Ron Starbuck on Poets Cafe

The following interview of Ron Starbuck by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Ron Starbuck

StarbuckRon Starbuck is an Episcopalian, a Poet and Writer, and author of There Is Something About Being An Episcopalian, When Angels Are Born, and Wheels Turning Inward, three rich collections of poetry, following a poet’s mythic and spiritual journey that crosses easily onto the paths of many contemplative traditions.

He has been deeply engaged in an Interfaith-Buddhist-Christian dialogue for many years, and holds a lifelong interest in literature, poetry, Christian mysticism, comparative religion, theology, and various forms of contemplative practice. As the Publisher-CEO of Saint Julian Press we works

He has been a contributing writer for Parabola Magazine. And has had poems and essays published in Tiferet: A Journal of Spiritual Literature, an interview and poem in The Criterion, The Enchanting Verses Literary Review, ONE from MillerWords, and Pirene’s Fountain. A collection of essays, poems, short stories, and audio recordings are available on the Saint Julian Press, Inc., website under Interconnections.

Starbuck is also the Publisher-CEO of Saint Julian Press, Inc., a new literary press. Saint Julian Press as a literary and educational organization embraces a vision to create a local and worldwide community, by engaging in an artistic dialogue that promotes world peace, cultural conversations, and an interfaith awareness, appreciation, and acceptance. In our mission as a new creative imprint we hope to identify, encourage, nurture, and share transformative literature and art of both past and living masters.

While giving emerging artists, poets, and writers a place they may come home to and share their work; celebrating the enduring mystery within creation that calls us into relationship with one another. Forming an independent press to work with emerging and established writers and poets, and tendering new introductions to the world at large in the framework of an interfaith and cross cultural literary dialogue has been a long–time dream. Saint Julian Press has just released its fifteenth book of poetry, seven of those books have been published this year, in 2016.

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Voices

Like the poet, Rilke, with each breath taken, I have heard
and half heard the angels calling out from the depths;

—let them speak, as the whisperings of holy messengers,

in the unfathomable nighttime before dawn, upon the air,
in a quickening of flesh.

These are the forgotten memories we may all one day
recall, more often than not, subtle and obscure,

—traveling on countless pathways of neural light,

crossing our thoughts with distant remembrances that arise
out of the silence of the saints. These are the voices I
heard once before,

—in a church north of Pienza, when we travelled in Italy,

where lighting a candle and bowing her head, Joanne
offered with a sad smile and a small hope, prayers for close
a friend, who was ill at the time,

—struggling in life, and in death, as we all do.

In every church and chapel, we entered that journey,
she repeated the ritual, and in each one, I heard, the
same order of murmuring voices.

Not that I could understand their musings, far from it,
since they spoke only in hushed tones, in the ineffable and
intangible—tongues of angels and heaven.

Willis Barnstone on Poets Cafe

The following interview of Willis Barnstone by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Willis Barnstone

Willis Barnstone, born in 1927 in Lewiston, Maine, and educated at Bowdoin College, the Sorbonne, School of Oriental Studies of the University of London, Columbia and Yale (PhD), taught in Greece at the end of the civil war (1949-51), was in Haiti in 1960 during the deadly rule of Papa Doc and in Buenos Aires during the Dirty War (1975-1976). He was in China during the Cultural Revolution in 1972 invited by Chou Enlai. A Fulbright Professor at Beijing Foreign Studies University (1984–1985). Former O’Connor Professor of Greek at Colgate University (1973), he is Distinguished Professor Emeritus of Comparative Literature and Spanish at Indiana University. He lives in Oakland, California.

A Guggenheim fellow, he has received the NEA, NEH, ACLS, W.H. Auden Award of NY Council on the Arts, Midland Authors Award, four Book of the Month selections, four Pulitzer nominations, six awards from Poetry Society of America, including the Emily Dickinson Award. In 2015 he received the Fred Cody Life Achievement Award in 2015. His work has appeared in American Poetry Review, Harvard Review, Harper’s, New York Review of Books, Paris Review, Poetry, New Yorker, and Times Literary Supplement.

