Showing posts with label Theresa Rodriquez. Show all posts
Showing posts with label Theresa Rodriquez. Show all posts

Saturday, April 18, 2020

Poet Carol Smallwood Interviews Theresa Rodriguez




Shanti Arts LLC
ISBN: 978-1-951651-22-0 (print; softcover; perfect bound)
Released March 2020; $8.95; 48 pages
Order at Amazon
Author: Theresa Rodriguez
Author's Website: www.bardsinger.com

Interview by Carol Smallwood


Longer Thoughts is the third book of poetry by Theresa Rodriguez, a retired classical singer and voice teacher who holds a Bachelor of Arts in vocal music performance from Skidmore College and a Master of Music with distinction in voice pedagogy and performance from Westminster Choir College. A native Manhattanite, she now lives outside of Philadelphia. With deep emotion, Longer Thoughts presents poems on such topics as: love, beauty, mortality, aging, and theological questioning. "In fo "In fourteen lines, her sonnets in particular are able to communicate what takes essayists and writers thousands of wordsines, her sonnets in particular are able to 

 Smallwood: Why did you call your new collection Longer Thoughts? 


As opposed to my previous collection of sonnets, Longer Thoughts contains many longer poems in a variety of forms as well as free verse. It is a small collection but diverse in its range of subjects.


Smallwood: When did you begin writing poetry? Do you do other kinds of writing also?

I am sure I began writing poetry in earnest when I was about ten and by high school had some poems published in my school's literary magazine. In addition to poetry, I have written articles for Classical Singer Magazine on a myriad of topics of interest to classical singers. When I was a young mother I wrote a book entitled Diaper Changes: The Complete Diapering Book and Resource Guide and had articles about cloth diapering published by various parenting magazines. My book When Adoption Fails explores my life story as an adoptee in a dysfunctional adoptive situation. In Warning Signs of Abuse: Get Out Early and Stay Free Forever I provide encouragement and instruction to women in abusive relationships. I am sure I have a few more books inside of me yet to come! I have also begun writing book reviews as well.

  
Smallwood: What are the classical poetry forms that appear in Longer Thoughts and what did Evan Mantyk of the Society of Classical Poets comment about your sonnets? 

In Longer Thoughts I have included the villanelle, rondeau, triolet, ode and sonnet forms, in addition to free verse. Of my sonnets Mr. Mantyk has said, “In fourteen lines, her sonnets in particular are able to communicate what takes essayists and writers thousands of words.” I have endeavored to branch out to other forms while maintaining my inclination towards the sonnet. I have also begun writing in the Petrarchan, rather than mainly Shakespearean, sonnet form and have some examples of this in Longer Thoughts.


Smallwood: How do you use symbolism and imagery in Longer Thoughts?

There are three poems in particular that use symbolism and imagery in Longer Thoughts. In the poignant free verse “China Crystal Fairy” I describe a “delicate fairy creature” which symbolizes a particularly fragile relationship that I had broken apart though my own clumsiness. In another free verse entitled “Full Circle” I use the imagery of a tree and the fullness of its life cycle to symbolize the aging process. In the sonnet “The Rise of Fall” I also reflect on the aging process by comparing its phases to the four seasons.


Smallwood: What are some magazines your poetry has appeared?

My poetry has appeared in the Midwest Poetry Review, the Journal of Religion and Intellectual Life, an Anabaptist publication entitled Leaf MagazineThe Road Not Taken: A Journal of Formal Poetry, Mezzo Cammin: An Online Journal of Formalist Poetry by WomenSpindrift, the Shakespeare Oxford Fellowship, and the Society of Classical Poets.



Smallwood: Please tell readers about your activities with the Society of Classical Poets:


My work began appearing with the Society of Classical Poets in 2014. In June of 2019 I and three other poets—James Sale, James B. Nicola, and Mark Stone—participated in a poetry reading at Bryant Park in New York City where we each read from American poets including Poe's “The Raven” and then read selections of our own work. This year I am one of four featured poets who will be reading at the 2020 Society of Classical Poets Symposium. My background as a classical singer has given me the ability to render my spoken poetry in an interesting and engaging way without being overly dramatic.



