2022 Split Rock Press Poetry Chapbook RESULTS

We’re thrilled to announce the results of the 2022 Split Rock Press Poetry Chapbook Series. Congratulations to the following poets and thanks to everyone who submitted manuscripts to the chapbook competition!

SELECTED MANUSCRIPTS AND AUTHORS (in alphabetical order)

Cautionary Tale by Willa Carroll

Willa Carroll is the author of Nerve Chorus (The Word Works). Her poems have appeared in AGNI, LARB Quarterly Journal, Poem-A-Day, The Slowdown, Tin House, and elsewhere. A finalist for The Georgia Poetry Prize, she won Narrative Magazine’s Third Annual Poetry Contest and Tupelo Quarterly’s TQ7 Poetry Prize. Her poetry videos and multimedia collaborations have been featured in Interim, Narrative, TriQuarterly, Writers Resist, and the Nature & Culture Film Festival in Denmark. She was awarded Best Poetry Film at the 2021 International Migration and Environmental Film Festival.

How to Keep Things Alive by Beth Gordon

Beth Gordon is a poet, mother and grandmother currently living in Asheville, NC. She is the author of Morning Walk with Dead Possum, Breakfast and Parallel Universe (Animal Heart Press); Particularly Dangerous Situation (Clare Songbirds Publishing) This Small Machine of Prayer (Kelsay Books); and The Water Cycle (Variant Literature). Beth is Managing Editor of Feral: A Journal of Poetry and Art, Assistant Editor of Animal Heart Press, and Grandma of Femme Salve Books. Find her on Twitter and Instagram @bethgordonpoet.

Vernal by Kateri Kosek

Kateri Kosek’s poetry and essays have appeared in such places as Orion, Terrain, Catamaran, and Creative Nonfiction, where, most recently, she was awarded for best essay. Her poetry has won Briar Cliff Review’s contest, and has been a finalist at Flyway, Writers at Work, Rosebud, and Arts & Letters. She teaches college English and mentors in the MFA program at Western CT State University, where she earned an MFA. She has been a resident at the Kimmel Harding Nelson Center for the Arts and the Tallgrass Artist Residency in Kansas. She lives in western Massachusetts.

FINALISTS

The Afterforest by Brent Armendinger

Heavy Bloom by Angelina Brooks

Underground World by Scott Davidson

Conference of the Birds by Robert Gibb

SEMI-FINALISTS

Season of Seeds by Nick Conrad

Bless the Doors that Lock Both Ways by Megan Merchant

The Three Crooked Trees by Tim Moder

HONORABLE MENTION

Worm Dreams by Betsy Bolton

The Swan by Michael Hettich

North of December by Barbara Ponomareff

Best of the Net Nominees

Carolyn Foster Segal

On the Loss of a Tree

by Carolyn Foster Segal

The Chinese Elm came down among a series of deaths—first of my father and then my husband’s mother and my mother, followed soon after by the death of a good friend.

I grew up in a family of avid readers and equally avid gardeners. I was fortunate enough to be able to combine those two interests by creating a series of courses on nature writing for the university and college where I taught and by working on a series of yards—my own and those of family members and friends. Our first two children were five and one when my husband and I decided to trade our row home and its tiny courtyard on the south side of the city for a house with a “real” yard. And it was the yard—one third of an acre—that seduced me. I once said (actually, I said it more than once) that even if the house had been a shack, I would have bought it just to have that property, which included a Chinese Elm.

And it was there that I rediscovered, through hard work and practice, the full joys of gardening that I had first delighted in when I was young and trailing behind my father and his father. I worked on the tree line, the long curving section behind the back wall of the house that had plants for every season, the shade bed beneath the maple tree we planted, the beds that surrounded not only the front and the sides of the house but those of the shed we built, which our granddaughter Amelia would call “your tiny house.”

After 30 years, we moved roughly half a mile away to a one-story house that was more accommodating for my mother, who came to live with us, and that would allow us as well to age in place. The house sat on a half acre, and the property was a blank slate. One of my new neighbors told me that I was the first owner he’d ever seen step into the back yard. We moved in in November. In December, while snow fell, I began my plans for spring.

Meanwhile, the buyers of our old house were also busy planning. First to go was the Chinese Elm in the front side yard. Our old neighbors alerted us early in the morning, but there was nothing we could do.  The last survivor of the farmer’s fields that developers took over in the 70s, the tree was (pun intended) the crowning jewel of the property and the surrounding neighborhood.  Over 100 years old, multi-trunked and taller than the third-story attic of the house, it was a tree that commanded awe and attention. We felt very fortunate; we also felt a responsibility. Carefully maintained by us and a certified arborist, the tree was not only a striking exemplar of its own history but a symbol of the city’s rural past. When the buyers expressed concern, I argued for its pedigree, but they reminded me of Robert Frost’s neighbor, who can only, mulishly, say, “Good fences make good neighbors.” Where we had seen beauty, health, shade, the new couple saw only sticks and danger (the only danger was their attitude). Next to go were the azaleas and rhododendrons planted beneath the front bay window. It was our old lawn worker who told us, explaining that he had cried when he’d driven past and realized what had happened. In their place were two large rocks, one inscribed with “Go Penn State!”

