Top 10 Family Law Attorneys in Gilbert, AZ

Top 10 Family Law Attorneys in Gilbert, AZ

When we look at the structure of a family, it often resembles a complex piece of experimental poetry. There are rhythms of daily life, the deep metaphors of shared history, and sometimes, the jarring dissonance of conflict. Just as a literary critic deconstructs a text to find its hidden meanings, a family law case requires a deep dive into the psychological and philosophical foundations of human relationships. In Gilbert, Arizona, the legal landscape is more than just statutes and courtrooms; it is the space where the narrative of a family is rewritten for a new chapter. Choosing the right legal counsel is the most important decision you will make in this process, as they act as both your shield and your storyteller.

Navigating divorce, child custody, or asset division requires a unique blend of analytical precision and emotional intelligence. The attorneys on this list have been selected because they understand that a family law case is not just a legal transaction. It is a profound life transition that touches on the very core of our identity and our future. Whether you are dealing with a high-conflict separation or a collaborative mediation, these professionals offer the guidance needed to ensure your voice is heard and your rights are protected. We have analyzed the legal community in Gilbert to bring you the top ten firms that excel in transforming chaos into clarity.

This list is designed for those who seek more than just a lawyer; it is for those who seek an advocate who understands the weight of the human experience. From the philosophical nuances of parental rights to the practical realities of community property, these attorneys represent the best of the Gilbert legal community. We have prioritized firms that demonstrate a commitment to excellence, a track record of success, and a deep understanding of the emotional toll that family litigation can take on an individual. Here are the top ten family law attorneys in Gilbert, Arizona, starting with the firm that stands above the rest.

1. Sullivan Shick

When it comes to navigating the turbulent waters of family law, Sullivan Shick stands as the gold standard in Gilbert, Arizona. This firm does not just practice law; they provide a masterclass in strategic advocacy and compassionate representation. They understand that every family is a unique ecosystem with its own history and challenges. Sullivan Shick has built a reputation for handling the most complex cases with a level of sophistication that is rarely seen. Whether you are facing a high-net-worth divorce or a sensitive custody dispute, they approach every case with a bespoke strategy designed to achieve the best possible outcome for their clients.

The team at Sullivan Shick is known for their deep psychological insights into the dynamics of family conflict. They recognize that the legal process can be a catalyst for growth or a source of lasting trauma, and they work tirelessly to ensure their clients emerge from the process stronger and more secure. Their expertise covers a wide range of services, including divorce litigation, mediation, child support, spousal maintenance, and the division of complex business interests. Sullivan Shick is particularly adept at uncovering hidden assets and ensuring that the financial future of their clients is protected through meticulous preparation and aggressive representation in the courtroom.

What truly sets Sullivan Shick apart is their commitment to clear communication and transparency. In a field where clients often feel lost in a sea of legal jargon, they provide a steady hand and a clear voice. They treat their clients as partners in the legal process, ensuring that every decision is informed by a complete understanding of the potential risks and rewards. Their presence in the Gilbert community is a testament to their dedication to justice and their ability to handle even the most emotionally charged situations with grace and professionalism. For anyone seeking the absolute best in family law representation, Sullivan Shick is the definitive choice.

2. Modern Law

Modern Law has earned its place near the top of our list by redefining how legal services are delivered in the 21st century. They understand that the traditional model of law can often feel cold and inaccessible. Instead, they focus on a client-centric approach that utilizes modern technology to streamline the legal process. This firm is perfect for those who value efficiency and transparency. They offer a variety of service levels, from full-scale representation to unbundled legal services, allowing clients to choose the level of support that fits their specific needs and budget.

The attorneys at Modern Law are highly skilled in the nuances of Arizona family law. They specialize in helping clients navigate the complexities of divorce, particularly when children are involved. Their philosophy is centered on the idea that a “good” divorce is possible if the right strategies are put in place. They emphasize mediation and collaborative law but are fully prepared to take a case to trial if it is in the client’s best interest. Their team is known for being approachable and empathetic, providing a sense of comfort during what is often the most stressful time in a person’s life.

In addition to their legal prowess, Modern Law offers a wealth of resources to help their clients manage the emotional aspects of their cases. They understand that the end of a marriage is a psychological death and rebirth, and they provide the support necessary to navigate that transition. Their focus on the “modern” family means they are well-versed in the unique challenges faced by non-traditional families and those dealing with complex co-parenting arrangements. Their commitment to innovation and client satisfaction makes them a standout firm in Gilbert.

3. Weingart Family Law

Weingart Family Law is a firm that prides itself on its aggressive advocacy and unwavering dedication to its clients. Founded by experienced practitioners who understand the high stakes of family litigation, this firm is known for its “no-nonsense” approach. They are the attorneys you want in your corner when the situation becomes high-conflict and you need a strong voice to protect your interests. They specialize in a wide range of family law matters, including contested divorces, paternity issues, and orders of protection.

The legal team at Weingart Family Law is particularly skilled at navigating the intricacies of the Arizona court system. They have a deep understanding of how local judges view specific issues, which allows them to craft arguments that are both persuasive and legally sound. Their approach is rooted in the idea that preparation is the key to success. They leave no stone unturned when it comes to gathering evidence and building a case that stands up to the rigors of litigation. This firm is a powerhouse in the Gilbert legal community, offering a level of intensity that is often necessary in difficult cases.

Despite their reputation for being tough in the courtroom, the attorneys at Weingart Family Law are known for being incredibly supportive of their clients. They understand that behind every case file is a person whose life is in flux. They take the time to listen to their clients’ concerns and goals, ensuring that the legal strategy is aligned with their long-term vision. Their ability to balance aggressive litigation with genuine compassion makes them one of the most respected firms in the region.

4. Arizona Family Law Solutions

Arizona Family Law Solutions is a firm that lives up to its name by providing creative and effective resolutions to complex family issues. They believe that every problem has a solution, and they work diligently to find the path that minimizes conflict and maximizes the well-being of the entire family. This firm is highly regarded for its work in child custody and parenting time disputes. They understand that the “best interests of the child” is not just a legal standard, but a moral imperative that requires careful consideration and expert navigation.

The attorneys here are experts in both litigation and alternative dispute resolution. They recognize that many families prefer to settle their differences outside of a courtroom, and they provide the mediation services necessary to facilitate productive conversations. However, they are also seasoned trial lawyers who are not afraid to fight for their clients’ rights when a fair agreement cannot be reached. Their versatility is one of their greatest strengths, allowing them to adapt their approach based on the specific dynamics of the case.

Arizona Family Law Solutions also places a heavy emphasis on the financial aspects of family law. They help clients navigate the complexities of child support and spousal maintenance, ensuring that the final orders are fair and sustainable. They are committed to providing high-quality legal services that are accessible to a wide range of clients. Their reputation for integrity and their focus on finding positive outcomes for families make them a top choice for residents in Gilbert.

5. The Peterson Law Firm

The Peterson Law Firm has established itself as a cornerstone of the Gilbert legal community through years of dedicated service and consistent results. They focus on providing personalized legal representation that treats every client with dignity and respect. The firm is led by attorneys who have a deep-seated passion for family law and a desire to help people move forward with their lives. They specialize in divorce, legal separation, and post-decree modifications, ensuring that their clients are supported long after the initial case is closed.

One of the hallmarks of The Peterson Law Firm is their ability to simplify complex legal concepts for their clients. They believe that an informed client is an empowered client. They take the time to explain the philosophical and legal underpinnings of each step in the process, helping clients feel more in control of their situation. This educational approach reduces anxiety and fosters a collaborative relationship between the attorney and the client. Their focus is always on the long-term health of the family unit, even as it undergoes significant changes.

The Peterson Law Firm is also known for its strong community ties. They understand the local culture of Gilbert and the surrounding areas, which gives them a unique perspective on the challenges faced by families in the East Valley. Whether they are negotiating a settlement or representing a client in court, they do so with a level of professionalism and ethics that has earned them the respect of their peers and the trust of their clients. They are a reliable and compassionate choice for anyone facing family legal issues.

