MOST RECENT OPA NEWS
- OPA Fall 2014 Contest – Announcement
Information about the Oregon Poetry Association Fall 2014 poetry contest has been posted on the Adult Contest page.
The deadline is September 1, 2014.
Categories: Poet’s Choice, Members Only, Dueling Judges, Traditional Form (Litany), New Poets, Themed: Fences, and Experimental Poetry.
All OPA News Posts
LATEST UNIT NEWS (EXCERPT)
- Eugene/Springfield Unit News The Eugene/Springfield Unit of OPA presents their Spring Poetry Reading on Tuesday April 1, 2013, 7:00 p.m., at the Springfield Public Library, 225 Fifth Street, 97477. The readers will be: Daniel Anderson, Anita Sullivan, and Stephanie Lenox.
- Wild Age Press, www.wildagepress.com, an independent literary publisher, is proud to announce SALT. This single poem by OPA member Laura LeHew is about wounds visible and invisible, about illusion and disillusion, about running into truth. The poem is presented as a 6 1/2” x 8” broadsheet printed on high-quality 120 lb paper accompanied by a 4 oz. glass bottle of lemon verbena bath salts.
An excerpt from SALT (all rights reserved):
“in the end they
retrieve their parent’s guns
barrels on tongues pull
salt dries the cells until they are dead” (Posted May 5, 2014, 4:14 pm.)
LATEST BOOK REVIEW (EXCERPT)
- The Parachute Jump Effect by Judith Arcana, reviewed by Penelope Scambly Schott Review by Penelope Scambly Schott The Parachute Jump Effect by Judith Arcana Uttered Chaos Press (www.utteredchaos.org) ISBN 978-0-9823716-9-5 2012, $10.00 Unless you are of a certain age and grew up in Chicago, you won’t understand the title of this chapbook until you get to the final poem, a shared recollection of a long-gone ride in a vanished ...
MOST RECENT POET’S SPOTLIGHT
- Ruth Harrison: An Appreciation
At the Fall 2013 OPA Conference in Forest Grove, Ruth F. Harrison was honored with a lifetime membership. In tribute to her, “Ruth Harrison: An Appreciation” was presented by Eleanor Berry, OPA President Emerita.
Over the past dozen or so years in which I have been active in O(S)PA, it has been my privilege to get to know many fine poets and capable workers on behalf of Oregon poets and poetry. One who has seemed to me—and to many others—an extraordinarily luminous presence is Ruth Harrison.
To the best of my recollection, it was at one of the first OSPA conferences I attended that I met Ruth. I remember that she was standing by me in the lunch line, and that we fell into conversation. I remember being drawn to her quiet intelligence and warmth.
All the subsequent occasions I’ve spent time with Ruth or her poetry have reinforced that first impression. When I met her, she had retired from her career as a teacher of medieval literature and was fully immersed in poetry and deeply at home on the Oregon coast, where she lived with her husband, Fred, who shared both those passions.
As I came to know Ruth and her work, I realized that, for her, poetry has been strongly associated both with the coast and with community—with a creative community that she has fostered there and a dispersed community in which she has participated. She has been the central energy of the exceptionally long-running writing group Tuesday, which has been an almost legendary nursery of creative verbal work.
When OSPA held one of its conferences in Ruth’s hometown of Waldport, she assisted with the arrangements and at the conference itself led a group of local poets in a delightful presentation conveying their perspective as “coasties.”
Ruth has also been active in the National Federation of State Poetry Societies (NFSPS), submitting to and winning its contests—including the top one, the prestigious Founder’s Award—and often serving as a judge. She has also corresponded with and contributed to publications edited by poets across the country, among them, Florida poet and past NFSPS president Madelyn Eastlund and well-known expert in poetic forms Lewis Turco. Through her own poetry, she enters into lively conversations with past poets as well.
Ruth’s poetry is often in fixed traditional forms, but that doesn’t mean that it expresses worn-out sentiments in archaic diction. Far from it. In her hands, these forms become vehicles for fresh observations and connections articulated in contemporary colloquial language. Who except Ruth would think to write an Italian sonnet on the laundromat as a refuge from life’s ordinary disappointments and frustrations? Who except Ruth could pull it off? Who except Ruth would think to write of a lone stray or feral cat in Sapphics—and produce a cat poem marvelous and memorable enough to rival William Carlos Williams’s entirely different small masterpiece, “As the cat …“?
Some years ago, I invited Ruth to be one of the featured poets at a Stafford birthday celebration in Salem. I think it was then that I learned that Ruth, like Stafford, had grown up in Kansas. On the evidence of these two poets, Kansas seems to be a place that breeds a long gaze and a wide imagination and that allows no shred of pretension. At first blush, the central Oregon coast may seem a long way from Kansas, but it strikes me that it is an environment that would tend to reinforce that breadth of vision and modesty of manner. Certainly, Ruth, in her poetry and her person, suggests as much.
Recordings of Ruth reading several of her poems, together with texts of the poems and a brief biographical note, can be found at http://oregonpoeticvoices.org/
poet/294/. Her more recent work includes How Singular and Fine (2012) and West of 101 (2013), and also the most recent of the anthologies produced by her writing group, Tuesday: An Anthology from the Central Oregon Coast Writers Group (Vol. 5, Winter-Spring 2010-2011).
Photo credit: Katie Eberhart