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Chase Dimock

Writer, Editor, and Researcher in Comparative Literature and LGBT Studies

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Chase Dimock

The Pop-Up Halloween Store

 

I published a Halloween poem on As It Ought To Be, and made peace with the loss of my childhood Toys R Us store.

The Pop-Up Halloween Store

is the zombie corpse of a long dead
retail outlet rising from the grave.
Beneath the orange banner
looms the faint spectral glow
of a Borders Books sign.

Crumbling red Circuit City tile
lines the gates of hell.
The ghosts of VCRs and Walkmen
haunt the shelves now lined
with sexy nurse costumes
and adult sized My Little Pony onesies. Continue reading “The Pop-Up Halloween Store”

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The Coroner as a Child

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From the Trailer Park Quarterly Vol 8 cover.

 

My poem “The Coroner as a Child” has been published in volume 8 of Trailer Park Quarterly. You can read the full poem here.

The Very Southern Pronunciation Still Rings In My Ears: A Conversation With Poet Mike James

My latest author interview is up at As It Ought To Be. Check out an excerpt below:

Keats had his nightingale, Shelley had his skylark, Poe had his raven, Stevens had 13 ways of looking at a blackbird, and Mike James has a jukebox full of crows. While fans of poems about birds will not be disappointed, Crows in the Jukebox is just as much about the jukebox as it is about the crows. James’s book reads like the playlist of an old jukebox in a roadside, greasy spoon diner. There are folk songs that retell old family lore, slow ballads that honestly and sweetly pay tribute to his love, and melancholic memories of a self-destructive father on par with any country tune sung by Loretta Lynn or Tammy Wynette. You can hear the drawl in his words, but James is not constrained by the clichés or expectations of his background in the Carolinas. His poetry is, as the crow flies, direct in its route and positioned with a vision that can muse on the specific while connecting it to a wider, areal view.

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Chase Dimock: Crows pop up as the subject of several poems in your book, Crows in the Jukebox. In “The Crows,” you write that you “love those damned birds for what they aren’t” and in “Poem” you declare that “crows are good at waiting, much better than we are with our alphabet of needs.” What is it about crows that makes them such a fertile subject for poems? How does your interest in crows connect with some of the other ideas and themes in your work?

 

Mike James:  I’ve always loved crows. They are, with pigeons, my favorite birds.  Part of what I like about them is their intelligence, but I also love the fact that they exist at the margins. No one goes to the zoo to see crows. They are always around, watching and plotting survival. Many people have a real aversion to them. That marginality probably interests me as much as anything since I think the best writing comes from working against dominant culture, of getting by at the margins. So many of “the great dead” I admire worked actively outside of the mainstream.  (I’m thinking of poets like Stephen Jonas, Bill Knott, Jack Spicer, Lorine Niedecker, and Mbembe Milton Smith.) I don’t make a conscious decision to work around any specific themes; however, I have a real love for the decayed, the failing, and the decrepit. In so many ways I am in love with ruination. Give me the choice between walking through a mansion and walking through a closed factory and I will choose the factory on every occasion.

Continue reading “The Very Southern Pronunciation Still Rings In My Ears: A Conversation With Poet Mike James”

Letting the Meat Rest: A Conversation With Poet John Dorsey

My newest author interview is up at As It Ought To Be. Check out an excerpt below:

If you pick up a copy of Letting the Meat Rest, hoping to find tips for juicy pork chops, luckily, John Dorsey’s got you covered:

a pork chop sizzles in a pan
for six minutes tops
any longer & you’ll let the imagination
bleed out all over your plate
& escape into the woods
like magic.

Yet, Dorsey’s subject matter extends beyond pork products. Reading Letting the Meat Rest is like rummaging through a friend’s box of old Polaroids. You want to learn more about these people and moments captured in time. Some snapshots are brief, impressionistic prints of a person frozen in a sliver of life, while others have their detailed history scrawled on the back. These vignettes present us with visions of addiction, poverty, and trauma, but also optimistic moments of youthful ambition, rebellion, and intimate friendship. No matter what Dorsey depicts, whether it’s a full portrait or a quick sketch, it’s always crafted with deep humanity

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Chase Dimock: I first became acquainted with your work when a mutual friend of ours told me he was driving up to Central Missouri to pick up the Poet Laureate of Belle, MO. At that moment I learned a few things: 1. That a town named Belle, MO exists 2. That a town of less than 2,000 people in rural Missouri has a Poet Laureate, and 3. That the Poet Laureate of Belle, MO is John Dorsey. Having lived for a few years in Cape Girardeau myself, I know there are quite a few cultural gems to be found in rural Missouri. How did you become the Poet Laureate of Belle, MO and what has that experience been like? I saw one poem in Letting the Meat Rest depicting the appropriately named Dinner Belle restaurant in town, so I am curious to know how this experience in Belle has impacted your writing.

John Dorsey: Well, to make a short story long, Chase,  I ended up in Belle at the end of 2015, from Wisconsin, after being awarded a residency at the Osage Arts Community and through that connection, in particular with the Executive Director Mark McClane, I started to meet more people in town,  including Mayor Steve Vogt, who seeing all of the work I had done and was continuing to do, offered me the appointment as Poet Laureate. Continue reading “Letting the Meat Rest: A Conversation With Poet John Dorsey”

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