On second thought, ‘hiatus’ felt wishy-washy and indecisive. I meant ‘closed’ and should have said so: Whale Sound is now closed. Feeling a bit sad, but it’s time.
It’s been a terrific year at Whale Sound but it’s time to take a break. Going forward, we may occasionally solicit a poem for reading, but we will not be accepting submissions for the foreseeable future. Activity on this blog and on Facebook/Twitter activity will slow down as well.
A few highlights from the Whale Sound year:
- Whale Sound started up a year and one month ago in August 2010
- Published readings of poems by 212 poets
- Published 7 audio chapbooks in multiple formats – website, e-book, PDF and print – most of them free
- Coordinated and participated in 8 group readings
- Established Voice Alpha, a group blog focusing on the art of reading poetry aloud for an audience (I will continue to post here occasionally and hope my fellow contributors will do the same)
- Collaborated on two videopoem tryptich projects with film-maker Swoon – Night Vision and Propolis (the latter also with Kathy MacTavish)
- Established videpoetry channels on You Tube and Vimeo (videpoetry is an area that continues to fascinate us and we will continue to post at these channels)
Meanwhile, these are the 20 Whale Sound posts receiving the most listener clicks – check them out!
- ‘If You Were A Bird‘ by Aditi Machado
- ‘Infinity‘ by Tess Kincaid
- [a group of jellyfish is called a ‘smack.’ a group of lapwings is called a ‘deceit.’] by Chella Courington
- ‘Something Brighter Than Pity‘ by Carolina Ebeid
- ‘A Different Leaving‘ by Terresa Wellborn
- ‘A Week Before You Die, You Are Singing’ by Erin Elizabeth Smith
- ‘Sometimes I Still Dream About Their Pink Bodies‘ by Kelli Russell Agodon
- ‘Lament‘ by Jill Alexander Essbaum
- ‘The Trains‘ by Adele Kenny
- ‘A Bigfoot Poem‘ by Dave Bonta
- Group reading: ‘The Slender Scent’ by James Robison
- ‘Ode to Drunkenness and Other Criminal Activities‘ by Rebecca Loudon
- ‘At Ruby’s Diner‘ by Sherry O’Keefe
- ‘Sink or Float [quick fix witch]‘ by Juliet Cook
- ‘How To Fall In Love‘ by Susan Elbe
- ‘The Way Back‘ by Kathleen Kirk
- ‘In Which Christina Imagines That Different Types Of Alcohol Are Men And She Is Seeing Them All‘ by Christina Olson
- ‘For The Woman On The Boulevard‘ by Emma Trelles
- Group reading: ‘Acceptance is to her a phenomenon’ by Ann Bogle
- ‘About a Fish‘ by Ana Božičević
Whale Sound, Cello Dreams and Swoon are looking for poems with which to create a videopoem triptych.
Do you have a group of three poems you’d like to have published as videopoems? They could be three of your own poems, a set of three separate-but-related poems by you and two other poets, or a set of three poems written collaboratively by two or more poets.
Flight, a videopoem based on a poem by Helen Vitoria, is an example of our collaboration.
To get a sense of how your videopoem triptych would look and sound after publication, visit Night Vision.
Send 3 to 5 poems in the body of an email to Nic at nic_sebastian at hotmail dot com or Swoon at swoonbildos at gmail dot com.
Update: Deadline is this weekend – Sunday September 4.
I started off this NaPo intending to write 30 prayers and charms. The prayer bit sort of took over and as I wrote, I began thinking more and more about relations with the divine (however defined) and the imperatives and texture that go into those relations. I recently hit something of a wall with the prayer-writing and so have decided instead to read religious texts, with an emphasis on finding text that strikes me at the same time as poetry. (Read them with voice, I mean – which is not at all the same thing as reading them with one’s head.)
Starting with what is most familiar to me seemed like a good idea. I was raised a Christian in the Anglican tradition and, text-wise, just happen to be most familiar with (and fond of from a poetry perspective) the King James Version of the Bible. I noted in a blog post yesterday that one thing I did realize while thinking about writing prayers is how similar to a (dysfunctional, co-dependent..?) romantic relationship one’s relationship with the divine can be, which made starting with the KJV version of the Song of Songs an immediate no-brainer. I’ve posted the first half of the Song at Whale Sound today (just under 10 minutes worth of audio), and may or may not get to the other half. Partly because I also want to research and voice religious texts from other traditions that approach the divine in roughly similar fashion — ie essentially as love poetry, in whatever form.
