UFFICIO STAMPA Yacht Club di Villefranche sur Mer
Redatto da James Goldsmith

Lo yacht club di Villefranche è lieto di annunciare l’inaugurazione dello stesso club e rendere
noto il supporto del suo fondatore, Sig. Nicolae Buzaianu.

L’inaugurazione nel nuovo yacht club di Villefranche è stato annunciato il 10 agosto ed è
l’edizione di benvenuto di una duratura tradizione marittima della città.
.L’obiettivo dello yacht club è semplice: i valori del club sono di difendere e servire il mare. Lo
scopo del club è di sviluppare, organizzare e promuovere ogni attività d’acqua per coltivare il
valore del rispetto per il mare e indirizzare le nuove generazioni agli sport d’acqua e alle attività
marine.

Durante l’inaugurazione, il Sig Nicolae Buzaianu ha detto:” Sono onorato di poter supportare
la fondazione dello Yacht Club di Villefranche sur Mer. È un’opportunità d’oro quella di poter
dare il benvenuto alle nuove generazioni indirizzandole al rispetto del mare e garantendo alle
generazioni future lo stesso privilegio. Sono onorato di poter ricoprire il ruolo di Presidente
Onorario”.

Tra i membri del club possiamo ricordare:
● Thierry Leret, Director of Sport, YCM
● Isabelle Joscke, Campione di Vela
● Bruno Sroka, Campione del mondo di Kitesurfing per 3 volte
● Gilbert Pasqui, tra i più importanti carpentieri navali
● Mr Nicolau Buzaianu, Presidente onorario

Riguardo Villefranche
Villefranche, vicino a Nizza, in Francia, è il rifugio ideale per i velisti provenienti da tutto il
mondo. Infatti, la baia si distingue per la sua profondità a poca distanza dalla costa e per diversi
anni il porto è stato la base per la sesta flotta degli Stati Uniti d’America tra il 1948 e il 1966. Dal
1980, Villefranche viene utilizzato come porto di scalo per le navi da crociera sul Mediterraneo.
E inoltre un paradiso per i pescatori e potrete notare molte razze differenti di pesci.
Si tratta di un bellissimo borgo incastonato in riva al mare, che presenta una cittadella del 17 °
secolo i cui giardini con fiori di calendula attirano turisti da tutto il mondo.

“Regata golosa” by The Yacht Club di Villefranche sur Mer
La “regata golosa” è già nella liste degli eventi che avranno luogo a Villefranche a settembre.
Si propone come un grande raduno di barche d’epoca basato sulla gastronomia francese e la
promozione di prodotti alimentari locali artigianali. È un’occasione d’oro per i gastronomi e gli
stessi marinai di godere al meglio dei prodotti locali e delle delizie del classico yachting.

Questa regata è stata concepita in seguito al successo straordinario del Trofeo Pasqui a
maggio che celebra la grande tradizione della costruzione della barca in legno nella zona e
prende il nome dal primo carpentiere navale locale, Gilbert Pasqui.
È una regata amichevole, rilassante e senza concorrenza !

Per maggiori informazioni
http://www.villefranche-sur-mer.fr
http://en.wikipedia.org/wiki/Villefranche-sur-Mer

UFFICIO STAMPA …

Anunțuri

Le Yacht Club de Villefranche-sur-Mer a été créé à l’initiative d’amoureux de la mer dans un désir de valorisation des métiers qui s’y rattachent, et grâce au soutien de son principal donateur, un Monsieur en or, Mr Nicolae Buzaianu.

L’ouverture du Yacht Club de Villefranche sur mer a été annoncée le 10 août et se veut être le promoteur du yachtisme de tradition en général et à Villefranche sur mer en particulier.  

L’adhésion au Yacht Club est simple : seules importent l’affiliation aux valeurs que défend le club et la volonté de « servir » pour les défendre, en mer comme à terre.

Le Yacht Club de Villefranche-sur-mer agit pour promouvoir, développer et organiser les activités susceptibles de favoriser toutes activités nautiques conformes à l’éthique qu’il défend. Il œuvre également pour préserver le patrimoine maritime et ce, en ayant comme partenaire principal, Mr Gilbert Pasqui, le plus grand charpentier naval de tradition, décoré chevalier des arts et des lettres en 2012 par le ministère de la culture et entreprise du patrimoine vivant.

S’exprimant lors du lancement du Yacht club, Mr Nicolae Buzaianu a annoncé : « Je suis ravi d’être en mesure de soutenir l’association du Yacht Club de Villefranche-sur-Mer. Il s’agit d’une occasion en or pour initier la jeune génération aux plaisirs de la mer et de transmettre les connaissances d’une génération à l’autre. Je suis heureux d’avoir le titre honorifique de membre d’honneur et de sponsor en or.