Some poetry books are A Day in the Country (Harper), Life Watch (BOA), Mexico in My Heart: Moonbook & Sunbook (Tupelo Books), New and Selected Poems (Carcanet), Stickball on 88th Street (Red Hen Press), Café de l’Aube à Paris / Dawn Café in Paris (Sheep Meadow Press); translations include Poetics of Translation (Yale), ABC of Translation: Poems & Drawings (Black Widow), Ancient Greek Lyrics (Indiana), Restored New Testament (Norton), The Gnostic Bible (Shambhala), The Other Bible (Harper); memoir books are Sunday Morning in Fascist Spain (Southern Illinois), We Jews and Blacks (with Yusef Komunyakaa), and With Borges on an Ordinary Evening in Buenos Aires (Illinois). Borges has written, “Four of the best things in America are Walt Whitman’s Leaves, Herman Melville’s Whale, the sonnets of Willis Barnstone’s Secret Reader, and my daily Corn Flakes—the rough poetry of morning.” Harold Bloom describes his version of the New Testament as “a superb act of restoration.”

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Borges Defines Happiness During the Dirty War

One evening after reading Kipling to
Borges in Buenos Aires, I took him
slowly downstairs (he had dirt on his shoe
which I wiped off) and out along a dim
back street to the Saint James Cafe. The war,
the dirty one, was noisy. Gun shots, a bomb
in nearby flats, a midnight visitor
pounding a door, the city’s catacomb
of terror operating fine. The mess
and drama thrilled me, though the country-bled.
We sat under our gothic mirror and
began to eat and gossip. Borges said,
smiling, ‘Reading Kipling is happiness’,
and blood shivered in his transparent hand.

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An Island

By white walls and scent of orange leaves,
Come, I’ll tell you. I know nothing.
By this sea of salt and dolphins
I see but fish in a dome of sun.

In stars that nail me to a door,
There are women with burning hair,
And on the quay at night I feel
But hurricanes and rigid dawn.

On cobblestones at day I watch
Some crazy seabirds fall and drown,
And as the bodies sink in sand
I know I pay my birth with death.

I only see some plains of grass
And sky-sleep in the crossing storks,
I know nothing and see but fire
In the volcano of a cat’s eye.

Ilyse Kusnetz on Poets Cafe

The following interview of Ilyse Kusnetz by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Ilyse Kusnetz

Ilyse-KusnetzPoet and journalist Ilyse Kusnetz is the author of Small Hours, winner of the 2014 T.S. Eliot prize from Truman State University Press, and The Gravity of Falling (2006). She earned her M.A. in Creative Writing from Syracuse University and her Ph.D. in Feminist and Postcolonial British Literature from the University of Edinburgh. Her poetry and essays have appeared in Crab Orchard Review, Guernica Daily, the Cincinnati Review, Crazyhorse, Stone Canoe, Rattle, and other journals and anthologies. She has published numerous reviews and essays about contemporary American and Scottish poetry, both in the United States and abroad; she has served as a guest editor at Poetry International and the Atlanta Review for feature sections on Scottish poetry.

SmallHourCoverShe is currently at work on a new poetry manuscript—Angel Bones. She teaches at Valencia College and lives in Orlando with her husband, the poet and memoirist Brian Turner.

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HARBINGER

Just another day           in hyper-capitalist society—
in my Facebook feed,           news of rabbits and

chickens tortured on meat farms,           but I’m still not
vegan and I’m waiting           to die myself

from cancer I may have gotten           from soil or ground water
contaminated by nuclear weapons,           and no amount

of posting uplifting stories           is going to fix that.
And lord, let them cease           trying to control women’s

bodies, people’s genders,           people’s desires,
let them stop hating people           because of their color

and ethnicities. I want to shake           the bigots and racists
till their teeth come loose           and they lose their bite,

till their tongues           swell up in their mouths
and they’re stricken mute.           I want to save