I’d be grateful for any suggestions others may have for any texts, from any and all religious traditions.
Love this at Moving Poems – Text by Peter Stephens, voice by Nic Sebastian, video by Dave Bonta. Thanks, Dave!
Poor Very Like A Whale is getting short shrift these days, with all my online poetry communications energy going into Whale Sound, Voice Alpha, Facebook and Twitter.
Some bits of frabjous from the last week or two that haven’t made it here yet:
Five poems up at Escape Into Life. I was thrilled with this publication — EIL is doing great things and not just with poetry. Recommend you get in and browse around. The artwork accompanying my poems by Ruud Van Empel was just stunning. I was particularly pleased to have the poem ‘Thirst & Decay’ selected. It was written many years ago in response to a KJV Bible verse prompt (Leviticus 25:35):
And if thy brother be waxen poor, and fallen in decay with thee; then thou shalt relieve him: yea, though he be a stranger, or a sojourner; that he may live with thee.
Really what I wanted to use was the phrase ‘a stranger and a sojourner’ but the second half ended up falling out, as often happens with spark quotations. And the whole, rather surprisingly (or maybe not), ended up being about dysfunction and co-dependence, a perennial Nic Sebastian theme. (More recently, my poem Yew, in this group at Eclectica, tells more or less the same story).
In other excellent news, Whale Sound was featured at the Best American Poetry Blog by Emma Trelles, a Whale Sound poet herself. One of the terrific side effects of being interviewed about what you do is that it forces you to actively think about what you do (as opposed to just doing it) and articulate those thoughts. I find it is the articulation of those thoughts that helps me discern the ‘next step’ for a project. So, with Whale Sound, the idea of audio chapbooks, the idea of group readings, the idea of Voice Alpha – all grew out of being questioned about the project and having to respond to those questions. In that vein, in addition to Emma, I must thank Dave Bonta and J.P. Dancing Bear for also taking the time to interview me about Whale Sound.
Lastly on the frabjous front: I have begun writing poetry again, after a long hiatus (intensified by starting up the Whale Sound and Voice Alpha projects). I think of them as post-Whale Sound poems, because they are different in genesis and (at least, I think) in style from pre-Whale Sound poems. Getting into the skin of someone else’s poem close enough to read it aloud for Whale Sound five days a week is inevitably going to change (has changed) my ‘poet-ness’ – how I hear, feel, apprehend and write poetry. So far, one new poem has been accepted by Anti- and three by Canopic Jar. Onward!
The second Whale Sound audio chapbook is live – Studies in Monogamy by Nicelle Davis. Nicelle is a terrific poet and I know you will enjoy her heady, visceral language and relentless imaginative exploration of the risks and pain inherent in relationships. Nicelle is also a thinker. I hope you will appreciate the linked & spooling ideas and textured thought in her treatment of the subject of monogamy, which includes an arresting study of an ugly-beautiful pubescent middle school scab eater; the vulnerability of bereavement after a long marriage; the mysteries of conjoined twinhood and deep primal bonds between people; the decisive role of hormones and chemical signals in our attachments; and the terrible ways in which we, as ordinary people and as celebrities, both maim and survive each other.
How do you like your poetry served?
There’s something for all types of poetry-consumers here. Some people like to tackle a chapbook slowly and methodically, beginning at the first entry and ending at the last. The main page is for you – it allows you to click your way through the poems, viewing text and hearing audio, one by one.
Some people want the whole text at their disposal all at once, to be able to skim forward, backwards, stop here and avoid there, with audio options when they choose. The ‘all text and audio on one long page‘ option is for you.
Some people just want the text – forget the audio! And they want text that is printable, physical, holdable. If that’s you, the PDF version of Studies in Monogamy is for you.
Some people don’t want any text, they just want a chapbook they can hear, and they want to listen to it on their iPod. The MP3 download is for you.
And some people want some or all of the above at different times – the text, the audio, the text and the audio, either, both, any. Just click on your choice, people – any time.
Poetry is like steak, isn’t it? Everyone wants it served in a particular way.
We realized this at Whale Sound only a little bit after realizing that we have suddenly become a poetry-deliverer. Thanks in major part to the conversations at Voice Alpha and backroom exchanges with our, um, backroom consultants for Whale Sound . (You know who you are, guys – thanks!!).
So some tweaking has occurred at the site of Whale Sound‘s first audio chapbook publication – Heather Hummel’s Handmade Boats.
Some people like to tackle a chapbook slowly and methodically, beginning at the first entry and ending at the last. The main page is for you – it allows you to click your way through the poems, viewing text and hearing audio, one by one.