Les membres fondateurs sont :

  • Virginie Fabron, juriste en droit maritime et présidente du Yacht Club de Villefranche sur mer
  • Gilbert Pasqui, Charpentier naval de tradition et vice président du Yacht Club
  • Thierry Leret, Directeur des Sports au Yacht club de Monaco et vice président adjoint du Yacht club
  • Isabelle Joscke, championne de voile, figariste et administrateur du Yacht club
  • Bruno Sroka, 3 fois champion du monde Kitesurf & Médaille d’or et administrateur du Yacht » club
  • Mr Nicolae Buzaianu, sponsor en or

À propos de Villefranche sur mer :
Villefranche sur mer, commune voisine de Nice, est un paradis pour les marins du monde entier. En effet, la rade de Villefranche sur mer est une des plus belles rades du monde et est connue pour ses mouillages.

Il y a quelques décennies, la rade de Villefranche servait de point de mouillage pour la 6ème flotte des États-Unis de 1948 à 1966. Depuis les années 1980, Villefranche est devenu un point d’escale pour les bateaux de croisière.

La rade est également un paradis pour les pêcheurs.

C’est un merveilleux petit village niché au bord de la mer, surplombée par sa citadelle ornée de ses magnifiques jardins.

«La Régate Gourmande» par le Yacht Club de Villefranche sur Mer :
Du fait de l’extraordinaire succès du Trophée Pasqui chaque année en mai à Villefranche sur mer, célébrant le yachtisme de tradition et la charpenterie navale de tradition dans la région, le Yacht club de Villefranche sur mer a décidé de créer la première « régate gourmande ».


La « Régate Gourmande » met à l’honneur les plus beaux yachts de tradition du monde, la gastronomie française et les produits alimentaires locaux artisanaux. Il s’agit d’une occasion en or pour les gastronomes et les passionnés de la mer de se ressembler pour profiter des meilleurs produits du terroir et des plaisirs de la plaisance classique.

Le Yacht Club d…

Вильфранш-сюр-Мер, 10 августа
ПРЕСС-РЕЛИЗ, Яхт-клуб в Вильфранш-сюр-Мер
Джеймсом Голдсмит

Яхт-клуб Вильфранш-сюр-Мер с радостью сообщает инаугурацию клуба и назначения в
качестве президента и почетного звания золотого покровителя г-н Николай Бузуяну.

Инаугурация нового Яхт-клуба в Вильфранш-сюр-Мер было объявлено 10 августа и
является позитивное начало в долгосрочной морской традиции города.
Цель яхт-клуба заключается в развития и защиты морской среды, а также разработке,
организации и распростронении водных видов спорта.

Выступая на инаугурации клуба, г-н Николай Бузуяну сказал: „Я рад быть в состоянии
поддерживать основу яхт-клуба в Вильфранш-сюр-Мер. Это прекрасная возможность,
приветствовать молодое поколения, любителех воды и моря, передать знания от одного
поколения к другому. Я рад, что получил почетное звание золотого покровителя.

Члены-основатели включают в себе:
● Thierry Leret, директор по спорту, Яхт клуб Монако
● Isabelle Joscke, чемпион парусного спорта
● Bruno Sroka, 3 х кратный чемпион мира по кайтсерфингу
● Gilbert Pasqui, морской Карпентер
● Николай Бузуяну, президент Яхт-клуб Вильфранш-сюр-Мер

Описание Вильфранш-сюр-Мер
Вильфранш-сюр-Мер является городом поблизости Ниццы (Франция), раем для
парусников со всего мира.

На протяжении многих лет он был портом который принамал 6-го флота США с 1948 по
1966. С 1980-х, Вильфранш используется как порт для круизных судов на Среднеземном
море. Это убежище также для рыбаков, вы увидите разные виды рыб (за исключением
золотой рыбки!) Это красивый маленький городок, расположенный на берегу моря где у
вас есть возможность любоваться прекрасным видом.

„Гурман Регата” в Яхт-клубе в Вильфранш-сюр-Мер
„Гурман Регата” будет организована в Вильфранш-сюр-Мер в сентябре. Это большое
собрание классических яхт основана на французской гастрономии и содействии местных
продуктов питания. Это прекрасная возможность отдохуть и развеется для гурманов и
мореплавателей.

„Гурман Регата” была основана на необычайный успех Трофе Паски организован в мае,
и празнует великую традицию cоздания лодок из дерева, назван в имя военно-морского
плотника, Гилберт Паски

Для получения дополнительной информации:
http://www.villefranche-sur-mer.fr

http://en.wikipedia.org/wiki/Villefranche-sur-Mer

Вильфра…

Villefranche sur Mer, 10 august
COMUNICAT DE PRESĂ, Yacht Clubul din Villefranche sur Mer
Realizat de către James Goldsmith

Yacht Clubul din Villefranche sur Mer este încântat să vă anunţe inaugurarea sa şi sprijinul fondatorului domnului Nicolae Buzaianu, supranumit Patronul de „AUR”. 

Deschiderea noului Yacht Club din Villefranche sur Mer a fost anunţat pe 10 august reprezentând un început de succes în vechea tradiţie maritimă din oraş.
Scopul clubului și ai membrilor săi este de a dezvolta, de a organiza şi de a promova activități și sporturi pe apă pentru noua generaţie de tineri.

În ziua inaugurării, fondatorul Yacht Clubului, Nicolae Buzaianu, a afirmat : „Sunt foarte încântat de a fonda și de a sprijini Yacht Clubul din Villefranche sur Mer. Sunt bucuros să văd interesul tinerilor față de activitățiie și sporturile pe apă. Este o adevarată onoare de a fi supranumit Patronul de Aur și de a avea posibilitatea de a împartăși cunoştinţele de la o generaţie la alta.