The couple continued on their path of deconstruction, tearing out the lily bed that I planted when I was pregnant with our third child, and then eliminating the hydrangeas, coreopsis. and yarrow. They decimated the back tree line, filled the beds that lined all four sides of the house with large white egg-shaped stones, and turned the beds that framed the shed back to lawn.

But they still weren’t finished. One day last August, my friend Carol texted me a cloudy video with the caption “TREE CUTTERS.” “What’s left?” I asked my husband. “All that’s left is the maple tree,” he said, “and even they wouldn’t cut that down.” Carol’s next text arrived: “I think it’s your maple tree.” The next morning I drove over to the neighborhood. I turned onto the street behind our old block to get the best view, a view that was now quite open. The forsythia that had flourished in the back corners was gone; the only remaining traces were large ovals of dirt.

I surveyed the barren landscape (no shade, just those blindingly reflective white stones): the maple tree had indeed been cut down, although the stump remained. In the now yellowed grass, dirt tracks led away to the front. The yard looked like the setting for an abandoned house, all human inhabitants long gone, having fled the scene of some terrible crime. The birds, of course, had left as well. The robins, titmice, cardinals. and doves were missing; after all, there were no seeds or nesting materials, no places to nest. There was no sign of the blue heron that used to perch on the patio roof.

The sheer ugliness was shocking. I felt first rage and then an overwhelming sense of sorrow—all that work to create and maintain a place of health and beauty gone, just gone. What is the loss of one or two trees in a time of terrible personal and universal losses? Nothing. Everything.

In the days that followed, as I worked in the garden of our present home, I thought of W. S. Merwin’s poem “Witness.”  I could still see the Chinese Elm. I could see our parents and our friend Anita sitting in our old garden; I could see our children’s younger selves running in that leafy yard. And I thought of how we were, for a brief while, the guardians of something living and beautiful in this broken world. What to do with all my grief and longing?

For the first time in months, I began to write.

 

Carolyn Foster Segal lives and writes in Bethlehem, PA. From 2000 to 2015, she was a frequent contributor to The Chronicle of Higher Education; her poem “The Mirrored Room” was one of two winning entries selected for December Magazine’s 2020 Jeff Marks Memorial Poetry Prize.

 

Christopher Buckley

Christopher Buckley on “Neutrinos


Starting the late 1980s cosmology and science started to become subject matter for my poetry.  I came across some articles in The New Yorker on newly discovered Dark Matter and that caught my imagination and supported my agnosticism, my sense of doubt that had for years been pushing back against a childhood in which I was raised Catholic.  Faith vs. doubt was and remains a driving force in the writing.  I read more articles on recent findings and theories in cosmology and also read several books written for a popular audience, those of us with only 7th or 8th grade science educations.  To get across to us, to sell books, the science writers and astronomers had to use a lot of metaphors and leave out a lot of math.  Just the thing for me.  I watched many PBS Nova TV specials and eventually had enough material for a book of poems entitled DARK MATTER.  My method was to combine the science with life events and my own history as well as speculation about what is, or more to the point, isn’t there, finally.

In his BBC series and book by the same name, The Day the Universe Changed, James Burke pointed out that the universe has changed about every 50 years, meaning our understanding of it based on new discoveries changes.  Most of the “new” science in my book Dark Matter is now out of date or in question.  So it goes.

But the battle between hope and despair is the bedrock of a lot of the poems.  I realized early on that I shared an essential view with Charles Wright who said, “All my poems seem to be an ongoing argument with myself about the unlikelihood of salvation.” That is what an orthodox religious upbringing will do for you, once you realize what is most likely in the cards.  And if you share that view with Charles, there are not many crumbs left on the table when you get there.  Nevertheless, there it is, and I seem to come back to it often.   And voice has always been my concern, the authenticity of its tone that comes from essential human concerns and does more than report on amazing facts.

The events in “Neutrinos” were reported perhaps a number of years back.  Neutrinos have always been an amazing aspect of subatomic particle physics; they have a very small mass, which might even be zero—bits that are and are not there, that pass right through us largely undetected, that can move at near-light speed.  It is important to me to “do” something with the information, to find meaning in it for my life and thinking, hence the 3rd stanza of the poem.  I try to pull the details into my own orbit of thought and existence.  I never arrive at an absolute conclusion . . . I don’t know that the scientists arrive at one?  And like many, I love Einstein—beyond his genius, his grasp of the ironies and contradictions the cosmos presents as well as his understanding of humanity.  Time and eternity . . . it keeps me wondering.