Composite Sketches by Lou Orfanella ISBN: 0-9753388-1-1

This collection examines memory and awareness of what has been, where we are and where we might be going. Using wit and steering clear of sentimentality, Orfanella’s poems deliver a plethora of gritty, reality-infused observations contrasted with delightful whimsy and pop-cultural references. The poet explores decades-long change across America, in his heart, and in his family with honesty and reverence. His conclusions will both startle and move the engaged reader.

 

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Scheduled Readings
 

Saturday, April 14, 2007, 10:30 a.m. Reading/book signing: The Plaza at Clover Lake, 838 Fair Street, Carmel, NY. Funded by Poets & Writers, Inc. through a grant from the New York Council on the Arts.

Saturday, April 21, 2007, 12 noon.  Reading/book signing: Kent Public Library, Route 52, Kent, NY.  Funded by Poets & Writers, Inc. through a grant from the New York Council on the Arts.

Thursday, April 26, 2007, 4 p.m. Reading/book signing: The Village Bookstore, Washington Avenue, Pleasantville, NY.

Saturday, April 28, 2007, 3 p.m.  Featured poet, Ear Inn Poetry Series, 326 Spring Street, New York, NY.
 

Saturday, May 5, 2007, 1 p.m. Reading/book signing: The Book Cove, 22 Charles Colman Blvd., Pawling, NY.  Funded by Poets & Writers, Inc. through a grant from the New York Council on the Arts.

Wednesday, May 9, 2007, 8 p.m. Open mic, Molten Java, Greenwood Ave., Bethel, CT.

Friday, July 13, 2007, 7 p.m. Reading/book signing: Barnes & Noble, Arena Hub Plaza, Wilkes-Barre, PA.  An artistic collaboration featuring Perry Orfanella on bass.


Friday, July 20, 2007
, 7:30 p.m. Open mic: Hudson Valley Writers’ Center, 300 Riverside Drive, Sleepy Hollow, NY.
Primary Sources (from Composite Sketches)

She is never sure how to end her poems the truth begins to
Surface then retreats back to the darkness
Yet to find its way into the hardbound notebook
Where she scribbles her secret longings
Her first journal without a tiny lock and key
One for grown up musings fantasies of lying
Beside another body gently breathing in the night
Although her nights are spent alone
She writes her poems in the semi-darkness
Rising before dawn writing beginnings and middles
But no endings sometimes she waits until the sun goes down
Staying up late until everyone else is asleep
The dampness rising through her open window
Small nightlight illuminating the blue and black ink
Streaking the barren pages sometimes she writes in red
When it is hot and sweaty other times in pencil
Making marks visible only to her
Some nights she sips tea when she writes not minding when it
Drips on her words light brown splotches marring her
Clean smooth pages making them look like the
Parchment paper of an ancient religious scroll
Other nights she eats rich dark chocolate letting it
Melt on her tongue and slide slowly down her throat
She wears very little when she writes alone in the night
Hoping to one day connect with that which lies far
Beneath her skin knowing that the secrets will bring her
Poems to life that the endings will come when one day
She is ready to face the pain of the reality that is hers alone
Like the songs of nature she hears at the window
As the rain hits the glass and the wind
Brushes the tree branch into the house
And the tears that only she knows flow when she
Lets her hair down and faces the night

 

From the Author:

I did not know much about poetry, and knew even less about writing poetry until my junior year at Columbia.  I was looking for a course to fit into an open time slot in my schedule and came across "Modern Poetry" in the college course guide.  Since up to that point in my education poetry was anything but modern, I thought it might be interesting.  As it turns out, the course had a profound influence on my life.  The professor teaching the class was Kenneth Koch, a founding member of "The New York School of Poets" along with John Ashbury, Frank O'Hara, and James Shuyler.  I had not heard of Koch, but quickly came to realize how important a figure he was in the literary world.  It is hard to decide how his body of work has influenced me the most.  His books on education are classics in the field and his poetry is among the finest of the 20th century.

Koch used imitation as a way to help us become more intimate with a poet's style and with the creative process in general.  I wrote terrible poetry during my two semesters with him, but that was fine.  I was writing and learning, and ever so slowly developing a style of my own.  As a graduate student at Fordham I took a course with Ed Wakin who taught me a lot about the editorial process.  In the years that followed, I began writing things in various genres and submitting to magazines and newspapers.  Slowly I began to find some success and attempted to build on it.  Success with poetry sort of came as a surprise.  I was much more involved with journalism, but found that after practicing with many styles of poetry and reading as much as I could, I developed a style that worked for me.  I found that the concise use of language in poetry and journalism make those genres more similar than one might imagine.

I like to draw inspiration from the everyday events that make up a lifetime and have become especially interested in bringing the memoir process into poetry.  Poetry does not change the world or the people in it.  It can make people think, feel, and be a little happier for a while, and that is probably enough.  It is a wonderful tool for self-examination and for preserving life's little moments sort of like photographs are able to do.

If I have any "mission" as a poet, it is to bring poetry into the literary mainstream.  For so long, poetry has been covered by a shroud of mystery, as if one needed a special gift to be able to read, write, and enjoy it.  I would like poetry to be something that the general public reads and looks forward to like the latest work by a best-selling novelist or the new CD by a chart-topping recording artist.

 

 

 

 

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