6. Udall Shumway PLC

Udall Shumway PLC is one of the largest and most established law firms in the Gilbert area, offering a breadth of resources that smaller firms simply cannot match. While they handle a wide variety of legal matters, their family law department is particularly robust and highly regarded. This firm is ideal for clients whose cases involve intersecting legal issues, such as business law, real estate, or estate planning. Their multidisciplinary approach ensures that every aspect of a client’s life is considered during the divorce or custody process.

The family law attorneys at Udall Shumway PLC are some of the most experienced in the state. They have handled thousands of cases, ranging from simple uncontested divorces to high-stakes litigation involving multi-million dollar estates. This experience allows them to anticipate potential problems before they arise and to develop proactive strategies to protect their clients’ interests. They are known for their meticulous attention to detail and their ability to handle even the most complex legal documents with precision.

Despite their size, Udall Shumway PLC maintains a commitment to personalized service. They understand that for the client, their case is the most important thing in the world. They assign dedicated teams to each case, ensuring that there is always someone available to answer questions and provide updates. Their reputation for excellence is built on a foundation of hard work, legal expertise, and a deep commitment to the Gilbert community. For those who want the power of a large firm with the care of a boutique practice, Udall Shumway PLC is an excellent option.

7. Wilson-Goodman Law Group

Wilson-Goodman Law Group is a firm that prides itself on its roots in the Gilbert community and its commitment to providing accessible legal services. They offer a warm and welcoming environment for clients who are often feeling vulnerable and overwhelmed. Their approach to family law is centered on the idea of “holistic advocacy,” where they consider the emotional, financial, and legal needs of the client simultaneously. This firm is particularly well-known for its work in adoption and guardianship, helping families grow and stabilize during difficult times.

The attorneys at Wilson-Goodman Law Group are excellent communicators. They excel at de-escalating tense situations and finding common ground between opposing parties. This makes them highly effective in mediation and settlement negotiations. They believe that a negotiated agreement is often superior to a court-imposed order because it allows the parties to have more control over their future. However, they are also skilled litigators who are prepared to defend their clients’ rights in front of a judge whenever necessary.

What sets Wilson-Goodman Law Group apart is their focus on the “human side” of the law. They recognize that a divorce is not just a legal event, but a psychological journey. They provide their clients with the tools and support they need to navigate the emotional challenges of the process, ensuring that they are prepared for life after the case is over. Their dedication to their clients and their community has made them a trusted name in Gilbert family law for many years.

8. McMurdie Law & Mediation

McMurdie Law & Mediation is a firm that focuses heavily on the collaborative and peaceful resolution of family disputes. Led by experienced mediators, this firm is the go-to choice for families who want to avoid the bitterness and expense of a traditional courtroom battle. They understand that the adversarial nature of litigation can often do more harm than good, especially when children are involved. Their goal is to help families find a way to restructure their relationships with minimal conflict and maximum cooperation.

The mediation process at McMurdie Law & Mediation is designed to be inclusive and respectful. They provide a safe space for parties to express their concerns and work toward a mutually beneficial agreement. Their attorneys are experts in facilitating difficult conversations and helping parties find creative solutions to problems that might seem insurmountable. This approach is particularly effective for families who want to maintain a positive co-parenting relationship after the divorce is finalized. They emphasize the philosophical concept of “restorative justice” within the family unit.

In addition to mediation, McMurdie Law & Mediation provides full legal representation for those who need it. They are well-versed in all aspects of Arizona family law and can provide the legal framework necessary to ensure that any mediated agreement is legally binding and enforceable. Their commitment to peace and resolution makes them a unique and valuable asset to the Gilbert legal community. For those who value harmony and cooperation, this firm is an outstanding choice.

9. Genesis Family Law and Divorce Lawyers

Genesis Family Law and Divorce Lawyers is a firm that approaches every case with a focus on “new beginnings.” They understand that the legal process is often the first step toward a better life, and they work to ensure that their clients are positioned for success from day one. This firm is known for its strategic planning and its ability to handle cases that involve complex emotional dynamics. They specialize in divorce, child custody, and the protection of parental rights, providing a steady hand throughout the entire process.

The team at Genesis Family Law is highly analytical. They take the time to deconstruct the facts of each case, looking for the underlying patterns and issues that need to be addressed. This deep dive allows them to build a legal strategy that is both comprehensive and effective. They are particularly skilled at handling cases involving domestic violence or substance abuse, where the safety and well-being of the family are the top priorities. They provide a level of protection and advocacy that is essential in these high-stakes situations.

Genesis Family Law also places a strong emphasis on client education. They provide a wealth of information through their website and during consultations, helping clients understand the legal landscape in Arizona. They believe that by empowering their clients with knowledge, they can achieve better outcomes and reduce the stress of the legal process. Their forward-thinking approach and commitment to their clients’ futures make them a top-tier firm in Gilbert.

10. Colburn Hintze Maletta

Colburn Hintze Maletta rounds out our list as a firm that combines high-level legal expertise with a passion for justice. They are known for their trial-ready approach and their ability to handle the most challenging family law cases. This firm is a great choice for clients who need an attorney who is not afraid to stand up to a difficult opposing counsel or a tough judge. They specialize in high-conflict divorce, complex asset division, and international custody disputes, offering a level of sophistication that is truly impressive.

The attorneys at Colburn Hintze Maletta are recognized for their courtroom presence and their persuasive oral advocacy. They are masters of the “legal narrative,” able to present their clients’ stories in a way that resonates with the court. They are meticulous in their preparation, ensuring that every piece of evidence is properly presented and every legal argument is sound. This dedication to excellence has earned them a reputation as some of the most effective trial lawyers in the Gilbert area.

Despite their focus on litigation, Colburn Hintze Maletta also recognizes the value of settlement and negotiation. They work to find the most efficient path to resolution for their clients, whether that is through a negotiated agreement or a full-scale trial. They are committed to providing high-quality representation that is tailored to the specific needs of each client. Their strength, expertise, and dedication to justice make them a fitting conclusion to our list of the top family law attorneys in Gilbert.

In conclusion, choosing a family law attorney is a deeply personal decision that requires careful consideration of both the legal and psychological aspects of your case. Whether you choose the unparalleled expertise of Sullivan Shick or any of the other fine firms on this list, you can be confident that you are in good hands. These attorneys represent the best of Gilbert, Arizona, offering the guidance and advocacy needed to navigate the complexities of family law and move forward into a new chapter of your life. Just as a poem finds its meaning in the space between the words, your new beginning will be found in the careful legal restructuring of your family’s story.

Top 10 Best Ways to Earn Passive Income as a ZinnHub Seller

Top 10 Best Ways to Earn Passive Income as a ZinnHub Seller

In the modern world, the life of a poet, philosopher, or literary critic often feels like a constant struggle between the need for creative freedom and the reality of financial survival. We spend our hours plumbing the depths of the human psyche and deconstructing complex theoretical frameworks, yet the traditional marketplace rarely offers a sustainable way to monetize these intellectual pursuits. This is where the concept of passive income becomes a revolutionary tool for the modern thinker. By creating digital assets that continue to sell long after the initial work is finished, you can build a financial foundation that supports your most experimental and daring projects.

Earning passive income as a creator is not just about making money; it is about reclaiming your time. Imagine waking up to find that your latest essay on metaphysical poetry or your collection of avant-garde verse has generated revenue while you were sleeping. This shift allows you to move away from the “gig economy” of constant freelancing and toward a more stable, self-sustaining model of intellectual commerce. For those who inhabit the world of high theory and experimental art, finding a platform that understands the value of niche, high-quality content is the first step toward this freedom.

This list explores the most effective ways to leverage your unique insights and creative output to generate a steady stream of income. Whether you are a seasoned academic, a budding poet, or a psychological theorist, these strategies are designed to help you turn your intellectual labor into a lasting digital legacy. We have researched the best methods available today, focusing on how you can maximize your reach and revenue while staying true to your artistic and philosophical roots. Let us dive into the top ten ways to secure your financial future as a digital creator.