Some people want the whole text at their disposal all at once, to be able to skim forward, backwards, stop here and avoid there, with audio options when they choose. The ‘all text and audio on one long page‘ is for you.
Some people just want the text, forget the audio. They want text that is printable, physical, holdable. The PDF version is for you.
Some people don’t want any of the above, they just want a chapbook they can listen to on their iPod. The MP3 download is for you.
And some people want some or all of the above at different points in time – the text, the audio, the text and the audio, either, both, any.
Is there anything we haven’t thought of?
Here are some process notes from the poet and the editor:
Heather’s experience: I have the habit of tinkering with poems for decades. The poems in Handmade Boats have been in metamorphosis for some time. All that is to say that working back and forth with Nic Sebastian as we did the final shaping of Handmade Boats for Whale Sound was both pleasurable and surprising, because the poems underwent subtle new transformations that I didn’t anticipate.
When I sat down at my desk each morning with a cup of tea, I looked forward to the penetrating questions I’d find in my email inbox. I’d tinker, she’d question, and we’d continue taking turns like that as we fine-tuned the pages. She tucked into the work with such insight it felt as if she was inside the poems with me. At moments, it seemed like we were in one of those plexiglass aquarium tubes where people can walk through and watch hammerhead sharks swimming overhead and on all sides. While I am used to being in the imaginative space of the poem by myself as I watch blue whales and toucans darting past, I don’t know that I’ve ever been in that artistic flow with another person.
As the narrative arc of the chapbook fell into place, the different poems’ narrators began to speak in chorus. I am in love with characters of Handmade Boats–the bagpiper, the bartender and the rubber boot man; I am close to the woman stranded on an island, the girl trapped in the ‘Automat’ and the women bathing in the mineral pools. The characters make up a small town now, a town filled with mythological figures and edged in wilderness.
Listening to the recordings of the poetry is a rare treat for me. The vocal performance reveals the everyday music that exists in our speaking life. Exploring the collection with Nic Sebastian as she gave her skillful voicing to the poems was like participating in a thrilling old-fashioned radio-theater program.
Nic’s experience: I knew as soon as I started reading her chapbook manuscript that Heather’s would be Whale Sound’s first audio chapbook. Knew it with my body rather than my head – with a visceral, physical reaction that I’m sure is familiar to every editor. A reaction based purely and immediately on the words and images presented – before I began to intellectualize about the ideas and themes that ran in her work.
There were basic initial things I knew easily and right away about the manuscript with just eyes & brain: the core work was solid and beautiful, and all that was required to tighten the poems up was the tweaking of a few words or lines here and there, the elimination of a stanza or two.
The deeper story that connected them I did not – could not – know until I had voiced the poems. Very early on, I made draft recordings – nothing good enough to share with Heather, but enough to get me into the skin of the poems (or get the poems into the skin of me). It was making these recordings, and listening to them, that brought me information, not just about the actual sound of the poems and their rhythm, but also about the bigger story – the emotional journey on record, the cross-tracking and cross-hitting themes and memes running through the poems. This in turn gave me very specific ideas about poem order, poem inclusion and poem titling.
It sounds like hocus-pocus, but this really was substantive information voice brought to the process for me. At one point, Heather suggested adding three new poems to the group and asked whether I thought they would work in the group. I said (feeling very lame in my response) that they looked like good additions on the face of it, but I could not really tell until I had voiced the poems. And when I did, I knew quite certainly – and quickly – that two were good additions, while the third was best left to another collection.
I’ve said previously that voice is an organ of investigation – a sense like touch or sight that brings you information – and believe that all the more strongly after this experience.
I’ve loved working with Heather – much enjoyed her maturity and range as an artist, her openness as a human being and the vibrant exchanges we have had as author and editor – and am honored to have had even a small role in bringing these wonderful poems of hers to a wider audience. Thank you, Heather!
Lots of terrific material received – thank you all so much! The first Whale Sound audio chapbook will be published shortly.
Subject of a new post I just put up at Voice Alpha.
Voice Alpha is a companion site to Whale Sound. It grew out of the Whale Sound experience, which underlined the fact that there are very few resources online specifically focused on assisting poets to build or hone their ability to effectively read poetry aloud for an audience.
Voice Alpha is a repository for thoughts, theories, suggestions, likes and dislikes and anything else related to the art and science of reading poetry aloud for an audience. It’s meant to be a community effort. If you would like to guest-blog at Voice Alpha, or have any material you think might be a useful addition to the site, please email nic_sebastian at hotmail dot com.
