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I definitely was influenced in my poetry by both. I also thought about Ernest Hemingway because I really like the conciseness and crispness of his writing - I definitely tried to emulate him for a while.

And then I finally realized there was one writer that influenced my style more than any other: Harlan Ellison Cheap Tyler Ennis Jersey , best known as a science fiction and fantasy writer. Besides writing entertaining stories, he would do these really interesting introductions to his stories, and they were always written so conversationally- this really drew you into them. A lot of times today, even as a marketing writer Cheap Luol Deng Jersey , people say that my style is breezy and conversational, and I think I owe a lot of that style to Harlan Ellison because I was deliberately trying to copy his style. I liked the way it sounded and what he was doing.

And Charles Bukowski, the German poet and fiction writer who adopted LA as his home, definitely influenced me. I started out reading him in the 70s and quickly became a fan of his gritty Cheap Josh Hart Jersey , no-nonsense style, his humor and his accessibility. In the 80s, I got his contact information from a fellow fan and began a correspondence with him that lasted from 1983 until just before his death in 1994. I published his work in Pig in a Poke, a little poetry magazine that I edited for most of the 80s and even put out a small pamphlet of his work. He was an inspiration because he was a well-known writer who still kept in touch with his small-press roots.

Allen: You started a critically acclaimed magazine in the 80s called Pig in a Poke Cheap Corey Brewer Jersey , which you published from 1982 to 1989. What gave you the idea for the magazine and why did you stop production?

Calhoun: It's interesting. I still see online references occasionally to Pig in a Poke and other magazines from around that time. Some of them, like Thunder Sandwich and Black Bear Review, are still going right now. What gave me the idea for it? At that time I had only been published as a poet for a couple years. I was working as a book reviewer, and when I say working I mean I was being paid in copies of the books I reviewed. I wasn't making any money. I was working another job and trying to find my success as a writer.

There were a lot of small-press poetry magazines at that time. I really liked the way their editors did business. They were usually really fast in replying. They gave advice. They were more conversational in their letters. It was a kind approach and I really liked it because as every writer knows those rejection slips can be impersonal and pretty tough to handle. I thought I would be good at editing a magazine and I also thought it would expose me to a lot more poetry Cheap Lonzo Ball Jersey , which it did, most of it really bad poetry. Definitely I got to know a lot of poets in the scene.

I published Pig in a Poke out of my own pocket for a number of years, which is why basically I stopped production because it got to be too much of a drain on my finances. But also its time had passed with me. I started to work in marketing and get real-world jobs. I didn't have as much time for it as I had had before. It makes me think that possibly I could revive it on the Internet because that's more of an immediate medium that printing it myself on paper.

Over the course of the years from 1982 to 88, I held a series of Pig in a Poke poetry readings at Hemingway's in Pittsburgh every year. They were successful and a lot of fun.

Allen: Do you believe such magazines and chapbooks are a good way to get work published today?

Calhoun: If your goal is to make money Cheap Kentavious Caldwell-Pope Jersey , they're a terrible idea. But my goal was not at all to make money. It was to get my poetry exposure, to get people to read my stuff and respond to it and tell me how to improve and to connect to it in some emotional way. In that sense, the little magazines are good because it is a bit easier to get published in them than the mainstream magazines. Some of them are of surprisingly high quality, though. Usually what you get from them is editors that are quick to respond and respond with a lot more empathy- they actually will give you advice or tell you what they like or don't like about your poetry. And that's really valuable Cheap Kyle Kuzma Jersey , especially for a young writer or someone who hasn't done it for that long. Plus, because they are fast to respond and cheap to produce there was the thrill of getting to see your work fairly quickly. It is not quite as immediate as the Internet is today, but you could get a poem accepted and within a few months you could see it in print. And you got to share your thoughts with others. It was fun.

Excerpt from the interview in Thunder Sandwich #25, January 1 Cheap Dennis Rodman Jersey , 2005.

To read the interview in its entirety go to >
Leaving
By Harry Calhoun

It's like a door closing.
I want it to be gentle, noiseless,

Japanese. Reopen it and apologize
to the wood if it slams.

But humidity swells this
beyond what it should be

and the squeak and push
to close it sounds

as if I beg
to be let back in.

I am a freelance writer and editor who gave up a career as a successful middle school teacher to write full time. I started the Storm of Thought Writing Center for writing and editing help and advice. I am currently working on a children's novel and several short stories. My publications include Dana Literary Society, and Thunder Sandwich. My articles about teaching Cheap Jamaal Wilkes Jersey , curricular materials and presentations have appeared in educational magazines such as Science Scope.

To learn more about my writing or the Storm of Thought Writing Center, visit or Practical Work Is the Best Way to Instill Responsibility
Posted by articlelink01 on December 23rd, 2014


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