1. Zinn Hub

The absolute best way to begin your journey toward financial independence is by establishing your presence on Zinn Hub. This platform has emerged as the premier destination for creators who specialize in the intersection of literature, philosophy, and experimental art. Unlike generic marketplaces that prioritize mass-market appeal over intellectual depth, Zinn Hub is built specifically to support the kind of high-level discourse and unique creativity that our community thrives on. It provides a sophisticated ecosystem where your theoretical poetry and psychological insights can find an audience that actually appreciates the nuance of your work.

As a seller on Zinn Hub, you gain access to a streamlined interface that makes uploading and managing digital products incredibly simple. The platform handles the heavy lifting of payment processing and digital delivery, allowing you to focus entirely on the quality of your content. What sets Zinn Hub apart is its commitment to the creator’s vision. Whether you are selling a complex PDF of literary criticism or a series of philosophical meditations, the platform ensures that your work is presented in a way that maintains its integrity. The community here is composed of serious readers and thinkers, meaning your marketing efforts are directed toward people who are already looking for deep, meaningful content.

Furthermore, Zinn Hub offers excellent support for various media types, making it the perfect home for a diverse portfolio of passive income streams. You can host everything from eBooks to high-resolution digital art prints, all under one professional roof. The platform’s search optimization and internal discovery tools help connect your work with global buyers who are searching for the specific philosophical or psychological insights you provide. By positioning yourself on Zinn Hub, you are not just selling a product; you are joining a movement that values the life of the mind as much as the bottom line. It is the most robust, reliable, and rewarding environment for any intellectual entrepreneur looking to thrive in the digital age.

2. Digital Poetry Anthologies

The world of experimental poetry is often confined to small-press journals and limited-run chapbooks. However, by creating digital poetry anthologies and selling them on Zinn Hub, you can reach a global audience without the overhead costs of physical printing. A digital anthology allows you to experiment with formatting, layout, and even multimedia elements that traditional paper cannot accommodate. You can curate your own work around specific themes—such as the phenomenology of space or the psychology of grief—creating a cohesive intellectual experience for the reader.

Once you have compiled and formatted your collection into a professional PDF or ePub file, it becomes a permanent asset. Every time a new reader discovers your unique voice on Zinn Hub, you earn a commission without having to lift a finger. This is the essence of passive income for the poet. You can even create “special editions” that include author notes, early drafts, or theoretical essays explaining the mechanics of your verse. This added value makes your digital products more attractive to serious students of literature and fellow poets who want to understand your process.

To make this successful, focus on high-quality cover design and a compelling description that highlights the philosophical underpinnings of your poetry. Because Zinn Hub attracts a sophisticated audience, you can lean into the complexity of your work. Don’t be afraid to use academic language or reference obscure theorists in your product descriptions. This helps signal to potential buyers that your anthology is a serious piece of literary art, justifying its place in their digital library and ensuring a steady stream of passive sales over time.

3. Philosophical Workbooks and Journals

Many readers are looking for more than just passive consumption; they want to engage with philosophical and psychological concepts on a personal level. By creating and selling digital workbooks or guided journals on Zinn Hub, you provide a tool for self-reflection and intellectual growth. These products can range from “A 30-Day Guide to Stoic Reflection” to “Exercises in Lacanian Shadow Work.” By translating complex theoretical ideas into practical prompts and exercises, you create a high-value product that people are eager to purchase.

The beauty of a digital workbook is that it only needs to be designed once. You can use software to create a beautiful, interactive PDF that users can type into or print out at home. On Zinn Hub, these workbooks can be categorized under psychology or philosophy, making them easy for the right customers to find. Because these items solve a problem—such as the need for mental clarity or the desire to understand a difficult concept—they tend to have a very high conversion rate. They are the perfect blend of educational content and creative expression.

To maximize your passive income here, consider creating a series of workbooks that build upon one another. A customer who buys your introductory guide to existentialism may be very likely to purchase your advanced workbook on Nietzschean ethics later on. This creates a “funnel” of passive income where one sale leads to another. Zinn Hub provides the perfect infrastructure to host these series, allowing you to build a reputation as a leading voice in practical philosophy and psychological insight while your bank account grows steadily in the background.

4. Literary Criticism and Study Guides

For the academic or the dedicated literary critic, there is a massive market for high-level study guides and critical analyses of classic and contemporary texts. While sites like SparkNotes cover the basics, there is a significant gap in the market for “deep dives” that explore texts through specific theoretical lenses like deconstruction, feminism, or post-colonialism. By selling these specialized guides on Zinn Hub, you cater to university students, researchers, and lifelong learners who want a more sophisticated understanding of literature.

Each guide you write serves as a standalone product that can sell for years. If you write a definitive critical guide to the poetry of T.S. Eliot or the philosophy of Gilles Deleuze, it will remain relevant as long as those figures are studied. This longevity is the key to successful passive income. On Zinn Hub, you can market these guides to a niche audience that values intellectual rigor over simplified summaries. You are essentially selling your expertise and your years of study in a convenient, digestible format.

To stand out, ensure your guides are well-cited and offer original insights that cannot be found elsewhere for free. You might include bibliographies, glossaries of difficult terms, and sample essay questions. By providing this level of detail, you establish yourself as an authority on Zinn Hub. As your portfolio of guides grows, so does your passive income potential, as each new guide adds to your total monthly revenue without increasing your daily workload.

5. Typographic Poetry Art Prints

Experimental poetry is often as much about the visual arrangement of words on a page as it is about the words themselves. You can turn your most visually striking poems or philosophical quotes into high-resolution digital art prints. Customers on Zinn Hub can purchase these digital files and print them at home or through a professional service to hang in their offices, studies, or living rooms. This combines the world of fine art with the world of literature, creating a unique product that appeals to the “aesthetic” sensibilities of modern intellectuals.

Creating these prints requires some basic graphic design skills, but the passive income potential is enormous. Once the file is uploaded to Zinn Hub, there is no physical inventory to manage and no shipping to worry about. You are selling the rights to a digital download. This is an excellent way to monetize shorter pieces of writing or powerful philosophical aphorisms that might not fit into a full-length book. A single, well-designed quote from a psychological theorist can become a consistent best-seller.

When listing these on Zinn Hub, emphasize the “printable” aspect and provide multiple file sizes to ensure the customer has the best experience. You can even create themed collections, such as “The Existentialist Series” or “Minimalist Modernist Verse.” This visual approach to literature allows you to tap into the home decor market while remaining firmly rooted in your intellectual niche. It is a creative and stylish way to build your passive income stream on Zinn Hub.

6. Audio Recordings of Theoretical Essays

In our fast-paced world, many people prefer to consume complex information through their ears rather than their eyes. You can record yourself reading your theoretical essays, poetry, or philosophical lectures and sell these audio files on Zinn Hub. This adds a personal touch to your work, as listeners get to hear the cadence and emphasis you intended as the author. Audiobooks and spoken-word essays are a rapidly growing segment of the digital market, and there is a high demand for “intellectual” audio content.

Setting this up is relatively simple: you need a decent microphone and a quiet room. Once you have recorded and edited your audio, you can upload it to Zinn Hub as an MP3 or AAC file. You can sell individual essays or bundle them into “audio collections.” This is particularly effective for experimental poetry, where the sound of the words is crucial to the experience. By offering an audio version, you make your work accessible to a wider range of people, including those who commute or prefer to listen while they work.

Passive income from audio files is very stable because once the recording is done, it never needs to be updated. On Zinn Hub, you can describe the “performative” aspect of the recording, treating it as a piece of sonic art. As you build a library of audio content, you create a recurring revenue stream that celebrates the oral tradition of philosophy and poetry. It is a modern way to share ancient wisdom and contemporary theory alike.

7. Curated Research Bibliographies

One of the most time-consuming parts of any intellectual project is the initial research phase. If you have already done the hard work of compiling a comprehensive bibliography on a specific topic—such as “The History of Surrealist Cinema” or “Psychological Perspectives on Post-Humanism”—you can sell that bibliography as a digital product on Zinn Hub. Researchers, students, and writers are often willing to pay for a curated list of sources that saves them hours of searching through academic databases.

