life to be creative and to express themselves through the art of poetry. She is a champion of the highest literary order.
 

This might sound funny but people are also an inspiration for me because I want to say something to them that will ease their pain at living. I want to pronounce words of comfort and healing that help us celebrate being here together. Although of course just like the next guy sometimes I’m just frustrated or sad and end up writing something about that — but that is not what I intend in my heart of hearts. There I want to simply add to the volume of beauty already in the world, give my yes, and back out quietly and go home and drink a beer.
 

 

 
 
Franz Kafka, The Beatles, Mother Nature
 
VOICES: When you are writing poetry, do you consider the form, the message, or the language most important?
DP: I consider the words most important, and not just what I am saying, but the how. I often go back and forth over certain words — to see if I can come up with something more colorful, more interesting, more original, more fun. Form for me is an art that I enjoy that’s different than the coming up with of words. I enjoy playing with it because it makes me happy to make something beautiful in a shape.

As for the message it’s pretty much the same. We are talking about the human condition or what the world looks like through that lens and searching for purpose. The one thing we can all agree on is that we are in this condition together — some suffering more than others I realize — but its beginning and end are the same.
 
 

VOICES: As you have noted, Wallace Stevens said, “Poetry is the supreme fiction.” Tell us a little more about the association between poetry and fiction for you, and also the idea of truth in fiction and poetry — another theme Stevens pondered.

DP: When I first read Joyce’s Portrait of the Artist I thought of it as a poem. I read it as a poem. It might be called something else by others but to me it was just a very very long poem. The best fiction for me always has passages in it that are pure poetry. How could it be otherwise? When you hit that mark of truth and beauty it passes over I think at least for me to the poetry side. Truth is tricky because it’s always changing but I think you know it when it hits you. When the right combination of words and thoughts and images come together to form a thing you can’t deny. To deny it would turn you into someone or something false. My triangle of poetry’s purpose — for me — is truth, beauty and goodwill.
 
 

VOICES: You’re from Kentucky originally. Does geography influence your poetry? Does your immediate environment?

DP: Absolutely. I grew up in the country. We had no choice but to interact with nature. Cooperation was key but also full of many wild surprises. When I was in college I would tell others about the many strange and wonderful plants and animals I had encountered in my childhood from snakes to chipmunks to opossums, and many of them shook their heads in disbelief. It wasn’t in their own vocabulary, their own experience. Many had never seen a luna moth underneath a porchlight — the real thing, not a picture in a book –something you could touch and hold and marvel over. And more animals too: foxes,frogs,wolves,horses,cows. All kinds of cats and dogs of course. Also we had many different- color lightning bugs rising up out of the fields and grasses at dusk (along with your regular regiment of little brown bats and the occasional owl of some sort). You had your regular yellows of course but also blues, greens, and reds. You heard me right. It was considered good luck to find one of these rare beauties.

One time I decided to give my Mom a unique gift. I spent the whole day picking butterflies off the flowers outside and putting them in the house. I considered it a kind of living art poem. They weren’t afraid of people back then. I must have been pretty little because I remember having to reach to get to the tops of the flowers. The butterflies could be plucked off as easy as pinching a blade of grass, only softer. When my Mom saw what I had done she went ballistic and told me to get those “insects” out of her house, pronto, although she did not use nice words to express her desire to have all the butterflies removed as quickly as possible by me. I made sure each and every one was returned to the great outdoors to fly their colors around for another day. Another mom. But I was crushed by my defeat to impress her with this dazzling gift.

I still try to remind myself to look up at the sky. So many people never do. They miss the stars, the moon, the clouds and rainbows. It gives you great perspective against the onslaught of the ego.

 
 James Joyce, Look to the Skies, Moth & Lamp
 
VOICES: You express vivid and powerful reflections from simple, everyday things. Does a simple thing evoke the reflection, or does it work the other way round? Or is the process completely different?
DP: It’s our world. If we are to find wonder then here’s as good a place to start as any and why not start with what we’ve got? If we can’t find the answers right where we are then all is lost. Of course I believe, as much as I like to travel, home is as good a place as any to experience the miracle of living out a poem or inspirational moment on the earth as a man.
 
 

VOICES: Finally, please tell us (if you’d like) about what you’re presently writing, or about your next project.