I’ve been comparing poets to musicians/composers, noting that the latter undergo rigorous formal training for two complementary aspects of music-craft – a) how to create a score on paper – essentially, a visual artefact – and b) how to master the musical instrument (s) that turn the score into an aural artefact.
Now I’m wondering why it is that for poets, the vast majority of tradecraft emphasis goes to the first part only — mastering the craft that creates the poem-as-text, the visual artefact — while very little attention goes to the second part: mastering the instrument (voice/body) that turns the poem into poem-as-voice, the aural artifact?
This is very obviously not to assert that existing poetry tradecraft does not consider sound. Far from it. We all know from workshops, reading and study what careful emphasis should ideally be placed on addressing the sound element while composing poetry – including the importance of reading work aloud as it is written – and many (many!) books have been written containing formal wisdom on sound and how to manipulate/understand it in poetry.
What I’m talking about, though, is the physical tradecraft associated with reading-as-performance for poets. Starting up the Whale Sound project and lacking such formal training myself, I spent a lot of time looking for reading-as-performance wisdom for poets on the internet. It seems there’s almost nothing out there. (If I’ve overlooked anything, am happy to stand corrected.)
There’s a ton of information out there for other voice performances – for singers, actors and speakers. How to warm up and protect your voice; how to breathe correctly; how to stand correctly; how to project your voice; how to find the right singing or speech coach for you; how to relate to your audience. Much of it is relevant and/or adaptable for poets (although some of it is actively wrong for poets, in my view), but almost none of it is directed specifically at poets.
What does that mean? Do we poets as a community assume that honed poetry-writing skills automatically translate into honed poetry-reading skills – that the ability to write good poems comes packaged with the ability to read them aloud well? Or do we simply not care enough about the value of reading-as-performance for poetry and are collectively ok with a wing-it/seat-of-the-pants/take-it-or-leave-it approach when it comes to reading poetry for an audience? There are certainly many naturally-talented performers/readers out there, but surely there are also many many more poets who would really benefit from a discussion of different approaches and key considerations for the poet reading-as-performer.
I’m cross-posting this at Voice Alpha, a new blog that will focus only on reading-as-performance tradecraft for poets and hopefully in time grow into a some sort of resource for the community.
If you would like to guest-blog at Voice Alpha on any topic related to reading-as-performance for poets, please email nic_sebastian at hotmail dot com.
(Note: This is a topic I discussed with Dave Bonta during the recent Woodrat podcast in which he interviewed me about Whale Sound. I’ll be writing one or two more posts that pick up on other topics we discussed.)
There is the poem-as-text/page and the poem-as-sound/voice. How do they relate to each other? When I started the Whale Sound project, I was feeling pretty anti-text (in fact, it was one of the reasons I embarked on the project, I should acknowledge) and for me it was all about taking the poem off the page and into the realm of just-sound. This conversation with David Tomaloff (reproduced here with his permission) helped sharpen my thinking in this regard, and am reproducing it below as part of the Whale Sound process notes. It is also referenced in the Woodrat Podcast on Whale Sound posted today at Dave Bonta’s Via Negativa. (Thanks, Dave!)
The conversation started when poet David Tomaloff (who writes in the experimental vein) submitted poems – here, here and here – to Whale Sound as part of the regular submissions process. I was intrigued, but flummoxed, by the submissions, as you will read below.
David to Nic — I have just come across Whale Sound and would be very interested in your reading any one of my poems. Whale Sound is an incredibly interesting idea to me. I am a musician who has more recently been focusing more and more on poetic works. A small amount of my work has been represented through print media but I have been somewhat selective, much preferring to submit to on-line journals.
I have found that many poets tend to shy away from anything that does not resemble the paper and staple format, though, many of these poets will often complain that it is difficult to get people to read their poetry. This seems contradictory to me, as I believe that anyone who wishes to connect with people (particularly concerning things that people are not especially aware of), will find it most beneficial to use those means of communication that are most commonly used by people on a daily basis. In modern terms, we are talking about the internet and, more specifically, social networking.
That said, much of my recent published work has been of the more experimental persuasion but I’d love for you to have a look at a few examples and decide if you might be able to make any of it work for you. Particularly, I could imagine you taking on the first poem in the first link above, American Vernacular.