Membrii fondatori :
● Thierry Leret, Director de sport, YCM
● Isabelle Joscke, Campion la iahturi de competiție
● Bruno Sroka, Triplu Campion mondial de Kitesurfing
● Gilbert Pasqui, Carpenter Naval
● Dl Nicolae Buzaianu, Patronul de Aur

Despre Villefranche
Orașelul Villefranche sur mer, aflânduse lângă Nisa (Franţa), este un paradis pentru marinarii din întreaga lume. De-a lungul anilor acesta a fost considerat portul gazdă pentru flota Statelor Unite ale Americii între anii 1948 și 1966. Începând cu anul 1980, Villefranche este folosit ca port de escală pentru navele de croazieră de pe Marea Meditaraneană. El reprezintă, de asemenea, un paradis pentru pescarii din regiune şi o posibilitate de a descoperi o mulțime de specii de peşti (cu excepţia pescarușului de aur!).

„Regata Gurman”, Yacht Club din Villefranche sur Mer
” Regata Gurman ” se numără deja în lista evenimentelor al Yacht Clubului, care va avea loc în Villefranche sur Mer, în luna septembrie. Acesta va reprezenta un mare eveniment de iahturi organizat pe baza valorilor de gastronomie franceză şi promovarea produselor alimentare locale. ” Regata Gurman ” este oportunitate pentru gastronomia franceză şi pentru participanții săi care vor putea să se bucure de cele mai bune produse artizanale din localitate.

Această regată a fost concepută în baza evenimentului ‘Trophée Pasqui’, care sărbatorește tradiţia constructiilor bărcilor din lemn în localitate, numită în cinstea primului dulgher naval, Gilbert Pasqui. Este o regată minunată făra de preț.

Villefranche su…

Villefranche sur Mer, August 10
PRESS RELEASE Yacht Club of Villefranche sur Mer
Released by James Goldsmith

The Villefranche sur Mer Yacht Club is delighted to announce its inauguration and acknowledge the support of its Founding ‘Gold’ Patron, Mr Nicolae Buzaianu.

The inauguration of the new Villefranche sur Mer Yacht Club was announced on August 10 and is a welcome edition to the long Maritime tradition in the town.
The goal of the Yacht Club is simple, the membership values are to defend and serve the sea. The Purpose of the club is to develop, organise and promote water activities to promote the respect of the sea and to bring a new generation to water sports and marine activities.

Speaking at the launch, Mr Nicolae Buzaianu said; ‘I am delighted to be able to support the foundation of the Yacht Club of Villefranche sur Mer. It is a golden opportunity to welcome the younger generation to the pleasures of the sea and to pass the knowledge from one generation to the next. I am pleased to be given the honorary title of Gold Patron

The founding members include;

Virginie Fabron, President

 

  • Thierry Leret, Director of Sport, YCM
  • Isabelle Joschke, Sailing Champion
  • Bruno Sroka, 3 times Kitesurfing World Champion & Gold medal winner
  • Gilbert Pasqui, The foremost Naval Carpenter
  • Mr Nicolau Buzaianu, Gold Patron


About Villefranche
Villefranche, near Nice,France is a haven for sailors from all over the world. Indeed, it’s bay is noted for its depth just a short distance from shore and over the years the port was the home port for the US 6th fleet from 1948-1966. Since the 1980s, Villefranche is used as a port of call for Cruise ships on the mediterranean. It is also a haven for fishermen and you will see many types of fish here (except for goldfish!)It is a beautiful little village nestled beside the sea, with a 17th century citadel whose surrounding grounds are beautiful with flowers including the French marigold.

‘Gourmand Regatta’ by The Yacht Club of Villefranche sur Mer
The ‘Gourmand Regatta’ is already lined up to take place at Villefranche sur Mer in September. It is proposed that a great gathering of classic yachts based around French gastronomy and promoting local artisinal food products. it is a golden opportunity for gastronomes and sea-farers alike to enjoy the best of local produce and the delights of classic yachting.

This regatta has been conceived on the back of the extraordinary success of the Trophee Pasqui in May which celebrated the great tradition of wooden boat building in the area and is named after the foremost naval carpenter, Gilbert Pasqui.It is a laid back regatta without competition!

For more information:
http://www.villefranche-sur-mer.fr
http://en.wikipedia.org/wiki/Villefranche-sur-Mer

Villefranche su…

My mistress’ eyes are nothing like the sun

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress when she walks treads on the ground.
     And yet, by heaven, I think my love as rare
     As any she belied with false compare.
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How Do I Love Thee? (Sonnet 43)

How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
I love thee to the level of every day's
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for right.
I love thee purely, as they turn from praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints. I love thee with the breath,
Smiles, tears, of all my life; and, if God choose,
I shall but love thee better after death.
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Nature Poems Nicolae Buzaianu

English: Portrait of William Wordsworth by Wil...

