Golden Week – celebrating the legacy of Peter Kidd, Igneus Press founder

Peter Kidd formed Igneus Press in 1989 to make a home for the poets and polymaths he’d collected, or who’d collected him. William Kemmett and artist James “Deac” De Crescentis are pictured here; composer William Bland, P.J. Laska, and Richard Martin were part of the early formation of Igneus.

dce: Pete was my guru – he would always answer my questions with complete honesty, and then give me a little tidbit to chew on later. Like this bit on agnotology (n.) – the study of deliberate, culturally-induced ignorance:

S.K.: He fought cancer for 6 years, and not just one kind. A few years before he passed away on June 12, 2020, he was undergoing radiation on his neck for thyroid cancer, which involved him laying down flat (extremely painful for him, due to the lesions in his spine caused by multiple myeloma, the primary form of cancer he was fighting) with his head pinned down underneath this mask.

The mask was made as a mold to fit the shape of his head and shoulders. Dad always had claustrophobia, and told many tales of how he spent the time in the machine under this mask ‘fighting the azuras,’ deep in meditation doing war against forces of evil.

Sophia Kidd and her father Peter Kidd

Azuras are a familiar motif throughout Pete’s writing. I was familiar with the Asuras, a class of beings in the lore of India; but Pete always spelled it with a z, connoting rocky formation azure in my mind. I love a good two-fer. So I spelled that way in my poem “constellations” as I processed my grief upon his passing:

but cosmic trajectory, surely
an Azura or two, the exact same
footprints on another plane

-dce 06.13.2020, Annandale

Pictured here is Peter, reading from Richard Martin‘s White Quartet series for a documentary we were filming shortly before Peter’s passing…We’re trying to figure out how to release the footage we have in a cogent form.

In the meantime, here’s a still image of a man in cosmic motion.

dce: I knew Pete since 1997 as an online presence. I met him in person in 2018 in Canyon, Texas. Here’s an excerpt from that tale, which can be found at debnation.com:

Peter Kidd, November 2018, Canyon, TX

Over roast chicken we discussed Bill Bland‘s poetry while his music emanated from the neighbor room. We moved on to David Starobin‘s recordings – these are snippets of Pete’s New England history. I took notes in my sketchbook during dinner conversation. Pete’s given me homework: Black Mountain College, the side-stone in a Japanese garden, so many other things. He took us into the bowels of what currently serves as Igneus Press. Several lifetimes are stacked one against the next, and my storyteller’s mind was overwhelmed with juxtapositions. “Kemmett used to say for twenty years he always kept a noose in the trunk of his car.” Pete reached out and tugged on a rope hanging from the shed’s ceiling. “Here’s mine.” 

This year we’ve registered the business, repaid the website hosting and maintenance bills, rehauled the bookshop, and engaged a fulfilment center to store all the books and fulfil orders made on our website. It’s expensive. Dad left me a little money to do this, but we’re moving through that quickly. We really want to keep the press going. Our small team is willing to do all the work out of the love in our hearts for Dad. But we can’t do this without your help.

Peter Kidd often compared poetry to gardening. A small business is like a garden. It needs to be guided, nourished, protected, directed.

A gentle reminder and plea, as well, for your support of Igneus Press, the small independent poetry press Dad established in 1989. We’ve really jazzed the place up and as a small group of volunteers, we need your support: not donations, but your patronage of the Igneus online bookshop. Order a book or two, bring them into your home, your bosom, your mind, your spirit, and allow these poems to sing out into the world through your own awareness.

Here’s Dad giving the final reading of his life, from his final set of poems.

Sophia wrote on what would have been Peter Kidd’s 74th birthday: “One year ago today, I celebrated Dad’s birthday with the Stone family in Canyon, TX, with homemade chicken soup, pulled pork and a great cake. It was an evening of bliss. Dad was feeling strong, walking around, even bouncing around like a champion. He was writing poetry again and feeling ready to move into the next best phase of his writing.

He had seven days to live.”

Mini-Contemplation 49a:

shot out of my lounger chair

at noon, today, morning after infusion

under the influence of steroids

sharing empathy with baseball players

and why it’s fun to hit all those dingers

– PETER KIDD, 25 JULY 2019

How Poetry Gets Us Through – a review of The Required Dance by W.E. Butts

pitchfork, rocks, plants

W.E. Butts, The Required Dance (1st Edition) (Buy this book)
Review by Deb Ewing

In our age of immediacy, it’s hard to fathom how and why the work of people still living will measure up to the poets of our classrooms–Yeats, Longfellow, Shakespeare’s Sonnets.

Joy Harjo is still America’s poet laureate; she shared a space with A.B. Spellman at the National Book Festival in 2016 when I showed up in my DC AS F*CK tee shirt asking him to sign Things I Must Have Known.

I share my birthday with Sylvia Plath and Dylan Thomas. Sylvia Plath’s now a bot on Twitter. Dylan Thomas needs to up his game.

Poets are historians. They preserve a less comfortable side of life, in case we remember it differently later on. This is what moved me to record myself reading works by W.E. Butts from his collection The Required Dance.

These poems read like an old photo album. Here are someone’s uncles (and nobody’s quite sure which one’s which.) We see their rumpled suits and off-kilter hats while they smile grudgingly for the photographer. Look at the background, though, where the women are shuffled off to the side making meatloaf sandwiches. The vehicles, the absence of traffic lights; this is an America that gave birth to the one we live in now.

Wally was, in his day, the Poet Laureate of New Hampshire. His piece What We Did Wrong, 1956 uses language which is not acceptable today in public format, but which is still spoken in workshops and parking lots. He gives us a clear window through which to view and ask ourselves: Are these people bigots? If not the poet, the poem?

I feel something less pointed, more like a a cold chill through a cracked window; something that, if it’s not stopped up, runs a risk of spreading viruses through the household. It’s uncomfortable. It’s important enough to preserve. Let our future generations look more closely at what was.

my Pitchfork Studio, Annandale, Virginia 2020 photo by debora Ewing

I dropped my phone on a pitchfork, which shattered the screen. To be fair, I’m not sure the phone actually hit the pitchfork, but it makes a better story that way. My flexible phone tripod was twisted around the weathered wooden handle, but that handle snapped as I tried to make an angle adjustment. I moved the tripod to a sturdier shovel and made this video for you.

My friend Gary Mark Bernstein says poetry is meaningless unless it interacts with the senses, mind and emotions of a human being, in which case it is the most important thing in the world.

Further reading:

The Required Dance by W.E. Butts is available through Igneus Press – click here to add it to your cart. Let it play with your emotions.

Sir Patrick Stewart whiled away the early days of his pandemic lockdown by reading us Shakespeare’s Sonnets. When we got really lucky, he’d retake or share musings.

debnation.com: debora Ewing is a writer, artist, oracle operating out of Annandale, Virginia, US. Read more of her musings and short fiction here, and catch spontaneous nonsense on Twitter or Instagram by following @DebsValidation.