4.3 miles
marshall loop
35 degrees
The forecast was for 2+ inches of sloppy snow early this morning. Maybe rain too. Completely dry. Everything happened just south of us. Hooray! Great conditions for a run. Not too cold or too windy or too crowded. Today’s mental victory: I ran all the way up the marshall hill, over to the river, and down the summit hill without stopping. Stopped at the overlook on the bridge for a minute to check out the sandbar and the reflections and the smooth surface of the river. Beautiful.
10 Things
- egg/breakfast sausage smells coming from Black Waffle Bar — no sweet waffle smell
- no more leaves on the trees, all on the sidewalk
- cars backed up on lake street
- the light at the top of the hill: red
- smell: savory, eggs and bacon
- a car parked in a driveway blocking the path
- the bent and crooked slats from blinds in a garage window
- two people standing and looking at a stone wall above the ravine near shadow falls
- a roller skier on the path, then on the road
- several stones stacked on the ancient boulder
echo / / location
I can’t quite remember how it happened, but I was thinking about my Girl Ghost Gorge poems and echoes and chanting — oh, yes, it had something to do with sound and a call for submissions for soundscapes in poetry. As I thought about my rock river air chants, ECHOLOCATION, suddenly popped into my head!
Echolocation is a great title for this collection. Or, echo location. Or, echo | | location. Or, as Scott suggested, echo / / location. I looked it up and someone has a poetry collection with the title echolocation. Is that a problem? To have the same name? I’m not sure. I like the sound of girl ghost gorge, and a girl (me), her ghosts, and the gorge are the theme that inspired all of the poems. But, being located in time and space — both placing myself and being placed by others — seems even more like the theme. At the very least, I’d like to title the final poem of the collection, echolocation.
Here’s something to read about humans and echolocation: How Does Human Echolocation Work? It’s with Daniel Kish, Batman from an Invisibilia episode.
The rest of today is about studying echolocation!
I mentioned echolocation in these past entries:
update, several hours later: I received an email today from a journal that published one of my poems: I’ve been nominated for a Pushcart Prize! This is my second nomination, which is really exciting! It’s for “The Cut-off Wall” (“The Cut-Off Wall” — Rogue Agent, March 2025).
Also, another cool thought about my collection and the chants in it. I’ve been playing around with making the shape of the river out of words in my river chant:
flow flow flow
slow slow slow
In early drafts, I had the words form the river, but now I’m thinking of making a page of these words and removing some to form the shape of the river/gorge. It’s echolocation with the syllables flow and slow bouncing off the object I cannot see! I’m imagining a sound accompaniment to this, inspired by Diana Khoi Nguyen’s reading of her “Triptych” for Ours Poetica:
Nguyen doesn’t remove words, but creates space in-between them where the shapes of her brother would be if he had not cut himself out of the photograph. I need to think about how I want to do it — like in this poem, or by removing some of the chanted words altogether. Maybe I wouldn’t call them chants but echolocations?
I think I’d like to do them for all three of the key “objects/subjects”: rock, river, and air! Very cool. I think this would be a great submission for the poetry soundscapes feature that I mentioned earlier in this post.
This section explores poetry in all its sonic dimensions. Across the premodern world, at a time when books were scarce and costly, poetry was often chanted or sung aloud, and the boundary between song and verse was fluid. Many poems resonate with the sounds of nature, while others pulse with onomatopoeia and sonic texture. Later, poets since the early 20th century have pushed the medium to its limits, exploring how the sonic interacts with grammar, rhetoric and rhythm on the page.
For a special section of Mantis 24 (2026), Soundscapes of Poetry, we invite submissions that engage with sound in any and all ways—whether through music, noise, onomatopoeia or rhythm, or even the sound of silence itself.
submission call for Mantis
The only bummer: your submission doesn’t include sound files; it’s only the written word. I’d like to find a journal that also wants the sounds.