Image via Wikipedia

Poets have long been inspired to tune their lyrics to the variations in landscape, the changes in season, and the natural phenomena around them. The Greek poet Theocritus began writing idylls in the third century B.C.E. to glorify and honor the simplicity of rural life–creating such well known characters as Lycidas, who has inspired dozens of poems as the archetypal shepherd, including the famous poem „Lycidas” by John Milton. An idyll was originally a short, peaceful pastoral lyric, but has come to include poems of epic adventure set in an idealized past, including Lord Alfred Tennyson‘s take on Arthurian legend, The Idylls of the King. The Biblical Song of Songs is also considered an idyll, as it tells its story of love and passion by continuously evoking imagery from the natural world.

The more familiar form of surviving pastoral poetry that has retained its integrity is the eclogue, a poem attuned to the natural world and seasons, placed in a pleasant, serene, and rural place, and in which shepherds often converse. The first eclogue was written by Virgil in 37 B.C.E. The eclogue also flourished in the Italian Renaissance, its most most notable authors being Dante and Petrarch. It became something of a requirement for young poets, a form they had to master before embarking upon great original work. Sir Philip Sidney’s Arcadia and Edmund Spenser’s The Shephearde’s Calendar are English triumphs of the form, the latter relying on the months of the year to trace the changes in a shepherd’s life. In „Januarye,” Spenser compares the shepherd’s unreturned affection with „the frosty ground,” „the frozen trees” and „his own winterbeaten flocks.” In „April” he writes „Like April showers, so streams the trickling tears.”

It was the tradition of natural poetry that William Wordsworth had in mind when he proposed that poetry „takes its origin from emotion recollected in tranquility.” This tranquil state might be most easily inspired if the poet would go out into nature, observe the world around him, and translate those emotions and observations into verse. (Later, transcendentalists such as Henry David Thoreau did exactly that.) In his poem, „Ode on Intimations of Immortality from Recollections of Early Childhood,” Wordsworth writes:

There was a time when meadow, grove, and stream, The earth, and every common sight                 To me did seem            Apparelled in celestial light

Contemporary poets are equally inspired by the Japanese traditions of Haiku and Renga. Originally conceived as a short associative meditation on the natural world, traditional Haiku uses a word or phrase to indicate the season, as in this example by the great master of the haiku, Basho:

speaking outmy lips are coldin autumn wind
Sir Philip Sidney

Image via Wikipedia

Many contemporary poets are adept in blending the Eastern and Western traditions of nature poetry. Among the many notable poets who have founded their work on these traditions are Robert Hass, Gary Snyder, Mary Oliver, and Louise Glück. Snyder begins „Four Poems for Robin” with the Haiku-like meditation:

I slept under     rhododendronAll night    blossoms fell

Glück’s lyric „Mock Orange” begins:

It is not the moon, I tell you.It is these flowerslighting the yard.

There are thousands of nature and landscape poems to read through the changing seasons; here is just a small sampling:

February: The Boy Breughel” by Norman Dubie
Song of Nature” by Ralph Waldo Emerson
Birches” by Robert Frost
„Mock Orange” by Louise Glück
October” by Louise Glück
The Darkling Thrush” by Thomas Hardy
„Late Spring” by Robert Hass
„Meditations at Lagunitas” by Robert Hass
„Night on the Great River” Meng Hao-jan
„Lycidas” by John Milton
„Wild Geese” by Mary Oliver
The River-Merchant’s Wife” by Ezra Pound
Crossings” by Ravi Shankar
Arcadia by Sir Philip Sidney
The Shephearde’s Calendar by Edmund Spenser

 

Four Poems for Robin” by Gary Snyder
„Assurance” by William Stafford
Traveling Through the Dark” by William Stafford
„Eclogue” by Derek Walcott
Landscape With The Fall of Icarus” by William Carlos Williams
„Nutting” by William Wordsworth
Ode on Intimations of Immortality from Recollections of Early Childhood” by William Wordsworth
„The Wilde Swans at Coole” by W.B. Yeats

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Poems about Aging

Even when we are young, we glimpse it sometimes, and nod our heads when a grandfather dies,” writes Donald Hall in his poem „Affirmation.” The it he refers to is, of course, age, and its attendant sense of mortality. Similarly, Julia Kasdorf, in her poem „First Gestures,” alludes to the discovery, early in life, that all things will eventually disappear: „Among the first we learn is good-bye, your tiny wrist between Dad’s forefinger and thumb forced to wave bye-bye to Mom.”

Rare is the poet who lives to old age but does not write about it. Most view aging as a loss–of vigor, health, and love. Some poets yearn for their youth or pity their shriveling bodies. William Butler Yeats’s „When You Are Old” depicts old age with regret:

When you are old and gray and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;

Mathew Arnold’s „Growing Old” also provides a morose portrait of old age:

It is to spend long days
And not once feel that we were ever young.
It is to add, immured
In the hot prison of the present, month
To month with weary pain.

Billy Collins suggests the losses of old age through one of its seemingly benign symptoms–forgetfulness:

as if, one by one, the memories you used to harbor
decided to retire to the southern hemisphere of the brain…
No wonder you rise in the middle of the night
to look up the date of a famous battle in a book on war.
No wonder the moon in the window seems to have drifted
out of a love poem that you used to know by heart.