all the slaughtered animals,           save the seas and their
inhabitants—whales, birds,           the tiniest bivalve—

from choking on plastic.           I want to purify the air
of sulfur and carbon dioxide,           scrape the lead

from plumbing pipes,           god I need to do something
besides dying, besides           thinking about death

and the neo-fascist           politicians who lead
a nation of people           unable to think critically

after 40 years’ systemic           dismantling
of the education system           by the rich

so their lackeys           can make it
illegal to prosecute           corporations for poisoning

the air, earth, water—and Jesus,           isn’t it
a kind of           mental illness

annihilating what you need           to stay alive
for the accumulation of           blind profit—

and in the process killing           and killing and
murdering me,           along with the people and animals

I can’t save but want to,           with all my goddamn
fucking heart, but instead           I’m waiting to die,

trying to find some           last meaning in all of this.
A warning, perhaps.           You’re next.

—First published in Rattle, 2016

Mario Feninger on Poets Cafe

The following interview of Mario Feninger by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Mario Feninger

Mario CollageBORN IN CAIRO, EGYPT in 1923, Mario Feninger received his early music training from his mother, Teresa de Rogatis, a noted pianist, guitarist, composer and teacher. He made his debut at the Salle Gaveau, whereupon the Figaro declared him “a remarkable artist… an important musical personality (with) a very beautiful, powerful tone.” From Paris, Mario proceeded to London’s Wigmore Hall, where the Daily Telegraph proclaimed him to have “found the essential poetry in Chopin.”

Mario made his GRAND NAPLES DEBUT at the Sala del Conservotorio San Pietro a Majella, performing the Busoni Konzertstruck, Op. 31a with the A. Scarlatti Orchestra. The Italian press lauded Mario’s “brilliant virtuosity,” celebrating him as “a complex artist searching for his soul and animated by a great ideal.”

PERFORMING his extensive repertoire in the great halls of Europe, North Africa, North and Central America and the Middle East, Mario established a distinguished international reputation as a soloist and recitalist.

“A powerhouse virtuoso in the grand manner.”
~ New York Times

“Urgent style, comprehensive technique and command of tone and color, won repeated cheers and standing ovations.”
~ Los Angeles Times

“Feninger belongs to a distinctive part of European pianistic literature.”
~ Il Giornale De Bergamo – Oggi, Italy

Performs as guest artist with:

• Centre Culturel de Valprivas
• The Castle in Baja (Naples)
• Summer Musical Festival at Sorrento, Italy
• International Festival at Echternach, Luxembourg
• Liszt Festival at Angers, France
• American Liszt Society in San Francisco
• Mozart & Company in Beverly Hills

The first American performance of Busoni’s Concerto, Op. 17 for piano and strings

Performed an entire program of Busoni in Empoli, Italy (Busoni’s native city)

Busoni program performed at Schoenberg Institute

Performed at Busoni Festival in New York

MARIO FENINGER currently resides in Los Angeles, California where, in addition to his performance schedule, he conducts master classes and continues his research into piano technique. www.mariofeninger.com

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CAN WE CREATE ARTISTS?

THE VARIOUS musical seasons, with all the marvelous artists we have the opportunity to hear, give rise to some thoughts that I would like to share.

IT IS more and more self-evident that, as the civilization of leisure is brought into existence, we shall need more and more great artists.

THERE ARE three communication lines from the performer to the public: Technique, Expression, and Presence.  A performer with any one of three lines “well in” is a good performer; a performer with any two of these lines in will be an arresting performer; and a performer with the three lines in could be called a genius.

WHY IS the public thrilled by technique?  Why do thundering octaves, pearly scales, fleeting arpeggios, etc., leave them agape?  Why is it that technique by itself is sufficient to create an impact?  The answer I found is that technique represents the mastery over and control of those parts of the physical universe involved in the performance; and those parts are the instrument and the body of the performer!  Technique also presumes certainty.  It is a science in that it has very precise laws that work every time.  This is true of a juggler, a car racer or a pianist.

