#gary lundy

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[jamiededes]

“Poetry is at its basic level language at play. I try not to dictate the rules of that play.” gary lundy

gary’s style is an engaging cross between the spontaneity of artistic improvisation and a steady flow of interior monologue. His often fragmented word-play, draws us inescapably into his haunted world. His is singular voice that pulls us up by the heartstrings as he scrutinizes his life, his loves, and the ragged edges of longing. He is exquisitely open in his explorations of grief and vulnerability, facing the discordant notes head on. I think what impressed me most about gary’s writing is a virtuosity completely and refreshingly unpretentious and honest.  Recommended.

when voices detach themselves is the first of two chapbooks by gary lundy published by Is a Rose Press, which focuses on “poetry, experimental writing, hybrid, and more.”  when voices detach themselves was published in 2013 and the second, heartbreak elopes into a kind of forgiving was published in 2016. These are among several of gary’s published collections. The others are detailed in his bio, which closes this post.

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*****

when voices detach themselves, when I imagine I am listenting to their speakers sudden impact of invisibility, of having lost the way, even through insistence attempts to sidestep a bouncing young noise. can it be. that through thought i confirm my being. yet does it too proceed the thought. can it not outlast loss.

in another location two people unwinder their bodies from the previous nights encounter, move to opposites sides of the room.

INTERVIEW

JAMIE: I’m sure you’ve had many questions from your students, readers, and interviewers over the years. Is there any question about poetry in general and/or your poetry specifically that  you wish someone would ask and what would be your answer to that question?

GARY: In my experience people don’t tend to ask questions about poetry. Certainly many want to tell me what poetry can and can’t be. From the admonition that this or that word is overused and should be avoided, to “we have a moral obligation to protect the world from bad poetry.” This last one came after I refused to talk about those poets who didn’t inspire or compel, etc. From a well known poet who we had gathered to meet and greet, if you will.

I love poetry, even those pieces or books that don’t generate for me interest. I love language and words equally. Poetry is at its basic level language at play. I try not to dictate the rules of that play.

JAMIE: Your style is certainly engaging and rather singular, improvisational and fragmented like the voices about which you write in when voices detach themselves. Did it arrive one day in a flash or is it something that evolved and is perhaps still evolving? 

GARY: Thank you. For this particular book I returned to poems I’d written a few years earlier and then left behind. When I reintroduced myself to them i realized that in their fragmented way they fit together. So I listened and then the book was reallized.

My writing practice is pretty consistent in that I usually write every day. But I don’t begin with a sense of where the writing is going to go. That is, I have little interest in dictating where the words lead. Rather, I’ll jot something down, a fragment or phrase and then what’s on the page begins to dictate direction.

Naturally, when I first began to explore writing poetry I followed those dictates of teachers and peers. I worked to write the poem expected, the poem of rules. I also wrote specifically out of or from my life experiences. It was a good practice to be sure.

However, eventually I began to understand that such writing, for me of course, was more a group writing than writing as it came to me. My life did not seem to fit easily into the formulas I’d been encouraged to use. Perhaps because I hadn’t really begun to recognize my queer identity, but my world was not constructed within easy narrative or linear structure. Rather, it was filled with false starts, disconcerting interruptions, and a sense of loss and failure. I began to listen to that rather than any central sense of self. Naturally this is an ongoing and delightful adventure in discovering where the writing wants to go. 

JAMIE: You write about the discordant notes in life, the fears, the jolts that come out of nowhere, the losses, and the distancing that seems to happen between lovers and friends, and the way expectations and outcomes don’t necessarily jive … all the aches and pains of life, the vulnerabilities. Is there healing for you in the writing, in the naming? Is your hope – expectation – that there might be some healing for the reader?

GARY: This is an intriguing question. When I write I have little expectation past the writing as it unfolds. Certainly, when I return to what has been written, especially after a few months or years, I suppose there is some kind of healing; although, I’d prefer insight. A few years ago I moved to Providence, Rhode Island, to be with a lover and friends. It was a good experience; however, it was also not so good. After I returned to Montana I reread my first full length collection, heartbreak elopes into a kind of forgiving. I was preparing to give a reading and hadn’t really thought very much about the poems. However, as i read through the pieces, all written before my move, there were warnings throughout. I could see that however it came, evidently I knew I shouldn’t make the move. The poems were written a couple years earlier. Curious to be sure. While I try to pay attention to such meanings in my poetry, unfortunately, for the most part I miss them consistently.