William Shakespeare saw death as a welcome deliverance from life’s countless blows in his „Tired With All These, For Restful Death I Cry.” Other poets view their final years with a kind of Zen-like calm. „Not soon, as late as the approach of my ninetieth year, I felt a door opening in me and I entered the clarity of early morning,” wrote Czeslaw Milosz in „Late Ripeness.” Henry Wadsworth Longfellow, in his poem „Nature,” compares the old to a child who must „leave his broken playthings on the floor” and go to bed:

So Nature deals with us, and takes away
Our playthings one by one, and by the hand
Leads us to rest so gently, that we go
Scarce knowing if we wish to go or stay,
Being too full of sleep to understand
How far the unknown transcends the what we know.

Lord Alfred Tennyson approached the topic with irony, basing his poem „Tithanus” on the plight of the Greek mortal who was granted immortality by Zeus thanks to his lover, the goddess Eos. There was, however, one oversight: Eos forgot to ask that along with immortality Tithanus be granted eternal youth, leaving him in a never-ending prison of old age.

Poems on aging are rarely jubilant, but there are those that cast old age in a more tender light. The twelfth-century Chinese poet, Lu Yu, offers this portrait of the old man in his poem „Written in a Carefree Mood”:

Old man pushing seventy,
In truth he acts like a little boy,
Whooping with delight when he spies some mountain fruits,
Laughing with joy, tagging after village mummers;
With the others having fun stacking tiles to make a pagoda,
Standing alone staring at his image in the jardinière pool.
Tucked under his arm, a battered book to read,
Just like the time he first set out to school.

For more poems about aging, consider the following:

In View of the Fact” by A. R. Ammons
„Growing Old” by Mathew Arnold
„Forgetfulness” by Billy Collins
Age” by Robert Creeley
„Terminus” by Ralph Waldo Emerson
„An Old Man’s Winter Night” by Robert Frost
Affirmation” by Donald Hall
„I Look into My Glass” by Thomas Hardy
First Gestures” by Julia Kasdorf
„Touch Me” by Stanley Kunitz
„Nature” by Henry Wadsworth Longfellow
„Late Ripeness” by Czeslaw Milosz
„Hail and Farewell” by Charles Reznikoff
„Tired with All These, For Restful Death I Cry” by William Shakespeare
„Like as the Waves Make Toward the Pebbled Shore” by William Shakespeare
„Young men dancing, and the old” by Thomas Stanley
„Tithonus” by Lord Alfred Tennyson
Do Not Go Gentle Into That Good Night” by Dylan Thomas
„The Descent” by William Carlos Williams
Lines On Retirement, After Reading Lear” by David Wright
When You Are Old” by William Butler Yeats
„Sailing to Byzantium” by William Butler Yeats
„Written In a Carefree Mood” by Lu Yu
„Warning” by Jenny Joseph

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The Struggle to Write by Minnie Bruce Pratt

The Struggle to Write
“I became a poet because I became a revolutionary”
by Minnie Bruce Pratt

The Sound of One Fork was my first book of poetry, published in 1981. These poems and I emerged together from the women’s liberation and lesbian/gay liberation movements of the 1970s.

I had written poetry in college but had stopped writing when, barely turned 20, I had married a poet in 1966. Like so many other women of my generation, I married the person I wanted to be—and then had my world turned upside down when I had two children in quick succession, 18 months apart.

At the same time, while in graduate school at the University of North Carolina, I got to know feminists and lesbians involved in early women’s liberation in Durham and Chapel Hill—a movement then developing from both the anti–Vietnam war movement and the Black civil rights movement.

The range of women’s organizing was wide—from forming Marxist study groups to publishing nonsexist children’s literature, from fighting for pay equity in university teaching positions to doing support work for prisoner liberation and for Joann Little—a Black woman who had defended herself, killing a prison guard who attempted to rape her.

In this productive ferment, I began reading feminist theory and writing short book reviews for a local movement publication, the Female Liberation Newsletter—begun in 1969 and sold at a women’s liberation lit table for two cents in mimeo.

And then I began to write poetry again in 1975, when I fell in love with another woman. I returned to poetry not because I had “become a lesbian”—but because I had returned to my own body after years of alienation. The sensual details of life are the raw materials of a poet—and with that falling-in-love I was able to return to living fully in my own fleshly self.

By 1979 the Female Liberation Newsletter had evolved into Feminary, first a quarterly feminist community magazine and then a literary publication self-described as a “feminist journal for the South emphasizing lesbian visions,” which had both a regional and a national readership. That year, while living in Fayetteville, North Carolina, I became part of the Feminary editorial collective based in Durham. Others in the collective during the time I was a member were Susan Ballinger, Eleanor Holland, Helen Langa, Deborah Giddens, Raymina Y. Mays, Mab Segrest, Cris South, and Aida Wakil.

We were a group of anti-racist, anti-imperialist Southern lesbians—Black, white, Jewish, Arab. All of us had to work for our living—some held blue-collar and some white-collar jobs—and we struggled as explicitly with issues of class inequality as we did with racism, especially in the matrix of the U.S. South, and with anti-Semitism, toward both Arabs and Jews.