Nic to David - One of the reasons I started this project was to push my own poetry boundaries and understanding, so I am very glad and interested to hear from you. That said, I have to admit I am very much at a loss vis a vis your poems. To me they seem wedded to the page in a way more mainstream work is not. One of the things I enjoy most about Whale Sound is that it takes the poem off the page and reliance on text, and constructs (re-constructs?) it separately in the realm of just-sound. And generally it is a straightforward process to create an audio poem entity – poem-as-sound/voice – that stands independently of poem-as-text/page. Looking at your poems, however, I find myself somewhat flummoxed. The page and the text arranged on the page just so seem in essential ways to be the poem. How to separate the poem from page/text without destroying it?
I think what I am saying is that I don’t understand enough about experimental poetry yet to tackle your work. But I am interested and willing to learn. Are you able to point me to any audio of experimental poetry readings I might learn from (including any of your own)?
David to Nic – I totally understand if you don’t feel comfortable tackling the work. This sort of work might seem a bit “personalized.” That said, one of the many things that draws me to this sort of work is that it is often able to speak in a language that is altogether its own.
Regarding the text being wedded to the page….I don’t necessarily see it that way at all. I do agree that it might be one aspect, but the interpretation can be done in almost any way one might feel the words “translate” for them. One could choose to read simply in strings of words as they would appear conventionally, one could dramatically sound things out for purposes of implication, or one could even leave certain aspects out of the reading altogether. For instance, in the first link I gave you (from ditch poetry), I think the first poem, “American Vernacular,” reads pretty well straight through. EXCEPT! I wouldn’t read the “bulleted” bits (a. b. a. b. 3. ). I would interpret those as pauses….as I might the en dashes.
As a rough example, I am attaching to this email a new poem along with a “trial” reading I gave it. I think it might serve to illustrate how the text and its reading can be interpreted very differently.
David’s reading of what is tense:
As far as some of my favorites, I’m a big fan of the works of poets like Andrew Zawacki, Felino A. Soriano, and J.D. Nelson. I believe they all do varying degrees of “experimental” quite well and can be found pretty easily around the internet. Andrew Zawacki exudes a particular confidence and sense of implication that I greatly admire in his reading style.
I should point out I’m no expert on any of this by any means….I just do what appeals to me and sort it out later.
Nic to David – Thanks for sending me your audio for what is tense. I realize, of course, that there are as many interpretations of any one poem as there are readers of that poem, but here’s my own reaction: It felt to me that you took this at a galloping pace in your vocalization, while the text, in my view, is not laid out that way – my personal sense was that there is nothing ‘galloping’ about the text. My take is that to match your reading, the text would have to be squished up tight against itself and all running together — not long drawn out and lazy/deliberate as it is. How does that strike you?
Here is the Nic version, as I heard the instruction of the text:
The reading is somewhat stilted but quite inevitable, in my view — I did this three times and for me the timing, pauses and extensions were about equivalent in all three versions. For me, there are definitely strong audio imperatives in the text as presented on the page, even though am not yet sure how they come together as a cohesive emotional narrative.
David to Nic – I really appreciate your taking the time to share with me your take on the poem. Frankly, I was more than a little impressed with it. I can understand where you might not have agreed on my reading of the piece. Your points are well taken….and my response is simply that, for me, while I can absolutely respect that there is a school of thought that says reading and presenting should be closely intertwined, I still believe in the idea that it does not have to be necessarily so.
I believe in a sort of duality to this work. In one sense, this type of poem could be thought of as a piece of visual art. While in another, it is still a collection of words I believe can live beyond any single medium. I think of it in terms of how someone like Bob Dylan interprets his own songs from record to stage – the two can differ quite vastly and someone will almost always inevitably say, “that’s not how it’s supposed to go.” They are both right from their particular standpoints. I guess that’s part of what I love about art.
When I read the poem, I was working off of the idea that it read something like a letter to someone – a letter one might write out of a sense of duty in an almost guarded fashion, hence the way in which I approached the word “ambiguous”— as if it were an antithesis to “with love” or “yours truly.” That said, I absolutely admit it was a bit rushed…damn my over caffeinated lifestyle!
Not surprisingly, your rendition of it brought out another dimension for me. I remember reading on your site a comment about how one reader didn’t understand the full potential of his poem until he heard you read it. I can completely relate to that. You brought out all of the nervous “ticks” in this poem. What you call stilted in this case, I call a certain “uneasy tension” or trepidation. The irony might be that, for you, despite your reading, the piece did not come together as a cohesive emotional narrative, whereas, for me it finally did.