I have no expectation for my reader, nor of even having a reader. I am convinced that if there is a reader they will find their own sense of what’s going on in the poem as they listen to the poem. While writing certainly and clearly assumes a reader, I don’t. I write for the pleasure of writing, and, perhaps, to keep me in some way grounded.

JAMIE: I suspect you’ve been writing since high school and college and I know you have quite a body of published work.  What’s up next? 

GARY: Well, to get some few pieces published in magazines and journals; perhaps land another book or two. But foremost is simply to continue writing, and reading, to continue learning about those facets of my compound and complex sense of self and world.

POEMS

as i have to do i bring this to a more personal level. certainly in my writing part of the task has been to find a form that not only expresses what i have lived. but the stories of what i can live. feel certain that every marginalized person has this task. or remains subordinate and enslaved. yet as i struggle with the how of actualizing this. or getting to the story not in unremarkable and familiar narrative. i realize how troubling and difficult it is.

i apologize for loading you down with images. just excited to get closer to present. and maybe a future.

****

as out of remarkable past a slight look aside peripheral desire another over written story lies indeed it may only be overdue bills envelopes stacked against the south wall last years dishes long the growing mold

****

you came to me later after other women had taught me their possibility and mine while men kept warning their usual mantra it is a mans world but it isn’t after all and a reality exists outside even their peripheral gaze even outside their understanding a desire full of exception and expectation for a different kind of language a different kind of life where ego shrinks to the size of a pea and life become quite suddenly more about more than usual

gary’s poetry is shared here with permission

© gary lundy

RELATED:

reading the signs can be terrifying, gary lundy, Cutbank, The Literary Journal of the University of Montana

gary lundy has published five chapbooks, the two most recent, and still in print, when voices detach themselves (Is A Rose Press, 2013), and at | with (Locofo Chaps, 2017), and has two book length collections, heartbreak elopes into a kind of forgiving (Is A Rose Press, 2016); and each room echoes absence (Foothills Publishing, 2018). He has published his writing throughout the US as well as in Canada, Czeck Republic, and Israel. Most recently his poems have appeared in Fence, Meta/Phor(e)/Play, Cutbank: Weekly Flash Prose & Prose Poetry, Setu: Western Voices Special Edition, and Alexandria Quarterly.

gary was raised in Denver, Colorado. He received his Ph.D. in Twentieth Century American Poetry from Binghamton University. He taught English at SUNY-Oswego, St. Paul’s College, and for twenty years at the University of Montana Western. gary, now retired, is queer and lives in Missoula, Montana.

ABOUT 

Jamie Dedes. I’m a Lebanese-American freelance writer, poet, content editor, blogger and the mother of a world-class actor and mother-in-law of a stellar writer/photographer. No grandchildren, but my grandkitty, Dahlia, rocks big time. I am hopelessly in love with nature and all her creatures. In another lifetime, I was a columnist, a publicist, and an associate editor to a regional employment publication. I’ve had to reinvent myself to accommodate scarred lungs, pulmonary hypertension, right-sided heart failure, connective tissue disease, and a rare managed but incurable blood cancer. The gift in this is time for my primary love: literature. I study/read/write from a comfy bed where I’ve carved out a busy life writing feature articles, short stories, and poetry and managing The BeZine and its associated activities and The Poet by Day jamiededes.com, an info hub for writers meant to encourage good but lesser-known poets, women and minority poets, outsider artists, and artists just finding their voices in maturity. The Poet by Day is dedicated to supporting freedom of artistic expression and human rights.  Email [email protected] for permissions, commissions, or assignments.