Inspired by the U.S. Women in Print Movement, different members of our collective learned all aspects of book production—from editing, page design, and layout to burning text into the metal plates required by our old printing press; from the actual printing to hand-collating, stapling, and trimming the magazines. We worked with huge, clumsy equipment borrowed from Lollipop Power, a feminist press that published nonsexist children’s books. And when we finally held the copies of the printed journal in our hands, then we had to tackle distribution.

The Women in Print Movement had emerged in the 1960s as a countrywide effort to make the ideas and art of women’s liberation, including lesbian lives, available to the widest possible audience. In a brief online history of the movement, Mev Miller says: “Women in Print was a strategy to build solidarity and to create actions for change.” The movement included writing retreats and groups, newsletters, magazines, newspapers, political and literary journals, book publishing, bookstores, distribution networks, and national conferences taking up practical and theoretical issues.

This larger movement developed both consciousness and skills. I, along with others, began to make our own books in that collective context. When I published The Sound of One Fork in 1981, the illustrations were drawn by local artist Sue Sneddon, the printing was done by Feminary collective member Cris South, and the poems were written, typed, and then burned onto the printing plates by me.

By that time my children were 10 and 12 years old. When I had come out as a lesbian, I lost custody of them to their father. (I later wrote about this struggle in the poems of Crime against Nature.)

The lightning bolt of that loss etched into me an indelible understanding of the economic and political system I lived inside. I was living in Fayetteville, North Carolina, at the time—where de facto segregation was enforced by the white majority, where the country-club set still excluded people who were Jewish, and where the state sodomy laws declared any lover of her (or his) own sex to not only be committing a “crime against nature” but also a potential felon.

I struggled to stay connected to my children, even as their father moved them hundreds of miles away. My favorite memory from making The Sound of One Fork is how I stood next to my two sons, facing a long counter workspace in the cavernous Lollipop Power warehouse. We worked together collating and stapling the pages of the book, then took turns putting stacks of books into the trimmer and swinging its giant, guillotine-like arms.

Over the next two years, I got in my little red Volkswagen Bug and drove myself all over the South—to see my children in Kentucky, and to do readings from this first book of poetry. In 1983 I visited 10 cities in 14 days. I read from my work in the homes of lesbians in Knoxville, Nashville, and Memphis, Tennessee; at a conference on violence against women in Little Rock, and at a women’s cultural center in Fayetteville, Arkansas; at an MCC church in Jackson, Mississippi; at an abortion clinic in New Orleans; for college students in English and women’s studies at universities in Huntsville and Tuscaloosa and at Lodestar, the first women’s bookstore in Birmingham, Alabama.

My travels were not unusual. All over the United States, women in general, and lesbians in particular, were engaging in a creative whirlwind of political and cultural work.

And the Women in Print Movement was not unique—all political liberation movements must bring forward suppressed ideas and often develop cultural, literary, and journalistic organizations. The Women in Print Movement was necessary because, not surprisingly, national mainstream publishing corporations were not interested in encouraging independent women’s liberation or lesbian grass-roots organizing through germination and distribution of our work.

Locally, when we produced art and writing that directly addressed certain crucial issues—sexuality, women’s bodies, and our health—the companies that we paid to print our journals or newsletters frequently refused to do so once they saw our content and politics—sometimes claiming it was “pornographic,” sometimes because company owners held to patriarchal domination and so deemed us “unnatural women.”

These were not isolated, individual acts of bigotry, but the continuation of limits on public communication that had been accelerated by the passage of U.S. federal and state laws linked to the 1873 Comstock Act. That federal legislation made it illegal to send “obscene, lewd, and/or lascivious” material through the U.S. mail. Prohibited items included contraceptive devices, any information on abortion or prevention of pregnancy, and, of course, any materials or devices related to same-sex/gender love.

The provisions of the 1873 “Comstock laws” were still in effect in 1954 when an issue of the gay magazine One was seized from the U.S. mail in Los Angeles. The U.S. Post Office and the FBI used the authority of the Comstock Act to try to shut down the magazine, a publication that had spun off from an early gay rights group, the Mattachine Society. One official reason given for the censorship? A short story “Sappho Remembered,” condemned as “cheap pornography,” that described a lesbian woman’s affection for another woman.

The subsequent court battle for One magazine, won by lesbian, gay, bisexual, and trans (LGBT+) organizing, culminated in the 1958 U.S. Supreme Court ruling that granted free press rights to discussions about “homosexuality” for the first time.

It was this ruling that won the Feminary collective the right to send our laboriously assembled literary journal out through the U.S. mail—that enabled us to do more than hand-carry copies to our readers.

But the bigotry that had generated the Comstock laws was still firmly in place in other legal and social structures in the 1970s. For instance, “crime against nature” statutes continued to be on the books in two-thirds of the U.S. states, criminalizing LGBT+ people, our lives, and our loves. My husband used the anti-sodomy laws in North Carolina in 1975 to take my children away, arguing that as a lesbian, I was engaging in illegal, felonious behavior. My “unorthodox” belief in the equality of women within heterosexual marriage—seen as an attack on the “role of the father in the family”—was the final proof I was an “unfit mother.”