DP: I’m always working on a new poem. Always. My biggest fear is that I will end up like poor Emily Dickinson with a drawer full of poems that somebody discovers after I’m gone. That’s why even though I have a crippling fear of putting my stuff out there in the real world I still continue to do it.
The World, Emily Dickenson, Darryl Price
VOICES
: Anything we’ve left out?
DP: Poetry is a voice and a way for that voice to carry. But it doesn’t do the work of living compassionately or beautifully or with appreciation for you. You have to give it your own mind and heart to truly receive its gifts, but it’s worth it.
 
VOICES: Thank you, Darryl Price, for sharing your poetry and your beautiful voice and vision with our readers here on VOICES.
 
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Interview with an Artist

VOICES interviews…

José Alberto Gomes Pereira

José Alberto Gomes Pereira is the artist behind the VOICES logo. When we came upon Gomes Pereira’s art online, we were struck by the beauty of his drawings, and the way his images speak to storytellers.  Now that we’ve met the man, we are convinced he’s as special as they come. Read on about José Alberto Gomes Pereira, and see for yourself.



VOICES: What drew you to your medium, your style, your voice and vision?

Since very young I have started expressing my feelings in words and traces. Drawing was my best way to say what I had inside. I always had my own way of drawing, very unique, and that was a thing that I kept and developed.

Black and white have the strength I need to express my ideas and ideals. I was touched by the words of the French Revolution “ Liberty, Equality, Fraternity”. Living in Africa, Mozambique, from 10 to 30 years old, these words had a special meaning for me. I was touched by the people’s soul, the way they lived, and their wish for freedom. My family education with a strong feeling of justice, my love for reading and philosophy studies led me to what I am now:  A man that believes that men, women and children are all only one race ,“The Human Race”, without any kind of social, political or religious fundamentalisms.

VOICES: You are from Portugal – tell us a little about Riachos, where you live now. Tell us, for example, about the kinds of things you see or smell or do in your everyday life that inspire you.

I live now in Portugal, in a small village named Riachos, where I was born. I have always lived and made my life in big cities like Lourenço Marques (actual Maputo) in Mozambique, or Lisbon. After retiring I decided to come back to Riachos, 120 km from Lisbon. It’s a quiet place to live and the people always had a strong feeling of union. It’s remarkable that in a so small village there are 52 different Associations that maintain tradition and care for creation and innovation. The last one is NAR – Núcleo de Arte de Riachos (Riachos’ Art Nucleus) where I belong as one of the founders.

The traditions allied to the innovations are a great daily inspiration. From the fields planted with olive trees or cereals to the houses where there is always a plot and a garden…we can feel and smell nature just as it is and understand life in different perspectives.

The Spirit of Africa

VOICES: You have lived in other places besides Portugal. Where have you felt most at home, and where has your art felt most at home?

I believe that I felt most at home in Africa. I always loved big spaces where you always see the horizon line and can imagine what’s after it. The adventure spirit…the wish for more and more, and different. The unknown and the mystery…

On the other hand, even thinking that my art has some African roots and influences, I believe that it feels more at home in Portugal. I belong to this people and understand very well their needs and dreams.

My art is universal but I am Portuguese. When I paint or draw, I do it as a human being. I feel like one and think like one. Not as Portuguese.  Art has no frontiers.

VOICES: Was there a time and place when you decided to become an artist, one moment when you knew this was your calling?

At the age of 16, still in Africa, I did my first wise, intentional and conscious drawings. This was when I had knowledge of what I wanted to do, but could not live on that and had to keep studying. Later I worked in Advertising Agencies as Art Creative and Copy Writer. When I returned to Portugal, in 1974, worked in the same area, in different places, as Art Director until I opened my own Advertising Agency.

My art work was always present and I worked on it every single day, as I still do:  working and showing!

Woman in Blue

VOICES: Who are other artists who have influenced you, or whom you admire?

Nothing that I did or do would be the same if I had not lived in Africa so many years. We are the total of infinite apprenticeship that arrives from various origins. We filter them and take for us only what we want or serves our way. The choices I did for my art are the same I did for my life. This is the binomial art-life, life-art.