Smallwood: One of your poems is about keeping a journal. When did you begin writing one and how does it help:

My first poems began appearing as diary entries in junior high school. As I mention in the sonnet “My Journal,” the place where I write is “a sanctuary, hallowed space.” It is where I work out the rough drafts of my work, prune and hew and adjust and temper what I have done, as I craft it into art. I am not a very fluid writer and there are lots of marginalia and scribbled out lines and words in my journals. What I usually do these days, is get the poem written to a basic condition, then type it up on my computer, edit it and prune it some more, and then again, and again, as many times as necessary, and then transcribe it back into my journal, so that I have both the rough material and finished product in the same place. It helps to have a journal because it is my workshop, my studio, where I can work hard and get dirty and then preserve a polished work at the end of my endeavors.



Smallwood: Do you have ideas for your next book?

I am currently working with Shanti Arts to publish Sonnets in an enlarged second edition. Since the first edition in 2019 I have begun writing in the Petrarchan sonnet form and these as well as other new poems will be a valuable addition to my current sonnet collection.


MORE ABOUT THE INTERVIEWER



Carol Smallwood, MLS, MA, Marquis Lifetime Achievement Award recipient, is a literary reader, judge, interviewer; her 13th collection is Thread, Form, and Other Enclosures (Main Street Rag, 2020)




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Wednesday, April 1, 2020

James Sale Reviews Classic Poetry


Theresa Rodriguez, Jesus and ErosSonnets, Poems and Songs 
Author: Theresa Rodrigues
ISBN 13: 978-0-96569555-6-5)
and Sonnets 
Author: Theresa Fodriques
ISBN 13: 978-0-9656955-8-9)
Author's Website: www.bardsinger.com
Genre: Poetry
Original Publisher:  The Society of Classical Poets, Evan Mantyk, publisher 


Reviewed by James Sale originally for JamesSalePoetry.web.com


These two collections comprise a total of 79 poems (if we include the songs too), although there is some overlap of sonnets, some of which appear in both collections. Three themes stand out: one, a spiritual longing for union with God which is underpinned by her sense of her own unworthiness and sin; two, a deep but very measured eroticism (no filth in other words) which explores failed relationships and the fantasies of the longing mind; and third, the act of writing itself as a purgative or panacea for the afflictions life has vented on her. This last point is important too, since it is why she has developed a fascination with forms and structures as she seeks to communicate, understand and order her experiences. I would observe—I think justly—that by far and away her best poetry are those poems (of which there are many) in which she uses form, rhyme and meter, and where the verse is free, I find the poems far less effective.

The strength of Rodriguez as a poet is in her ability to access and confront her emotional states directly. She does occasionally comment on wanting to come up with original ideas, but this is a mistake: she is not a poet made to impress us with new ideas hatched in the mind; she is a poet who speaks from the heart. We see this in contrasting a poem that appeared on the pages of The Society of Classical Poets, “Writer’s Block,” and its concluding lines:

“Oh, would that something fresh would come to me,
Not what amounts to sheer banality!”

This is fun but no more than that. Contrast that with this first line from “Finale”:

“The rigor mortis of my love for you has not set in.”

Phew! That is pretty startling on a number of levels. Or take her poem, “Sweet Bird,” where I would ask is this really about a bird as we are “awaiting your long descent”? There is a plangent eroticism in all this suggestive of a lover to be; the bird is always “he.”

And again, the concluding stanza of “Shaman of the Waves” also captures something of her intense yet understated erotic power:

“And so we are of polar force
that meets in synergy;
you are the shaman of the waves;
I am the sea.”

But having said earlier that there are three main themes, they of course blend in all sorts of ways. Indeed, the title of her first collection, Jesus and Eros, might appear to be such a blend as well as being oxymoronic in its mixing of the sacred and the sensual. Here, however, I am reminded of two lines from a C.H. Sisson’s poem, “A Letter to John Donne”:

“That the vain, the ambitious and the highly sexed
Are the natural prey of the incarnate Christ.”