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Recent and Upcoming in Digital Publications * The Damask Garden, In a Woman’s Voice, August 11, 2019 / This short story is dedicated to all refugees. That would be one in every 113 people. * Five poems, Spirit of Nature, Opa Anthology of Poetry, 2019 * From the Small Beginning, Entropy Magazine (Enclave, #Final Poems), July 2019 * Over His Morning Coffee, Front Porch Review, July 2019 * Three poems, Our Poetry Archive, September 2019

“Every pair of eyes facing you has probably experienced something you could not endure.”  Lucille Clifton

  “when voices detach themselves,” by gary lundy; review, interview, poems "Poetry is at its basic level language at play. I try not to dictate the rules of that play." gary lundy…

[popentertainment-moviereviews]

BURNING ANNIE (2004)

Starring Gary Lundy, Sara Downing, Kim Murphy Zandell, Brian Klugman, Jay Paulson, Rini Bell, Todd Duffey, Kathleen Rose Perkins, Jason Risner, Carrie Freedle, Keith Page, David Hall, Alex Bolano, Evan Price and Jaisey Bates.

Screenplay by Zack Ordynans.

Directed by Van Flesher.

Distributed by Armak Productions. 94 minutes. Not Rated.

Woody Allen’s Annie Hall had the tag line “A Nervous Romance” when it was released in 1977. Forty years later, Annie Hall is arguably the high-water mark of Allen’s highly acclaimed, but rather inconsistent body of work – the perfect melding of his funny and his serious sensibilities. It was a Best Picture Winner (beating out such strong competition as Star Wars) and is considered a stone-cold classic to this day.

Still, all these decades later, was the world really waiting around for an indie film about a college student who obsessively clings to Annie Hall as a personal and romantic guidebook for his life?

This sweet, quirky, but ultimately just slightly odd film has been rescued from the dustbin of forgotten independent features to get a full release on all digital and streaming platforms in honor of its tenth anniversary. (Well, technically the film is 13 years old, but it had a brief New York theatrical run in 2007.)

The story is as simple as it is meta. A college student, and his best friends, use Woody Allen’s Annie Hall as a life primer. He walks, talks, and acts like a middle-aged Jewish man.

That character is named Max (which, pointedly, was Tony Roberts character’s nickname for Woody Allen’s character in Annie Hall), a cynical WASP college student who is obsessed by the movie. Max is played by Gary Lundy, who at the time was hot off of a performance in indie darling Donnie Darko. He is deeply cynical about life and romance, traits shared and magnified by his best friends. (These friends also humor his Annie Hall fixation and act accordingly to the film.)

The film mostly revolves around Max’s relationship with Julie (Sara Downing, who at the time was in the TV series Roswell), a gorgeous, smart and neurotic student who becomes Max’s own personal “Annie Hall.” Like in the older film they are extremely different sorts: he is jaded and aloof, she is open and giving. He is rich, she is of more modest means. He claims to believe that romance is a sham, and yet he is desperate for true love. She believes in true love, but is somewhat afraid to surrender to it.

Part of the problem about Burning Annie, and more specifically about Max and his friends’ lives, is that they are convinced that Annie Hall is a primer about how true love survives all. (One character even makes an impassioned argument for this reading of the film.)

Yet, in Annie Hall, true love did not survive. It was not enough. It was destined to frustrate and ultimately disappoint you and leave you yearning and feeling empty inside. As Alvy Singer (Allen) explained to Annie Hall (Diane Keaton) in the original film: “A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.”

Max and his buddies have a whole school of dead sharks, but none are willing to let go of what is not working.

Burning Annie does a good job of mimicking Annie Hall’s essence – even visual cues and playing on lines and scenes – while also having an aesthetic which is completely foreign from the original. (Can you imagine Woody Allen, Diane Keaton and Tony Roberts sprawled out on the couch playing video hockey?) The characters’ obsessions with relationships, and the deep psychological and sociological ramifications of life, sometimes feel a little odd coming from a bunch of college students, but it fits with the source material.

For the record, the jokes in Burning Annie are not at the level of the jokes in Annie Hall, not by a long shot. Yet, there is still something lovable about Burning Annie, a sweet bruised optimism and a kind-but-jaded heart. Maybe that is enough.

Maybe we want to give a nice little DIY film the benefit of the doubt and allow it to find the audience that it missed the first time out.

Maybe we just need the eggs.

If you get that reference, then chances are you might enjoy Burning Annie.

Jay S. Jacobs

Copyright ©2017 PopEntertainment.com. All rights reserved. Posted: June 13, 2017.

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