I worked with a few artists in Mozambique, such as José Júlio Ferreira, Malangatana Valente, Silva Tavares, and learned from them what I wanted for me — especially techniques, because the rest I had already inside me.

There are many artists that I admire, like Pablo Picasso or Salvador Dali.  Also Manet, Degas, Renoir, Cézanne, Gauguin, Van Gogh, Lautrec and so many others. In Riachos, just talking about drawing or painting, there is an artist that I really admire, whose name is Manuel de Sousa Filipe and signs Masofi and is also one of the founders of the Art Nucleus.

VOICES: Can you please tell us a little about All Love Letters Are Ridiculous?

“All Love Letters Are Ridiculous” is one of the 18 drawings that I did, under the name of “Another Look at Pessoa”, as a homage to the great poet Fernando Pessoa, in 2008, to commemorate 120 years from his birth.

These drawings about Pessoa, his life and work, are like poems by themselves. It’s another way of reading Pessoa, written in another language, with another grammar and another visual effect.

by Gomes Pereira

All love letters are ridiculous

Let’s look at part of the poem:

    All love letters are
    ridiculous.
    They wouldn’t be love letters if they weren’t
    Ridiculous.
    In my time I also wrote love letters
    Equally, inevitably
    Ridiculous.
    But in fact
    Only those who’ve never written
    Love letters
    Are
    Ridiculous.

This shows a man that rationalized everything, but we all know that you cannot rationalize feelings and live them at the same time. Either you think about them, and they will look ridiculous, or you live them, feeling in the moon…and doing ridiculous things, as well. Better feel than think. You will feel ridiculous anyway, but alive!…and love is the greatest of all feelings…

This drawing is a hymn to love!

VOICES: Can you please tell us about other of your works that are your favorites?

Talking of these 18 works, I could speak about any of the others and it’s difficult to choose one. Let me talk about one that I did for another artist, a woman that I admire. Her name is Chaline Ouellet and she lives in USA. The story of her parents and her own life inspired me to do this drawing that I called “Riding Life in An Old Red Bicycle”…what she still does!

Riding Life in a Old Bicycle

The size is 72 x 42 cm, and tells the story of a brave family and a wonderful woman with a beautiful heart and a rich sensitive inside, that makes her work more for the others than for herself. Doing this drawing was for me like travelling through some other’s life and be surprised at each new moment. It was a pleasure for me to be able to reach the end…and enjoy it as I do.

VOICES: Thank you, José Alberto Gomes Pereira, for letting our contributors and readers  get a glimpse of your art and hear your voice.

A gallery of some of Gomes Pereira’s works can be found in his Facebook album.

Colon Controversy in Bal’more Hits Fan

The Baltimore Weekly's Head Office

Accusations of Plagiarism

The Bal’more
Weekly, North America’s leading repository of literature and arts detritus in the Mid-Atlantic region, offers up the following course of coarse events over the past month that has stirred up quite a literary world-wide controversy, which if we knew would happen we would have exploited far greater in earlier publications.

The players are:

The Fuddy-Duddy Writer, aka “Minnie”, aka The Fud, world renowned for the lipstick journalism school of writing, author of the article that began this fine mess.

The Fan(s), a mysterious, handsome impressario and all about roundabout and original Fuddy-Duddy supporter that was seen around town with a young Elke Somer just three days ago.

Here we bring you the original stories by The Fud and The Fan(s), as well as some follow-up Letters to the Editor which demonstrate in more ways than one the power of the pen. We’re left wondering, Will The Fud and The Fan(s) make amends? You decide for yourself…

* * *

The Fuddy-Duddy Writer Reflects on her Fan(s)

For my Fan(s), founder and chair of both WUC,BWUTC (We Use Colons, But We Use Them Correctly) and its sometimes inflammatory subsidiary ALATUT (As Long As They Use Them), writer and editor extraordinaire who is both passionate and indecisive about punctuation.

Inspired in part by ff and MP.

The Fuddy-Duddy Writer does not rest on her laurels. She enjoys the festival that is all about her, but she moves on. She lives fully in the moment, all the more so when the moment is all about her. She grants interviews, collects fan mail, never says no to a television appearance. She also takes to heart her fans’ comments, and sometimes even replies.