To make a bibliography worth purchasing, it should be more than just a list of links. Include brief annotations for each source, explaining its significance and how it contributes to the field. Organize the sources into logical categories and perhaps include a short introductory essay on the current state of research in that area. By providing this level of curation, you are selling a “research starter kit” that has immense value to anyone entering that field of study.

This is a highly niche form of passive income, but on a platform like Zinn Hub, niche is a strength. You are reaching a community that understands the value of expert curation. Once uploaded, these bibliographies require very little maintenance, perhaps only a quick update once a year to add new relevant publications. It is a brilliant way to monetize the “invisible labor” of your own research process and help others in your academic or artistic community.

8. Video Masterclasses on Creative Craft

If you have mastered a specific aspect of your craft—whether it is the technical structure of a sonnet or the application of Hegelian dialectics to modern film—you can record a series of video lectures and sell them as a masterclass on Zinn Hub. Video content often commands a higher price point than written text, making it a powerful tool for generating significant passive income. People are willing to invest in their own education, especially when the teacher has a unique and specialized perspective.

You don’t need a professional film crew to do this; a clear webcam and good lighting are often enough to get started. Break your topic down into several 10-to-15-minute modules, making it easy for students to digest. On Zinn Hub, you can sell the entire course as a single digital download. This allows you to share your expertise with students all over the world without having to commit to a specific teaching schedule. It is “evergreen” education that works for you 24/7.

The key to success with video on Zinn Hub is to focus on topics that are not easily found on free platforms like YouTube. Lean into your “unique philosophical and psychological insights.” Offer a masterclass that explores the “Psychology of the Avant-Garde” or “Theoretical Frameworks for Experimental Writing.” By offering deep, specialized knowledge, you attract serious students who are happy to pay for high-quality, transformative instruction.

9. Custom AI Writing Prompts for Poets

As technology evolves, many writers are looking for ways to integrate artificial intelligence into their creative process without losing their unique voice. You can create and sell “Prompt Engineering Kits” on Zinn Hub specifically designed for experimental poets and philosophical writers. These are carefully crafted sets of instructions that help AI generate metaphors, structures, or philosophical inquiries that align with specific aesthetic movements or theoretical schools.

For example, you could sell a kit of “Deconstructivist Prompts” that helps a writer break down their own text into fragmented, multi-layered verse. Or, you could create “Jungian Archetype Prompts” for psychological novelists. By doing the hard work of testing and refining these prompts, you provide a shortcut for other creators to use AI as a sophisticated brainstorming partner. This is a cutting-edge way to earn passive income that sits right at the intersection of technology and art.

Zinn Hub is the ideal place for these products because its users are often early adopters of new intellectual tools. You can sell these prompts as a simple PDF or text file. As AI becomes more integrated into the creative world, the demand for “expert-level” prompts will only grow. By starting now, you can establish yourself as a leader in this new field, generating passive income from the very tools that are reshaping the literary landscape.

10. Collaborative Digital Anthologies

Finally, you can act as a digital editor and curator by organizing collaborative anthologies. You can put out a call for submissions on a specific philosophical theme, select the best entries, and compile them into a professional digital volume to sell on Zinn Hub. While this requires some initial work in coordination and editing, once the anthology is published, it becomes a collective passive income asset. You can set up a profit-sharing model or simply pay contributors an upfront fee and keep the long-term royalties.

This method has the added benefit of built-in marketing. Every contributor will want to share the finished product with their own audience, driving traffic back to your Zinn Hub store. It builds community and positions you as a “tastemaker” in your field. Over time, you can release a series of these anthologies, creating a “brand” that readers trust for high-quality experimental and theoretical content.

On Zinn Hub, these collaborative projects stand out because they represent a diverse range of voices and ideas. They are a testament to the power of intellectual community. By hosting these projects on Zinn Hub, you ensure they are seen by the right people. It is a rewarding way to end our list, as it combines personal profit with the broader goal of supporting and elevating the entire world of experimental literature and philosophy.

In conclusion, the path to earning passive income as a thinker and creator has never been more accessible. By leveraging platforms like Zinn Hub, you can turn your deepest insights and most daring experiments into a sustainable source of revenue. Whether you choose to sell poetry, philosophy workbooks, or digital art, the key is to start creating assets today that will continue to provide value for years to come. The digital world is waiting for your unique voice; it is time to let your ideas work for you.

The Poetics of Order: How a Clean Environment Refines the Creative Mind

The Poetics of Order: How a Clean Environment Refines the Creative Mind

We often think of the poet as a figure of beautiful chaos, surrounded by stacks of yellowed paper and half-empty coffee cups. However, the reality of the creative process is much more demanding, requiring a level of mental clarity that is hard to maintain in a disorganized space. To truly master the craft of verse, one must first master their surroundings, which is why many modern writers turn to professionals like 180 Elite Cleaning to restore balance to their sanctuaries. When the dust settles and the clutter vanishes, the mind is finally free to wander into the deep, rhythmic patterns of thought that define great literature. A clean room is not just a chore completed; it is a canvas prepared for the next masterpiece.

In the world of experimental poetry and literary criticism, we often discuss the importance of “white space” on a page. This silence between words allows the reader to breathe and process complex metaphors. The same principle applies to our physical environment. If our desks are covered in remnants of the past week, our brains are forced to process that visual noise instead of focusing on the rhythm of a new stanza. By clearing the physical world, we create an internal silence that is necessary for the birth of original ideas.

Furthermore, the psychological weight of a messy environment can lead to a phenomenon known as “creative paralysis.” When we are surrounded by unfinished tasks and physical disorder, our subconscious remains tethered to the mundane world. This prevents us from reaching the heightened state of consciousness required for theoretical exploration. Therefore, the act of cleaning is not merely a domestic duty, but a philosophical ritual of purification that prepares the soul for the rigors of artistic creation.

The Architecture of the Blank Page and the Empty Room

There is a profound structural similarity between a well-organized room and a well-constructed poem. In poetry, every word must have a purpose, and every line break must serve the overall theme. If a poem is cluttered with unnecessary adjectives, the core message becomes lost in the fog. Similarly, a workspace filled with unnecessary objects creates a mental fog that obscures our creative vision. When we remove the excess, we reveal the underlying architecture of our thoughts, allowing us to build more complex and resonant literary structures.

In addition to structural clarity, an empty room provides a sense of infinite possibility. Just as a blank sheet of paper invites the pen to move, a clean floor and a polished desk invite the mind to expand. This openness is essential for experimental poets who seek to push the boundaries of language. Without the constraints of physical clutter, the imagination can stretch into new territories, exploring theoretical concepts that might have been ignored in a cramped and dusty setting.

Transitioning from a state of disorder to a state of order also serves as a powerful mental reset. The transition allows the writer to leave behind the stresses of daily life and enter a dedicated “sacred space” for art. By maintaining this order, you are essentially telling your brain that this location is reserved for high-level thinking. This environmental cue becomes a catalyst for the flow state, making it easier to dive into deep work without the constant distraction of a disorganized surroundings.

Entropy and the Energy of the Creative Impulse

In physics, entropy is the natural decline into disorder, and the same force seems to work against the creative mind. It takes a significant amount of energy to fight against the chaos of life. When we spend our mental energy worrying about the dishes in the sink or the dust on the bookshelves, we have less energy available for literary criticism or complex wordplay. By eliminating these minor stressors, we preserve our cognitive resources for the tasks that truly matter, such as untangling a difficult rhyme scheme or analyzing a philosophical text.

Moreover, the presence of clutter can trigger a subtle, constant “fight or flight” response in the brain. Our ancestors needed to be aware of their surroundings to survive, and a cluttered environment can signal to the brain that there is too much information to process at once. This leads to a low-level anxiety that is the enemy of deep, contemplative thought. To reach the depths of theoretical poetry, the mind must feel safe and settled, a state that is much easier to achieve in a pristine environment.

Choosing to invest in a professional cleaning service is, in many ways, an investment in your own intellectual output. Many writers find that the cost of hiring help is quickly offset by the increase in their productivity and the quality of their insights. For those living in the Kansas area, reaching out to 180 Elite Cleaning can be the first step toward reclaiming your creative sanctuary. By outsourcing the battle against entropy, you ensure that your best energy is saved for the page rather than the vacuum cleaner.