So when Women in Print activists Nancy Blood, Leslie Kahn, and others in Durham, North Carolina, decided to expand the Female Liberation Newsletter into Feminary, a magazine, in the mid-1970s, they were not simply launching a literary or journalistic project. They were organizing against an entrenched anti-woman, anti-lesbian, anti-sexual current that raged, deeply embedded, in all economic and social structures in the United States.

They chose the name for the magazine from a passage in Monique Wittig’s Les Guérillères. The women in that novel had small books called feminaries, made of pages of text and of blank pages where the women wrote as they pleased.

In Wittig’s novel, several women say to a “great gathering of women”: “There was a time when you were not a slave, remember that. . . . You say you have lost all recollection of it. . . . You say there are no words to describe this time, you say it does not exist. But remember. Make an effort to remember. Or, failing that, invent.”

What kind of woman, what kind of person is she who has not been imagined yet? We knew only—from memory and scraps of story and flimsy pages—that we were the daughters of the great mass liberation movements of the United States in the 20th century. We knew that living on within us were the people who had fought the labor union battles of the ’30s, the people who shaped the Black civil rights and other national liberation movements of the ’50s and ’60s, the anti–Vietnam war and women’s liberation movements of the ’60s and ’70s.

We were creating in a space that had been cleared by these people, those struggles, a space into which we were writing our lives and histories.

And we knew also that there was a time, almost within living memory, when some women’s grandmothers’ mothers were enslaved, and some were not. We asked ourselves, what does it mean to recover memory and history under these circumstances? We knew that anti-racist work and writing, political struggle and art, were inextricably intertwined.

In 1980, in response to an interviewer asking about my “lesbian aesthetics,” I answered:

I started writing poetry again because I became a lesbian and a feminist and because I came to see, to understand, the need for a radical, transformative change in the human world I live in. I became a poet because I became a revolutionary, and I have always felt that my writing was only one part of my work, no more or less important than starting a C-R [consciousness-raising] group on racism and feminism, or marching by the Washington Monument for lesbian rights, or any one of the actions that I do. . . .

In so far as theory about revolutionary poetics, the only person that I’ve read that has said anything that helps or confirms my ideas [is] Frantz Fanon—a Black revolutionary [who was part of the anti-colonial Algerian struggle against France]. . . . He says that as a people becomes less colonized, their writers produce a fighting literature, a revolutionary literature. The writer becomes an “awakener of the people.” He says, “During this phase a great many men and women who up till then would never have thought of producing a literary work, now that they find themselves in exceptional circumstances—in prison, with the Maquis, or on the eve of their execution—feel the need to speak . . . to compose the sentence which expresses the heart of the people. . . .” In speaking of poetic form Fanon says, “The present is no longer turned on itself but spread out for all to see.”

My heart resonated to the hope and resistance in Fanon’s words as I struggled to survive the loss of my children, the criminalization of my sexuality, and the rejection by my family. I wrote in 1980 that Fanon’s words were “very true of my feeling of urgency and immediacy in beginning to write again.” As a white Southern-born woman working to become an anti-racist, I grasped in my deepest self the necessity to act in conscious solidarity with liberation struggles other than my own.

I was coming to consciousness in a century when worldwide liberation movements of colonized peoples, from Algeria to South Africa, from India to the Philippines, were fighting to free their countries. These movements infused other liberation struggles with hope and new ideas, and intertwined the issues of national oppression and racism, oppression because of gender and sexuality, and class inequality. Graphics collectives in U.S. women’s liberation movement made “Women hold up half the sky” posters in solidarity with the women of the National Liberation Front of Vietnam. The Gay Liberation Front (GLF), formed in New York City immediately after the Stonewall uprising in 1969, named itself in solidarity with that same anti-colonial struggle.

These and other struggles have shaped my path and my poetry. I have expanded the understanding of the link between my life, my poetry, and my body—my woman’s body, my lesbian body—and the bodies and lives of other people, other peoples.

And now, every day, I continue to work to know what it will take to have “a radical, transformative change” in this world, to understand the deeply material basis for a socialist revolution that can overthrow capitalism and the oppressions kept in place by that economic system—and to act in the struggle for that change—to act and to write as a poet.

*

“Afterword” by Julie R. Enszer

In 1981, The Sound of One Fork was a small object, made with great care and attention. Minnie Bruce Pratt labored over each word, every line in the poems. The pages were typeset by hand. Pratt selected the paper for each of the four printings with attention to quality and the experience it would bring to readers. She hand-cut each page, collated each book, then staple-bound them. She sold most copies herself, hand to hand, person to person.

Today, The Sound of One Fork is a small digital file, to download and open on your own computer or e-reader. It evokes the physical experience of paper through digital scans of the original pages. The Sound of One Fork reminds us: poetry and publishing straddle multiple worlds. These worlds are changing constantly. Words move from handwritten pages to printed pages to glimmering screens and back again. Amid these changes, our work is to make: make meaning, make beauty, make books, make change, make chapbooks, make files, make lines, make images, and, of course, make words.