That is beautifully put; he was of course referring to John Donne in terms of the three attributes, but certainly the “highly sexed” applies to Rodriguez’ writing. And since she writes frequently in sonnet form it is worth contrasting her efforts with another favourite sonneteer, who writes occasionally on these pages, Joseph Charles Mackenzie. Whereas Mackenzie’s sonnets are usually theological, public and “objective,” Rodriguez’ are confessional, intimate and “subjective.” Both, of course, have their own strengths, but how different they can be!

In Rodriguez we have the sense of a soul longing for order, for discipline, for that unreserved giving for the great cause of either passion or love. One suspects that in another life Rodriguez would have made a formidable nun or saint of an order. Take her “Platonic Sonnet”:

“I hope that by a deprivation all
Might turn into a longing at your core.”

Or, from “You’ve Made It Clear”:

“For though I’ve longed for you in every way,
I also love enough to stay away.”

Or, from “Simple Little Things”:

“Do you have any sense of what can be
Within a body touched by loneliness?”

The poems, then, at their best can be touching, affecting and profoundly felt experiences, and I think represent real poetry from a real soul whom the Muse has visited. Perhaps one final great example, where Rodriguez brings it all together in the concluding couplet of a sonnet is “Grey Sonnet” (yes, she uses the English spelling!):

“For grey to dwell alone is grey indeed
When colors yearn to contrast, blend and bleed.”

That is wonderful writing, and a quite brilliant sonnet that I invite everyone to read and find its joys for themselves. And as a footnote, “bleed” is a favourite word of Rodriguez.

Regular readers of the pages of The Society of Classical Poets will also be heartened to know that Rodriguez’ strong religious beliefs lead her to reject much of the feminist and other contemporary claptrap that passes for thought. Her poem, “Goodbye, Sweet Fetal Child,” is a searing indictment of “hedonistic choice” abortion. There is, then, so much to recommend in her poetry. But where, perhaps, may there be improvements?

I think the major fault in these collections is in the editing. First, the collections could be tighter – some poems do not justify their place in the collections, and if we take Sonnets, then 37 is not a number I recognise! Shakespeare had 154 (11 x 14, the number of lines in a sonnet) and Mackenzie has 77 (half 154). 33 is good (Dante liked the number) and 36 is also good (4 x 9 or 3 x 12): one poem that should be omitted is “The Earl of Oxford’s Sonnet” which seeks to assert that Shakespeare did not write his plays. Quite apart from the fact that he did, as I have explained on the pages of The Society of Classical Poets, it should be obvious from all I have said about Rodriguez’ poetry that this is not a suitable theme for her: it is academic, dry-as-dust, and not from the heart. Why bother? It’s a weak poem anyway.

Second, on the editing front, the proofing needs improving, and most particularly in the area of punctuation. Punctuation is intermittent in places; if Rodriguez were E.E. Cummings, then that might be justified, but in writing traditional sonnets I think punctuation is not a burden but a major semantic benefit. Her sonnet, “I Cannot Write,” is I think impaired by its lack of punctuation. So I would ask her to rethink her punctuation policy for future poems.

But my criticisms must be considered inconsequential compared with the praise I wish to lavish on her collections: they are a real achievement. The poetry contains some dazzling truths as she unashamedly faces the demons of herself, her life and her imaginings. Let me leave you with her couplet from “I Wake My Eyes”:

“For everything is better when from cares
We turn our full attention to our prayers.”

Simple, direct, child-like, but massively affecting with all the potency of truth. Read Theresa Rodriguez.

About the Author

Theresa Rodriguez is the author three books of poetry, including Longer Thoughts, which is being published by Shanti Arts in 2020. Her work has appeared in the Journal of Religion and Intellectual LifeLeaf Magazine, Classical Singer Magazine, The Road Not Taken: A Journal of Formal PoetryMezzo Cammin, and the Society of Classical Poets, where she is a contributing member. Her website is www.bardsinger.com.

About the Reviewer

James Sale has been a writer for over 50 years, and has had over 40 books published, including 8 collections of poetry, as well as books from Macmillan/Nelson (The Poetry Show volumes 1, 2, 3), Pearson/York Notes (Macbeth, Six Women Poets), and other major publishers. He won first prize in The Society of Classical Poets' 2017 poetry competition and now serves on their Advisory Board, the only Brit to do so. He regularly writes on culture for New York's The Epoch Times.


James Sale Reviews Classic Poetry


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