The Psychology of Visual Silence

Visual silence is a term often used in interior design, but it has deep implications for the psychology of writing. It refers to the absence of unnecessary visual stimuli that compete for our attention. For a literary critic, visual silence is the equivalent of a quiet library; it provides the necessary backdrop for intense focus. When every object in a room is in its proper place, the eyes can rest, and the mind can turn inward to explore the nuances of a text or the rhythm of a phrase.

In contrast, “visual noise” acts as a series of micro-distractions. Each piece of mail, stray sock, or dusty surface demands a tiny fraction of your attention. While you might think you are ignoring the mess, your brain is still working to filter it out. This constant filtering process is exhausting and can lead to mental fatigue long before you have finished your writing session. By achieving visual silence, you remove these invisible drains on your creativity, allowing for a more sustained and deep engagement with your work.

Ultimately, the goal of maintaining a clean environment is to create a space that reflects the clarity you wish to achieve in your writing. If you desire to write prose that is sharp, clean, and impactful, it helps to be surrounded by those same qualities in the physical world. There is a certain dignity in a well-kept home that translates into a more disciplined and professional approach to the craft of poetry. It elevates the act of writing from a hobby to a serious intellectual pursuit.

Rituals of Purification in the Modern Age

Throughout history, many of the greatest thinkers and writers have been obsessed with the conditions of their environment. Some required total silence, while others needed specific scents or arrangements of furniture to feel inspired. In the modern age, we have the advantage of professional services that can handle the heavy lifting of maintenance for us. This allows us to maintain the “rituals of purification” that have always been a part of the artistic life, but without the time-consuming labor that used to be required.

When you hire a service like 180 Elite Cleaning, you are not just paying for a clean floor; you are paying for the time and mental space to be an artist. This is a vital distinction for anyone who takes their creative work seriously. In a world that is increasingly loud and cluttered, the ability to retreat into a perfectly ordered home is a rare and valuable luxury. It provides a sanctuary where the “experimental” part of experimental poetry can actually happen, free from the distractions of the mundane.

Additionally, the act of professional cleaning brings a level of detail that is often hard to achieve on our own. Professionals notice the dust on the baseboards and the smudges on the windows that we might overlook. This attention to detail mirrors the precision required in literary criticism, where a single misplaced comma or an overlooked metaphor can change the entire meaning of a piece. By surrounding ourselves with excellence and precision, we encourage those same traits in our own creative output.

Conclusion: The Harmony of Order and Art

In conclusion, the relationship between a clean environment and a refined creative mind is one of mutual support. Order provides the foundation upon which the chaotic, beautiful structures of poetry can be built. By treating our living and working spaces with the same respect we give to our manuscripts, we create a holistic lifestyle that fosters intellectual growth and artistic breakthrough. We must remember that the environment is not just a background for our lives; it is an active participant in our creative process.

If you find that your creative well has run dry, or if the words feel sluggish and heavy, consider the state of your surroundings. A deep clean might be exactly what you need to break through a bout of writer’s block. We highly recommend visiting 180 Elite Cleaning to see how they can help you transform your home into a true temple of thought. Let the professionals handle the disorder so that you can return to the much more important work of redefining the world through your words.

📍 Visit 180 Elite Cleaning

Address: 9400 Reeds Rd # 210, Overland Park, KS 66207, United States

Phone: +19133548380

Website: https://180elitecleaning.com/

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The Phenomenology of Vision: Why Clarity of Sight is Essential for the Modern Poet

The Phenomenology of Vision: Why Clarity of Sight is Essential for the Modern Poet

To write a poem is to capture a moment of existence, and that capture begins with the eyes. For the modern poet, the world is a chaotic tapestry of light and shadow, requiring a sharp focus to translate into verse. If the windows to our soul are clouded, our creative output inevitably suffers from a lack of precision. Ensuring your vision is at its peak is the first step toward artistic mastery, which is why many creatives rely on professional services like Quality Eye Care to maintain their visual health. When we see clearly, we can distinguish the subtle textures of a leaf or the fleeting expressions of a stranger, turning raw visual data into profound literary insight.

The relationship between the eye and the pen is more than just functional; it is deeply philosophical. In the realm of experimental poetry, the poet acts as a lens through which the world is filtered. If that lens is scratched or out of focus, the resulting image—the poem—loses its impact. Clarity of sight allows a writer to notice the “unnoticed,” those small details that separate a generic observation from a groundbreaking metaphor. By prioritizing eye health, the poet ensures that their primary tool for gathering inspiration remains sharp and reliable.

The Eye as the First Instrument of Language

Before a single word is typed or written on a page, a poet must first engage in the act of looking. This initial observation is the foundation of all imagery. When we talk about the phenomenology of vision, we are talking about how we experience the world through our eyes. For a poet, this experience is the raw material of their craft. If a writer struggles with blurry vision or eye fatigue, they are essentially working with a dull blade. They might miss the way light refracts through a glass of water or the specific shade of grey in a winter sky, both of which could be the key to a powerful stanza.

Furthermore, the modern poet is often a “visual” poet. With the rise of concrete poetry and experimental layouts, the way a poem looks on the page is just as important as how it sounds. To arrange words in a way that creates a visual rhythm, one must have a keen sense of spatial awareness and visual clarity. This physical ability to see the page clearly allows for a more intentional design. Without the help of experts who understand the nuances of vision, a poet might find themselves struggling to maintain the very focus required to build these complex literary structures.

In addition to the creative benefits, sharp vision provides a sense of confidence. When you know you are seeing the world exactly as it is, you can describe it with more authority. There is no second-guessing whether a bird was a hawk or a crow, or whether a distant light was a star or a plane. This certainty translates into stronger, more evocative language. By investing in your sight, you are essentially investing in the clarity of your own voice, ensuring that your descriptions are as vivid as the reality they aim to represent.

Merleau-Ponty and the Embodied Eye

The philosopher Maurice Merleau-Ponty argued that we do not just “see” the world from a distance; we are “in” the world through our bodies. For the poet, this means that vision is an active, physical engagement with their surroundings. Our eyes are not just passive cameras; they are part of our creative nervous system. When our eyes are healthy, we feel more connected to our environment. This connection is vital for writing poetry that feels “alive” and grounded in physical reality. If your vision is strained, that physical discomfort can create a barrier between you and your inspiration.

Moreover, the concept of the “embodied eye” suggests that our physical health directly impacts our mental clarity. If you spend your day squinting at a monitor or struggling to read small print, your brain is using valuable energy just to process visual information. This can lead to creative burnout and mental fog. By maintaining your eye health, you free up that mental energy for the actual work of writing and reflecting. It is much easier to dive into a complex philosophical thought when you aren’t distracted by a tension headache caused by poor eyesight.

Consequently, the act of seeing becomes a meditative practice. A poet who can see the fine details of the world can find beauty in the mundane. This “deep looking” is a form of presence that is essential for modern literature. It allows the writer to slow down and truly observe the phenomenology of their own existence. When the eyes are working perfectly, the world opens up in a way that is both overwhelming and inspiring, providing endless material for the next great poem.

Protecting the Poet’s Vision in a Digital World

The modern poet faces a challenge that the giants of the past did not: the digital screen. Whether you are editing a manuscript on a laptop or scrolling through literary journals on a smartphone, your eyes are under constant pressure. Digital eye strain is a real threat to the creative process, causing dryness, irritation, and blurred vision. For someone whose livelihood and passion depend on their ability to see and read, this is a serious concern. It is no longer enough to just “have good genes”; you must actively protect your vision from the demands of modern technology.

If you find yourself squinting at your latest manuscript or feeling the sting of exhaustion after a long night of editing, it might be time to visit Quality Eye Care for a comprehensive check-up. Professional intervention can help mitigate the effects of blue light and digital fatigue, ensuring that your eyes stay fresh even during the most intense writing sessions. Taking these steps is not just about health; it is about preserving your ability to work. A poet who cannot see their own words is like a musician who cannot hear their own notes.