When one fan recently tried to send her a link to The Meters’ “I Got to Get My Name Up in Lights,” she replied by sending a link to the Broadway hit tune “When I Get My Name in Lights”. The fan’s heart was in the right place, but The Meters funk is too hip for the Fuddy Duddy writer, even if her nimble knees are kicking it up this morning as she smiles fondly at the very idea of sitting on a flagpole.

The Fuddy Duddy writer appreciates her one fan so devoted to her cause, who sent her this poem today:

Kids!
I don’t know what’s wrong with these kids today!
Kids!
Who can understand anything they text or say?
Kids!
They a disobedient, disrespectful oafs!
Noisy, crazy, dirty, lazy punctuators!
While we’re on the subject:
Kids!
You can text and twitter till your face is blue!
Kids!
But they still keypad what they want to do!
Why can’t they be like we were,
Perfect punctualists in every way?
What’s the matter with kids today?
Kids!

The Fuddy Duddy Writer is committed to her cause, even if her one fan wrote the following to her in an early morning email:

“You actually may be the one person who can make your writer’s life of abandon… as boring and mundane as in suburbia.”

She knows he struggles, this fan, with his own desire to see his name up in lights, and so she ignores his attempt at wit. The Fuddy Duddy Writer does not do wit.

The Fuddy Duddy Writer is working on her memoir, “Life and Love with a Clean Colon.”

The Fuddy Duddy Writer has only one fan.

*Author’s note – Inspired by today’s Love, Fest. Thanks to everyone, really!! 🙂


* * *

In its eternal search for fairness and controversy, The Bal’more Weekly elicited this story the next week from the Fan(s).

The Fan(s) Reflect(s) on The Fuddy-Duddy Writer

The Fan came across an absolutely astonishing literary tribute today while cruising through his favorite stalk . . . er stomping grounds, The Bal’more Weekly. It was titled The Fuddy-Duddy Writer Reflects on Her Fan(s), and it was dedicated to him, however it incorrectly states it was inspired by an ff and a MP, contradicted by the Fuddy-Duddy Writer’s own Author’s Note which states it was “inspired by today’s Love, Fest. Thanks to everyone, really!! :)”

The Fan, as head of the WUC,BWUTC, took immediate exception to the Fuddy-Duddy Writer’s egregious mis-use of a colon (and close paren) in an attempt to do what is known as a “smiley face”. Even the most radical member of ALATUT (for which the Fuddy-Duddy Writer is disingenuous in attaching titular status to The Fan, as she is really the Chair) would agree that her previous statement calls out for a semi-colon and a closed paren, the ‘winking smiley’, ;o). Obviously, if she has but one Fan, that statement re: “Love, Fest” is a blatant lie.

I add the bulbous nose because The Fuddy-Duddy Writer obviously is into the Old-Grandad or Old-Crow or Old Fitzgerald or Old-whatever gawd-awful Bourbon she swills down, quite early these days.

Be that as it may, the tribute sings out in praise of her one Fan; indeed, half the words are direct quotes, which proves The Fuddy-Duddy Writer is not beyond attempting what is said of the great writer: stealing, not borrowing. She fails miserably, even citing The Fan as source.

But then, The Old Fuddy succeeds:

“The Fuddy Duddy Writer is committed to her calling and carries a red pen at all times, as red as her Red Rocket lipstick.”


Which is straight from the pages of WB ‘s a day uptown/a night on the bowery, published a full month or two prior:

“teacher’s down on the corner, marking papers with her cherry lip gloss

i can’t get a handle on her, never could, she never did sumthin’ for me”


So, as she twirls around her flagpole, as she calls it – we know that it is really a dance pole down at the Show-It-All Boat strip joint, right next to where The Meters are blaring out their “Name Up In Lights” beat, so don’t let that mis-information about not being hip fool you – she can bemoan this fact:

The Fuddy-Duddy Writer has no Fan(s)!

* * *

In an unprecedented literary moment, the Bal’More Weekly received hundreds of letters pouring in from fans of both The Fud and The Fan. Not since the days of Edgar Allen Poe and our top He’s Really a Monkey at the Typewriter exposé has The Bal’More Weekly seen such uproar over punctuation and possible plagiarism.

* * *

Note from VOICES Ed.: You can read the full story above plus those revealing letters at:  Colon Controversy — the Complete Story.