Nic to David – I do understand what you mean and in general, I have to say I agree with you. In many cases I find that the imperatives of the vocalized narrative simply override the presentation of text – stanzas and linebreaks that work well on the page often actually turn out to be either meaningless or actual stumbling blocks in the context of vocalization. In fact, sometimes, for reading purposes, I actually rearrange the text of a poem to suit the way I feel the narrative is asking to be read, and in those cases the poem-as-page on which I base my reading often ends up looking like nothing the original text. But I ask myself why this ‘text override’ function (which you employ in your reading) didn’t kick in for me with what is tense. I’m guessing it’s a function of my unfamiliarity with reading poems such as yours, where there is such a high degree of deliberation and precision in the placing of each letter on the page. Could be it’s the focus on letters that has thrown me and somehow disabled the ‘text override’ function for me, putting the piece on a different level, in my view as a reader. And having broken it down to that extent, I begin to wonder whether differentiating between whole words and individual letters is in fact a helpful way to go at all.
David to Nic – I should reiterate that I do not in any way claim to be an authority on any of this. I can speak only for myself and my own work. I should also point out that, while I do love a heavy dose of the surreal, I do not necessarily label myself an experimental poet in any strict sense. The fact is that this particular type of work tends to present itself to me much in the fragmented fashion it appears on the page and my sense is simply to follow its lead.
That said, I believe we are both right and can still stand to learn a great deal from the factors that shape our respective takes on this subject. As I said earlier in this correspondence, that’s part of what I love most about art.
Nic to David – Thanks for your patience, David! This has been a complicated submission for you! Whale Sound will be happy to take a shot at your poem, American Vernacular and we’ll put it on the slate. Thanks again!
Next week will be the last week of two-poems-a-day on Whale Sound . The week of November 29, we’ll start publishing just one poem per weekday. Mainly because we want to free up some time to work on the new Whale Sound project — audio chapbooks! More details here – go ahead and submit!
These are the things you say when you are trying to gather information about something – let me see it; let me touch it; let me taste it; let me smell it; let me hear it.
Here’s another one: let me speak it.
Voice is sense, an organ of investigation, just like fingers, ears, tongue, eyes, nose. Voice brings you information not otherwise available to you.
1. ‘Infinity’ by Tess Kincaid 165
2. ‘Something Brighter Than Pity’ by Carolina Ebeid 137
3. ‘If You Were A Bird’ by Aditi Machado 130
4. ‘A Different Leaving’ by Terresa Wellborn 123
5. ‘The Trains’ by Adele Kenny 123
6. ‘Lament’ by Jill Alexander Essbaum 116
7. ‘Sometimes I Still Dream About Their Pink Bodies’ by Kelli Russell Agodon 107
8. ‘At Ruby’s Diner’ by Sherry O’Keefe 100
9. ‘Ode to Drunkenness and Other Criminal Activities’ by Rebecca Loudon 98
10. ‘A History of Stone and Shadow’ by Carolyn Guinzio 97
11. ‘The Way Back’ by Kathleen Kirk 95
12. ‘And Her Name Was I Am Not Staying’ by Corey Mesler 94
13. ‘A Hole In My Name’ by Amy King 92
14. ‘Vestment’ by Sarah J. Sloat 85
15. ‘The Astronomer and the Poet’ by Jessica Piazza 84
16. ‘They Seek An Inky Elixir’ by Christine Boyka Kluge 80
17. ‘Miniatures’ by Mary Biddinger 77
18. ‘Sink or Float [quick fix witch]‘ by Juliet Cook 75
19. ‘Something Circled the House While We Slept’ by James Midgley 73
20. ‘For The Woman On The Boulevard’ by Emma Trelles 72
This time I’ve included the number of views each post has had since it was posted. This captures the number of views of the current existing posts, using the Top Posts of All Time WordPress function (as opposed to Today, This Week or This Month), so it’s not really fair to more recent posts, which haven’t had the time to garner the hits older posts have been able to rack up. The ranking overall is probably a week or two behind reality, I’d say. I’ve included the number of views each post has had overall. Here’s a top views screenshot from today.
Overall, for the month of October Whale Sound had 6,873 views, compared to 3,824 views in September – a nearly 80% increase. The daily average number of views increased from 127 in September to 222 in October. Here’s that screenshot.
A nice surprise out of the blue. An email from the folks at Duotrope saying:
“Dear Editor (me?!): We are writing to inform you that we have added a listing for Whale Sound to our free, online resource for fiction writers and poets.”
Here’s the Whale Sound listing. Do go over and report your responses from Whale Sound, O best and beloved submitters.