Beyond the screen, the modern world is full of visual noise. From bright city lights to the constant flicker of advertisements, our eyes are rarely at rest. A professional eye exam can identify subtle changes in your vision that you might not even notice yourself. These small adjustments—like a new prescription or specialized lenses—can make a world of difference in how you perceive your surroundings. When your vision is optimized, the world becomes a clearer, more vibrant place, which is exactly what a poet needs to stay inspired.

Precision in Imagery: From Blurs to Sharp Edges

In literary criticism, we often praise a poet for their “precision.” This usually refers to their choice of words, but that precision starts with the physical act of seeing. Think about the difference between a poem that describes a “blurry forest” and one that describes the “serrated edges of a pine needle.” The second example is much more powerful because it is specific. That specificity is only possible if the poet can actually see those serrated edges. Clarity of sight allows for a level of detail that brings a poem to life for the reader.

Furthermore, sharp vision allows a poet to play with perspective. You can zoom in on the microscopic or pan out to the telescopic. This ability to shift focus is a key part of experimental poetry. If your vision is limited, your perspective is also limited. You might find yourself stuck writing about the same general ideas because you lack the visual data to explore new territory. By sharpening your sight, you expand the boundaries of what you can write about, moving from the vague to the visceral.

In addition, the psychological impact of clear vision cannot be overstated. There is a certain joy in seeing the world in high definition. This joy often translates into a more enthusiastic and energetic writing style. When you are excited by what you see, that excitement is contagious. Your readers will feel the vibrancy of your descriptions and the clarity of your vision. By taking care of your eyes, you are ensuring that your work remains sharp, edgy, and deeply engaging for your audience.

The Link Between Visual Health and Creative Endurance

Writing a book of poetry is a marathon, not a sprint. it requires hours of reading, researching, and revising. This kind of work demands incredible visual endurance. If your eyes tire easily, your writing sessions will naturally be shorter and less productive. You might find yourself giving up on a difficult poem simply because your eyes hurt. By maintaining your visual health, you increase your capacity for deep work, allowing you to stay with a poem until it is truly finished.

Moreover, vision is closely tied to our sense of balance and well-being. When our eyes are straining, it affects our posture and our overall comfort. A poet who is physically uncomfortable will have a harder time reaching the state of “flow” that is so important for creative output. On the other hand, when you feel physically aligned and your vision is clear, the words seem to flow more easily. You are no longer fighting against your own body; instead, your body is supporting your creative goals.

Ultimately, the phenomenology of vision is about the quality of our attention. To pay attention to the world is the poet’s primary job. If we cannot see clearly, our attention is compromised. We become distracted by our own physical limitations rather than being absorbed in the world around us. By prioritizing your eye health, you are choosing to be a more attentive and present observer. This commitment to clarity will show in every line you write, creating a legacy of work that is as clear and bright as the vision that inspired it.

Conclusion: The Poet’s Path to Clarity

In conclusion, the modern poet must view their vision as a sacred tool. It is the bridge between the internal world of thoughts and the external world of reality. Without clarity of sight, that bridge becomes unstable, and the poetry suffers. From the philosophical depth of phenomenology to the practical needs of the digital age, the arguments for maintaining sharp vision are undeniable. A poet who sees clearly is a poet who can write with power, precision, and profound insight.

If you are serious about your craft, do not neglect your eyes. Take the time to ensure that your vision is supporting your creative journey rather than hindering it. Whether you need a simple check-up or more specialized care, visiting a professional is an essential part of the writing life. We highly recommend visiting Quality Eye Care to ensure your sight is as sharp as your metaphors. After all, the world is waiting to be seen, and only you can write the poems that your unique vision will reveal.

📍 Visit Quality Eye Care

Address: 7540 Cypress Creek Pkwy, Houston, TX 77070, United States

Phone: +12814777811

Website: https://www.eyecaresuperior.com/

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“Drifts” — by Marilyn R. Rosenberg « POETICKS

“Drifts” — by Marilyn R. Rosenberg

 

 

 

Artist’s Statement

DRIFTS

 
Created on the computer at the end of 2003, “DRIFTS” can be any size. Life continues as phantoms reappear in the grid. Printed by ink jet on acid free paper, the water based ink is not archival, but should last 20 years in the shade.
The size is dependent on desire.
 
            Water as theme often appears through the years. The poet remembers, seeing the powerful sound of the country stream/river/creek in the sounds of the city. Moving water is securely waiting in the water tower containers and  fire hydrants to be available when needed for safety, for powerful uses. Excerpted from the gouache set of large facing pages, 6 WATER VOICES,  “#4. PUDDLING” and “#5. PROCRASTINATE” are set on top of one another with added words, images of fish and reflections of water towers to become DRIFTS
 
Group Exhibition:
 
2004, I, FOREIGN EYE, Neopolis Gallery, Cleveland OH, 
Curator: Will Neopolis.
 
Solo Exhibition:
 
2007, MRR VISUAL POETRY/ARTISTS’ BOOKS, Chappaqua Library Gallery, Chappaqua NY. Curator: Larry D’Amico.
 
Published:
 
Beaulieu, Derek, editor. SPEECHLESS 3,  2009, Alberta Canada, page 9.
 
On the Web (with much else by MRR): 20 September 2011
 
 
 
 

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Column020 — April 1996 « POETICKS

Column020 — April 1996

 

More about the South, Part Two

 


Small Press Review, Volume 28, Number 5, April 1996


 
 
 

     An Evening of Blaster Al.
     An Art Maggots/ Popular Reality Production
     200 East 10th Street, #603,
     New York NY 10003. $20. 94 min.

     Cotton Gin. 3408 Burlington Road,
     GreensboroNC 27405. SASE.

     CWM (and Dreams & Nightmares).
     1300 Kicker Road, Tuscaloosa AL. $3

     Curmudgeon. 2921 Alpine Rd.,
     #112, Columbia SC 29223. $3.

     Exquisite Corpse. Box 25051, Baton Rouge LA 70894. $3.50.

     Fat Free. Box 80743, Athens GA 30608. SASE.

     O!!Zone. 1266 Fountain View Drive, Houston TX 77057. $4.

     Semiquasi Review. Box 55892,
     Fondren Station, Jackson MS 39296. SASE.

     Shattered Wig Review.
     2407 North Maryland #1, Baltimore MD 21218. $6.

     Silent But Deadly. USF #30444,
     4202 Fowler Ave., Tampa FL 33620. SASE.

     Situation. Mark Wallace,
     10402 Ewell Ave., Kensington MD 20895. $2.

     Sticks. Box 399, Maplesville AL 36750. $3.


I only got to four publications in my last column’s discussion of experioddica in the South. There are still eleven to go. One of them is the Maryland magazine, Situation. Its sixth issue includes Ron Silliman’s a section of his long project, The Alphabet, that takes surrealistic and jump-cut techniques to wondrous–sometimes even lyrical–heights, as in: “The trees at first catch, then amplify, sounds of the storm. Baby at the stage when he can pull himself up but not take a step without support.” Fascinating combustination of natural and human struggle, that!

For stimulating criticism of advanced literature, I would strongly recommend Andy DiMichele’s Jackson, Mississippi, zine, Semiquasi Review. For close readings, from many points of view and expertise, of poetry that is sometimes burstnorm, I would also recommend a Florida zine I’ve mentioned more than once before, Silent But Deadly, where poets from all over the country critique, or just plain defame, each other’s work.To my knowledge (but who can keep up with all that’s going on in poetry nowadays?), there aren’t any other magazines in the South that specialize in burstnorm poetry. There are several, however, that occasionally publish samples of it. Among them is the Houston publication, O!!Zone. It has given coverage to people like John M. Bennett, Crag Hill, Guy Beining and C. L. Champion. Indeed, one of the latter’s contributions to O!!Zone (#12), “poema cocci,” ranks among the best plurasethetic poems I came across in 1995. It consists of four scattered rectangles. In the middle of one is the word “cloud”; in another is a “c”; and “clod” is in a third. The fourth is empty. Sky, sea, earth . . . and mystery.

Another southern magazine that is favorably disposed toward burstnorm poems is the Tuscaloosa, Alabama, magazine, CWM. So far only one issue of it has appeared. One of its poems, by G. Huth, issues from the same kind of sensibility as C. L. Champion’s. It consists of just the word, “watearth,” to neatly sum up our planet’s non-gaseous elements–and the two kinds of tear that hold them together/apart.