AS REGARDS expression, Busoni gave a very exhaustive and impressive description of it as poetry, imagination, elegance, sense of style, of form, or colors, feeling for distance, for volumes, etc.  In other words, anything dealing with the mind, the mental machinery and the emotions would pertain to expression.

THE THIRD line, presence, would be the being himself, his ability to command attention, to hold together, spellbound, three or four thousand people, all stranger, and infuse them with a unanimity of feelings and reactions.  This is the least visible ability, but one that makes the difference between Busoni, Horowitz, etc., and most pianists.

IT MAY APPEAR that I am an optimist. How many times have I heard that without “talent” or “gifts,” there is nothing in the way of greatness.  However, I say that anybody with interest and persistence should be given the chance of reaching the heights he has perceived or the goals he has formulated.  In fact, it is my experience that although “gifts” may help at the start, often the so-called “gifted pupil” is fixated in his gifts, and cannot change and/or beyond them.  Of course, there are no gifts that cannot be expanded or improved upon.

TECHNIQUE, expression, and presence have each their own separate technology, but it is impossible in a short article to describe in detail each one.  One thing is certain, though:  when one has applied a new true datum, the piece that was once difficult has now improved, at least in some respect.  It is definitely not the number of hours of practice that will create audible technique, but intelligent practice in the right direction.  No amount of drudgery will ever produce a lovely tone, but know-how will!

ARTISTS ARE, after all, creators of universes and it is indisputable that any training insight, revelation, etc., into the world of personal magic associated with a grounding in the natural technique would create artists.  We must not forget what Schoenberg said: “The laws of the man of genius are the laws of future humanity.”

Ami Kaye on Poets Cafe

The following interview of Ami Kaye by Lois P. Jones originally aired on KPFK Los Angeles (reproduced with permission).


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Biographical Information—Ami Kaye

1-Ami 3Ami Kaye is the author of What Hands Can Hold. Her poems, reviews and articles are forthcoming or have appeared in various journals and anthologies including Comstock Review, Amore: Love Poems, Naugatuck River Review, Wild Goose Poetry Review, Eyewear, Kentucky Review, Iodine, Tiferet, East on Central, First Literary Review- East, Cartier Street Review, Peony Moon , Diode, and The Dance of the Peacock among others. Ami edited Sunrise from Blue Thunder in response to the Japan 2011 disasters and is co-editing Carrying the Branch: Poets in Search of Peace, as well as Collateral Damage, a benefit anthology for disadvantaged children. Ami is the editor of Pirene’s Fountain and the Aeolian Harp Series, and the publisher and founding editor of Glass Lyre Press.

Glass Lyre Press is an independent publisher with a catalog of technically accomplished and stylistically distinct literary work. Glass Lyre seeks diverse writers with a dynamic aesthetic and the ability to emotionally and intellectually engage a wide audience of readers. Glass Lyre’s vision is to connect the world through language and art, and expand the scope of poetry and short fiction for the general reader through exceptionally well-written books which evoke emotion, provide insight, and resonate with the human spirit.

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Shadow Nocturne

You were a skein of nerve, blood from my marrow,
sliver of bone, a silver weave of luminous cloth,

fire that spread through electric nerves.
Your little core palpated in its fine mesh,

its tremolo of strings could not hold you.
You shrugged off my body and slipped seamlessly,

knife-edge moon in the water, final glide from the womb,
before dissolving into a blossom on the snow.

Against the light I thought I saw your tiny fist,
too quickly pulled back before I could grab you.

Skin-tight storms ripped a trail of fireflies from the sky
but I remember only the ripe weight of grief, an ocean,

with you curled underwater as if you could breathe
at all from pinched blue nostrils.

Fallen sparrow, tiny creature I could hold in my palm,
I thought I could reach out and kiss your delicate eyelashes

but they were air-brushed with disappearing ink
on a fluttering moth that vanished into the remnant of night.

—First published in Kentucky Review, 2015