Saturday, September 4, 2021

Poetry Postcard Fest 2021: Both Sides Now

All the postcards I received this year,
plus a bonus Buckley.
The poems are written, the cards are mailed: The 2021 Poetry Postcard Fest is a wrap.
        This year, the annual August writing marathon attracted more than 500 participants from 13 different countries. My group (go, Group 8!) had 33 people in it, and I ended up writing 33 poems—32 to the other people in the group, and an extra card to someone else.

Side 1: The poems
Those 33 poems meant that I wrote a little more than one poem per day, but this year I didn’t even try to write one every day; I almost always wrote them in clumps of three or four and then took a few days off between writing sessions. I’ve done this in the past, too; it makes the “poem-a-day” thing less of a chore for me. And as I’ve said in past PoPo recaps, writing several poems in one sitting sometimes makes them more interesting; often I'll riff on the subject of one poem and expand it into others. This time I had a series of poems about eavesdropping, since I seemed to be overhearing a lot of conversations and was fascinated by the relationship between the loud talker and the unwilling listener, and the incompleteness of the information you overhear—Is that person always like that? Did that person bring this problem on himself? How reliable is the narrator of this story? I also had a few poems about painting (more on that below), and lots of small scenes from around my town of Ashland, Oregon, which was plagued by hazardous wildfire smoke all through August.
        Looking back through the poems, I can see a few that seem like keepers, like something I might end up getting published if some editor likes them. A few fizzled. My favorite one is about my bathrobe, which had nothing to do with eavesdropping or smoke and just sort of flew in on its own, as the best poems sometimes do. 
        Thinking about which poems I might send out to journals made me go back just now through poems from past PoPo Fests (this was my 9th year), and I see that fewer of them have been published than I thought*. None at all from last year. And in fact I rarely send those postcard poems out to journals at all. I suspect that some part of my mercenary brain thinks that short poems—and especially short abstract poems—are less “publishable” out there in the mean world. In April, during NaPoWriMo, I put a lot of pressure on myself to write longer, more “serious” poems, whatever that means. April is sort of a poetry crucible, when I think hard about a lot of things and try to write deeply into them. In contrast, the August Postcard Fest is more of a lark; I have fun with these shorter poems, and I feel pretty much zero pressure. Hence I think I tend to take them less seriously. Or perhaps they really are “slight.” I need to think about that more.

Side 2: The postcards
This year, I took a totally new approach with the actual postcards: I hand-painted all of them. In past years I’ve used giveaway postcards from restaurants, touristy ones I picked up at the drugstore, and ones I got printed at Vistaprint with my own photos on them. But I’ve been doing a lot of watercolor painting this past year, and I was intrigued by the idea of painting each one individually. In retrospect, that sounds kind of nuts—paint 33 individual paintings?—but I was already thinking of it back in April or May, so I started painting them then. I tried out lots of different paper—postcards made for watercolor by Daniel Smith, Hahnemühle, Schmincke, and Strathmore, and also 4x6-ish pieces of heavy watercolor paper by all sorts of companies. Pretty much anything I ran across the past few months that seemed like it would hold up in the mail. I ended up putting a few in envelopes, especially if the paper was 100% cotton; it seemed too soft not to get torn in the canceling machines. 
        I painted them in batches of 4 or 5; I’d do a bunch of skies in slightly different colors and styles, and then some kind of land or trees or whatever. I tried really hard not to overthink them. I did a few others with markers. And it was an absolute blast—serious fun, and again, with no pressure at all. I was surprised at what a useful process it was to paint so many little 4x6 paintings; I kept a bunch of them because I want to do larger versions of them, and I was constantly experimenting and coming up with techniques and color combinations that I didn’t expect to find. Just totally screwing around with paint. It wasn’t hard, it was joyful, and I would do it again in a heartbeat. I ended up painting about 50 postcards total because I kept painting ones that I liked enough that I didn’t want to send them away.

Bonus track: The community
Once again, the PoPo Fest’s Facebook group was really fun to keep up with all through August. People take such different approaches to the postcards; some do collages, one person used grocery cartons (she sent me one made from a Kleenex box). Some found vintage postcards; one woman in Alabama sent me an old postcard featuring a building in my town in Oregon, which amazed me. And many, many others didn’t really care about the postcards; for them, it was all about the poems. I’ve done it lots of ways over the years, and they’re all good; the PoPo Fest is flexible enough to accommodate pretty much any way you want to do it.

* Here are a couple of PoPo poems that did get published:

Speaking of smoke,
this one was in Crab Creek Review, 2019.

In Right Hand Pointing, 2021.

Past PoPo Fest Recaps:

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