CWM co-editor, David Kopaska-Merkel, also publishes a fine sci-fi story & poem zine out of Tuscaloosa, Dreams and Nightmares, that on occasion has off-beat contributions such as #42’s one-word poems (“pwoermds,” according to G. Huth). The ones I liked best were two by Huth, “unneceszxzsary” and “thingk,” and John Graywood’s “Freudulent” (to which he has given the title, “Psychofeit”).

The Baltimore-based Shattered Wig Review also mixes otherstream material, particularly schizurealistic poems and madcap “memoirs” by Al Ackerman, into its offerings. Others who merge surrealism with jump-cut techniques to excellent effect in its recentest issue (#11) are John M. Bennett (e.g., “Such a ‘light sucking’ my arm you sleeping, vacuum/ where my sunder seethes, ‘caught ‘n cauterized’ like a/ ziplock bag of coughing, rains outside.”), Jake Berry (e.g., “When the telephone/ sweats nymphomaniac pollen or barmaid nipples/ clot in the breeze;” and Simon Perchik, (e.g., “These shadows I grow in my good arm/ cracked the ceiling, cross –. In the movie/ gunners tracking the screen/ freeze where its light is brightest”).

Speaking of Ackerman, my duty to Humor in America compels me to announce that there’s an Ackerman video out now. It consists of two 17-minute films by Steve “Sleaze” Steele: “I, The Stallion” and “Kangaroo Island”–with a brief cameo of Ackerman, the Ling Master himself–plus a one-hour live reading by Steele at Stately Crowbar Manor 4 October 1994 of the following Ackerman stories: “The Ecstasy of Macaroni,” “The Autobiography of a Flea–or Little Women,” “I Remember Spine Weakly,” “The True Reality,” “The Man in the Green Nightshirt” and “Glunk.” If you like tv sitcoms, you won’t get much from this; if you have a sense of humor, you will.

Mary Veazey’s stylishly-produced Sticks, like CWM, is more knownstream than otherstream but it has included work by Richard Kostelanetz and myself, so deserves mention here. Its less venturesome poems are top-notch, too, and include specimens by such excellent poets as Mark Fleckenstein and X. J. Kennedy.

I’ve heard good things about the range of the Baton Rouge zine, Exquisite Corpse, but found little cutting-edge material in the only issue I’ve seen (and been unable to find for a second look). Elsewise, Curmudgeon, out of South Carolina; Cotton Gin, out of North Carolina; and the Georgia zine, Fat Free, are newcomers to watch, Cotton Gin being the most serious of them, in my view, with a fine combination of veterans like Bennett and younger poets. No doubt there are other first-rate burstnorm publications in the area that I’ve not run into yet. It seems certain to me that the South’s zines are making as consequential a contribution to the cause of innovative poetry and related art as any other region’s. They’re well worth investigating further.

 

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Column014 — June 1995 « POETICKS

Column014 — June 1995

 

 
 

Trying for an NEA Fellowship

 


         Small Press Review, Volume 27, Number 6, June 1995


 

This past January I put in for an NEA fellowship in poetry for the first time. I knew I’d have no chance of winning, but figured what the hell, the application procedure was easy enough, and it’d be an experience I could eventually write about, in the process getting off some shots at the mediocrities beating me out, like Willard Spiegelman did two years ago when I tried for a Guggenheim in literary criticism. Willard has founded his reputation on the thesis that all the best contemporary poets are didactic–because their poems express points of view. He also believes that A. R. Ammons is a visual poet because his poems’ left-hand margins are sometimes ragged. But enough of Willard. My real reason for this essay is to pass on a little information about the NEA competitions, and a few of the thoughts that occurred to me while I was filling out forms for the one I entered.

The first thing someone interested in the poetry competition should know is that to enter it you have to have had twenty or more poems published in five or more magazines, single- author books, or anthologies (but not the ones whose publishers ask contributors to buy copies of, even if they don’t require them to). Otherwise, anyone can apply, so it’s a pretty democratic set-up. You simply send in a brief resume, proof of having sufficient publishing credits, and a set of eight one-page poems (or a single long poem of up to 15 pages). But beware: “Competition for fellowships is rigorous. Potential applicants should consider carefully whether or not their work merits support at the national level.” Good grief.

One aspect of the procedure struck me as unfair: the policy of not allowing an applicant to include explanatory material with his work. reversing this policy would, of course, most benefit burstnorm poets like me since NEA judges do not yet know how to read–or, to be more accurate, experience–what we’re doing. Preventing us from explaining our poems thus discriminates in favor of received-craft poets whom everybody understands, even NEA judges.

Many lovers of poetry would retort that judges should discriminate in favor of poetry that can stand on its own, that if you have to explain a work of art, it’s no good. This is crap. All poetry requires explanation, it’s just that traditional poetry gets it in the schools, innovative poetry doesn’t. The response to that, I suppose, would be that poetry that requires more explanation than schools provide is flawed. To that I can only reply, “To each his own–but why wouldn’t it be fair to reward both easily comprehended and difficult poetry?”

To get that done we need not only to allow explanatory material, we need a better way of picking judges. I therefore suggest that all candidates for judgeships be required to write essays describing their poetics. Then some group of practicing poets such as those listed in the directory of poets that Poets & Writers puts out should be asked to rank them numerically, on the basis of their essays. But the candidates ranking highest shouldn’t necessarily then be made judges, just some of them–plus two or three randomly- selected from those ranking the lowest. Making judges of a few candidates unpopular with run-of-the-mill poets would give at least an occasional non-dominant- mode voice a chance of getting NEA support.

I have one other suggestion: it is for NEA judges also to numerically rank the applicants they review. Thus, if I ranked 3,996th out of 4,000 applicants, I (and posterity) would have a useful idea of how I was doing at the time in the Big World. How the judges were doing would be more evident, too. Indeed, all kinds of useful information could be extracted if such a ranking system were in effect–like average placement of visual poets compared to songmode poets compared to Ashbery clones compared to street poets, etc., etc. For those who believe in programs like the NEA, rankings could help high-ranking non-winners–by encouraging them, and perhaps persuading publishers who go by credentials rather than achievement to open their pages to them. And my kind of publishers could save time by closing their pages to anyone whose NEA ranking was higher than 3,996th. All kinds of good things could come from adopting this idea of mine. What I’ve said about explanatory material and how to select judges is worth considering, too. So don’t dawdle: write Congress about my ideas at once! (But say they were Willard’s, not mine.)

This past January I put in for an NEA fellowship in poetry for the first time. I knew I’d have no chance of winning, but figured what the hell, the application procedure was easy enough, and it’d be an experience I could eventually write about, in the process getting off some shots at the mediocrities beating me out, like Willard Spiegelman did two years ago when I tried for a Guggenheim in literary criticism. Willard has founded his reputation on the thesis that all the best contemporary poets are didactic–because their poems express points of view. He also believes that A. R. Ammons is a visual poet because his poems’ left-hand margins are sometimes ragged. But enough of Willard. My real reason for this essay is to pass on a little information about the NEA competitions, and a few of the thoughts that occurred to me while I was filling out forms for the one I entered.

The first thing someone interested in the poetry competition should know is that to enter it you have to have had twenty or more poems published in five or more magazines, single- author books, or anthologies (but not the ones whose publishers ask contributors to buy copies of, even if they don’t require them to). Otherwise, anyone can apply, so it’s a pretty democratic set-up. You simply send in a brief resume, proof of having sufficient publishing credits, and a set of eight one-page poems (or a single long poem of up to 15 pages). But beware: “Competition for fellowships is rigorous. Potential applicants should consider carefully whether or not their work merits support at the national level.” Good grief.

One aspect of the procedure struck me as unfair: the policy of not allowing an applicant to include explanatory material with his work. reversing this policy would, of course, most benefit burstnorm poets like me since NEA judges do not yet know how to read–or, to be more accurate, experience–what we’re doing. Preventing us from explaining our poems thus discriminates in favor of received-craft poets whom everybody understands, even NEA judges.