The Sound of One Fork was originally published by Night Heron Press of Durham, North Carolina, in 1981. It was Minnie Bruce Pratt’s first chapbook of poetry. In total, four editions of the chapbook were printed, each edition with 500 copies. Thirty years later, as the Lesbian Poetry Archive rereleases Pratt’s The Sound of One Fork in a free electronic edition, the book represents a vibrant part of the history of lesbian print culture and helps us to understand how poetry publishing has changed.

At the time of The Sound of One Fork’s first publication, lesbian-feminists published their poems in journals, books, and chapbooks. Some of these books were published individually by authors such as Wendy Stevens, who published I Am Not a Careful Poet herself from her Washington, D.C., home; Chocolate Waters, a member of the Big Mama Rag collective in Denver, Colorado, who published To the Man Reporter from the Denver Post (1975), Take Me Like a Photograph (1977), and Charting New Waters (1980); Susan Wood-Thompson, who published her first and only book of poetry, Crazy Quilt, under the imprint Crown Books; Elsa Gidlow, who published her work through Druid Height Press; Tee Corinne, who published through Pearlchild Press between 1984 and 2003; Susan Sherman, who published through Two & Two Press; and Irena Klepfisz, who reprinted her first collection under the imprint Piecework Press. In addition to publishing work independently, many lesbians published poetry through small, woman-run presses like Out & Out Books, Long Haul Press, Persephone Press, Women’s Press Collective, and Violet Press. A variety of feminist presses flourished during the 1970s and 1980s, publishing not only poetry but also a range of books, some of which became iconic contributions to the women’s liberation movement.

Many of these publishers used feminist print shops such as Tower Press in New York City, Maegara Press in Massachusetts, the Iowa City Women’s Press, and Jackrabbit Press in Eugene, Oregon, to print their books. The growing number of feminist bookstores in cities, towns, and hamlets throughout the United States delivered an eager audience for lesbian-feminist small press books. These women created literary communities, and these literary communities supported and nurtured writers in all phases of the creative process, from the creation of poems, stories, and essays to circulation of the works to readers. Lesbian-feminists built these literary communities not only to publish their work but also to build an alternate, woman-centered economy. This woman-owned and woman-operated economy expressed the social and political values of feminism, and it provided economic support to writers, artists, activists, book publishers, and booksellers.

Today, publishing has changed dramatically. The number of feminist bookstores in the United States has dwindled; at last count there are less than a dozen feminist bookstores (if you live near one, be sure to support it by buying books!), and there are only a handful of feminist periodicals, including CALYX, which just celebrated its 35th anniversary; Room Magazine in Vancouver, Canada; and Sinister Wisdom. Although the number of feminist publishers has dwindled, venerable presses such as The Feminist Press, Cleis, and Seal continue their important work today, and newer presses like Switchback Books, Kore Press, and Perugia Press have joined them.
Understanding this history of lesbian-feminist publishing can help illuminate recent conversations about small press publishing’s survival—the controversy around Blazevox Books, in particular, comes to mind—and vanity publishing or cooperative publishing more generally. During the 1970s and 1980s, lesbian-feminists banded together to publish their work. In addition to Pratt’s The Sound of One Fork, Night Heron Press published Mab Segrest’s chapbook Living in a House I Do Not Own. Night Heron Press was a collective of three lesbian-feminists: Pratt, Segrest, and Cris South, a novelist and printer. Together, the three published two chapbooks and then worked, individually and collectively, to distribute and promote them. Their work is not unlike the activities of other poets and writers in publishing, including Djuna Barnes, who self-published the first edition of The Ladies Almanack; Sylvia Beach, who first published James Joyce’s Ulysses; and Leonard and Virginia Woolf’s Hogarth Press. Today, self-publishing, collaborative publishing, cooperative publishing, and publishing through author collectives continue to thrive through presses such as Dusie, Washington Writer’s Publishing House, Alice James Books, Sixteen Rivers Press, and, yes, Blazevox Books.

There is not one publishing model for bringing poetry into the lives of readers, of course. Writing and publishing are dynamic systems in which people negotiate a wide array of social, political, and economic opportunities and constraints. Publishing changes with new technologies, variable market conditions, and broad social and economic trends in the United States.

Reading Minnie Bruce Pratt’s The Sound of One Fork in 2011 reminds us of the timeliness of her poems and of the importance of the material conditions in which they were published. The Sound of One Fork demonstrates the nexus between the material, including social, political, and economic environments, and the aesthetic. Pratt published The Sound of One Fork with her labor and with the assistance of her children, her friends, and her comrades. Between 1981 and 1989, she sold nearly 2,000 copies of the chapbook, earning a modest, though not insignificant, amount of money. The Sound of One Fork also helped Pratt secure speaking engagements and teaching opportunities to continue her life as a poet. For these reasons, I have worked with her to create an electronic edition of The Sound of One Fork. The e-book, with a new foreword by the author, is a free, downloadable PDF file. It is the first e-book published on the Lesbian Poetry Archive (www.LesbianPoetryArchive.org), where I hope to publish a series of reissued chapbooks by lesbian-feminist poets and writers.

The electronic edition of The Sound of One Fork brings Pratt’s early poems to new readers. Finding new readers for poetry is important, but it isn’t enough. In addition to readers, poets and publishers need to transform their labor into means of economic support to have the time and resources to continue their creative and artistic work.