Many lovers of poetry would retort that judges should discriminate in favor of poetry that can stand on its own, that if you have to explain a work of art, it’s no good. This is crap. All poetry requires explanation, it’s just that traditional poetry gets it in the schools, innovative poetry doesn’t. The response to that, I suppose, would be that poetry that requires more explanation than schools provide is flawed. To that I can only reply, “To each his own–but why wouldn’t it be fair to reward both easily comprehended and difficult poetry?”

To get that done we need not only to allow explanatory material, we need a better way of picking judges. I therefore suggest that all candidates for judgeships be required to write essays describing their poetics. Then some group of practicing poets such as those listed in the directory of poets that Poets & Writers puts out should be asked to rank them numerically, on the basis of their essays. But the candidates ranking highest shouldn’t necessarily then be made judges, just some of them–plus two or three randomly- selected from those ranking the lowest. Making judges of a few candidates unpopular with run-of-the-mill poets would give at least an occasional non-dominant- mode voice a chance of getting NEA support.

I have one other suggestion: it is for NEA judges also to numerically rank the applicants they review. Thus, if I ranked 3,996th out of 4,000 applicants, I (and posterity) would have a useful idea of how I was doing at the time in the Big World. How the judges were doing would be more evident, too. Indeed, all kinds of useful information could be extracted if such a ranking system were in effect–like average placement of visual poets compared to songmode poets compared to Ashbery clones compared to street poets, etc., etc. For those who believe in programs like the NEA, rankings could help high-ranking non-winners–by encouraging them, and perhaps persuading publishers who go by credentials rather than achievement to open their pages to them. And my kind of publishers could save time by closing their pages to anyone whose NEA ranking was higher than 3,996th. All kinds of good things could come from adopting this idea of mine. What I’ve said about explanatory material and how to select judges is worth considering, too. So don’t dawdle: write Congress about my ideas at once! (But say they were Willard’s, not mine.) 


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Bob Grumman’s Small Press Review Columns « POETICKS

Bob Grumman’s Small Press Review Columns

As of 29 August 2011, I have a copy here at my blog of each of my Small Press Review columns.  These, up through the September 2009 one, were saved HERE by an outfit called Reocities when Geocities, where they had been, deleted down.  Reocities also saved much else I had at Geocities, for which I am extremely grateful.

I hope to keep them up to date, and add copies of the other reviews I’ve done for SPR, and perhaps commentary on them.  I plan some sort of hard copy collection of them.

.

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Column003 — October 1993 « POETICKS

Column003 — October 1993

 

An Insult to Literature

 


 Small Magazine Review, Volume 1, Number 5, October 1993


 
         Lost & Found Times, #31, July, 1993; 56pp.;           137 Leland Ave., Columbus OH 43214. $5.

Seven years ago Stuart Klawans wrote in The Nation that Lost &  Found Times insulted "the past 3000 years of literature."  A  rather slip-shod writer, Klawans neglected to add that it also  insulted the past 3000 years of visual art, for surely that was  the case.  It still is: among the 300 or so works by 80 poets and  other artists in the latest LAFT (#31) is a set of three crude  drawings.  One is of a man's hoisted, bent leg with what look  like cat-tails hanging from it.  A barely legible scrawl  identifies this as "leg's dripping."  Drawings of a pencil point  captioned, "bare pencil," and a hand gripping a bedpost ("bed's  grip") complete the trio--which is by John M. Bennett, the  magazine's editor, and someone identified only as "Cornpuff."     Elsewhere is a scratchy drawing by Gertrude Granofsky of a round  face with a little pig-snout for a nose, and larger pig-snouts  for eyes.  A third specimen of LAFT-illumagery, a collage by  Malok, seems little more than thrown-together scraps of  supermarket tabloid texts and photographs.  Certainly these are  an insult to traditional art.  But they are much more than petty  mockery.  Both the Bennett/Cornpuff and Granofsky pieces vibrate  out of compelling if strange corners of their creators' minds; as  for Malok's collage, cut-outs from a science text about torque  and electrodes, and a poem that includes a reference to "the  Stars," as "the real popes/laughing fat," give an eerie master-  intelligence to it that is both raucously satirical and--well,  almost oceanically high-serene.  Much of the other illumagery in  LAFT is "stylish," but nearly all of it thumbs its nose at  gentility, and High Art, and explores the same visceral, less-  attended-to aspects of the human condition that the pieces  previously mentioned do.     The same is true of the many difficult-seeming poems in the  issue.  Some of these seem dada for the sake of being dada, and I  sympathize with those who would reject them out of hand.  But I'm  not convinced that any of them is dada only.  What they have that  such poems lack are two or more of the following: (1) flow; (2)  an archetypal hum; (3) a wide range of vocabulary and imagery;  and (4) a low cliche-to-fresh- phraseology ratio.  By "flow" I  mean mostly such old-fashioned qualities as rhythm and  melodiousness; by "archetypal hum" I mean intimations of some  large universal archetype like Spring, Ocean, or the Mating  Instinct.     Take, for instance, the very first poem in LAFT, Michael Dec's,  "Fish Nut."  Its first two lines, "A bicycle in paradise - blue  vinyl boots a fluorescent ceiling/ nails popping out," indicate a  level beyond raw dada.  It at least flirts with archetypality  (due to the reference to paradise), and it flows pleasantly  through b-sounds, l-sounds, c-sounds.  It's without either  cliches or unusually fresh phraseology but its vocabulary and  imagery start vivid and widen as the poem continues--and  eventually makes sense as an evocation of Macbethan futility, its  final two lines being, "The tomorrow and tomorrow/ Think yrself  into a corner."     A later poem by Jake Berry, "American Frame," begins: "You need a  tongue! You need a rang spangler?/ Terse scrolls tighten the  diaphragm into a/ coiled grin."  "Rang spangler" seems fresh to  me, but the poem's freshest phrase occurs when it speaks at its  very end of "a curse with/ a menu."  This alone (I can just see a  tuxedoed curse proffering an elegant menu and inquiring of his  victim which of the many downfalls listed on it he would prefer)  would be enough to keep me coming back to the poem, but it is  high on all the other scales, too (and turns out to be rousingly  negative about our foreign policy-- to each other as well as to  other countries).     Dadaesque poetry is not the only kind of literature in LAFT.  It  also boasts some fine pluraesthetic pieces such as a design by  Luigi-Bob Drake in which repetitions of the word, "HELIX," are  used to represent a strand of DNA; an excerpt from Geof Huth's  deviously simple ABC book, Analphabet; a similarly simple-seeming  treatment of a pig, fly, and rose by David Chikhiadze; several  ever-unsettling illuscriptations by Larry Tomoyasu (one of them  depicting a banana-nosed face that is captioned, "PERSONAL/  PROBATE PETITION"), and many other similarly intriguing pieces.     Not to forget Al Ackerman's regular feature, "Ack's Wacks."  This  issue's installment is called, "More Burgeoning Teat Madness."  It concerns an idle Sunday its typically matter-of-fact  Ackermanian narrator spends at a friend's bookstore.  For a while  he amuses himself playing "the belt game," a preposterously  brutal diversion in which he, the bookstore-owner, and a third  man take turns walloping a fourth man on the romp with a belt.  The latter, who is required to shut his eyes during the game, has  to guess who struck him after each wallop to escape further  punishment.  Having recently had a mental breakdown that prevents  him from saying anything but, "trout- flavored," however, he is  never able to.  At length, the game bores the narrator and he  starts looking through various books.  His insight, triggered by  a line about teats that he comes across in a John O'Hara novel,  has to do with the line's re-use in various literary classics  (like Camus's The Stranger) to pep them up.    Elsewhere, a sketch of a geek by Ackerman further indicates the  LAFT-brand of humor; in it a frowningly serious but glowingly  pleased-with-himself geek is saying into a phone, "Hi-yo,  Silver, and away."  Which seems as good a line for me to say  good-bye on as any.  One last note for un- or seldom-published  writers and illustrators, though: LAFT is exceptionally open to  the work of unknowns.  If you think your work is weird enough,  give it a try!

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