STATEMENT: To write poems is to enter into the duende, "like bits of broken glass in the blood ..." (Lorca), that is, what is feral, primal, more vital than ideas, rather, the experience of, in Wallace Stevens’ words, ‘things themselves’, ‘the plain sense of things’; that the experience is one of freeing words, language itself and how thinly we use it, from mere meaning into bursts of being, imagination-swerves through: muddy bells, mystery, Roethke’s Woodlawn, Niedecker’s lifepoetry waterflow by condensing, Cid Corman’s silence(s), Adrienne Rich, john martone’s skull harmonies, Clayton Eshleman’s cavedepth being(s), John Bloomberg-Rissman’s Zeitgeist Spam, CAConrad’s necessary Frank, Jonathan Skinner’s ecopoetics, Trace Peterson’s “Violet Speech”, Brenda Iijima’s economies, Scott Watson’s version-ings, Amy King’s bluntforcetraumen “Opera of Peace”, Jared Stanley’s weeds, Noelle Kocot’s bigger world, Bhanu Kapil’s immanent monster, Lew Welch’s turkey buzzard, Tyrone McDonald's haiku confluence, Charlie Mehrhoff’s elkfrost inhabitations, Blakean, Bhaktian, poetry of – food-warer-shelter-clothing, ecology compass, test tube, cup, water droplet, cancer, salts, stem, claw, fruits, volcano, song, fricative, diphthong, and so much more than lists can do; and of the many younger poets urging it on. / / /
This open form of writing poems supplanted most all other forms, so I surprised myself with a need to dig into Japanese-derived forms, mostly haiku and haibun, almost exclusively, for many years. Language and poetry being core elements in this life we liveindiein is so much more than any binary-like pass / fail. My poetry practice includes the haibun, which in turn, involves the haiku, sometimes including eco-, geo-, and bio-poetics spawn. Like Chaucer, I trust authority less because it interferes with experience; trust more the inherent capacity of poetry mammals to adapt new technologies and methodologies. One book I do return to again and again is French philosopher and semiologist Roland Barthes’s “A Lover’s Discourse, Fragments” because my interrelations feel to be pilgrimages, set out for in the dark, cold rain of Spring begun, near to Barthes’s figuration: “To try to write love is to confront the muck of language: that region of hysteria where language is both too much and too little, excessive and impoverished.” ~ ||||| |||||
PUBLICATIONS: Anthologies include: A Vast Sky (Bruce Ross, editor, 2015); Haiku 2015 and Haiku 2014 (Lee Gurga & Scott Metz, editors); Contemporary Haibun, volumes 4 & 15 (Jim Kacian, editor, 2003, 2014); the Journal of Renga and Renku, Volume 3, The Useful Knowledge Press (New Haven, CT) published a limited edition of Donna’s haiku with wood block engravings by Allan Greenier in 2014, entitled HaiKube™; and Kamesan's World Haiku Anthology on War, Violence and Human Rights Violation, (Dimitar Anakiev, ed., Kamesan Books, May 2013)/ / /
indra’s net, a 44pp poetry chapbook of selected haibun, bottle rockets press, Wethersfield, CT 2003, and out of print is now free to read at Scribd: http://www.scribd.com/doc/132231015/indra-s-net / / /
a glimpse of (Athens, Greece), A Thousand Gourds, Artis magazine, Asahi Shimbun, Back Room Live !, Bones (UK), bottle rockets, cattails, contemporary haibun online, Cornell University Mann Library's Daily Haiku, Dreams Wander On, Esque, Exit Strata, Fiera Lingue (Italy), Frogpond, Hummingbird, is/let, Issaʼs Untidy Hut, Kō (Japan), Lilliput Review, Modern Haiku, moon garlic (UK), Naugatuck River Review, On Barcelona, Otoliths, Peace Is a Haiku Song (City of Philadelphia 2013, Sonia Sanchez, Yolanda Wisher, editors), Poets Corner, Presence (UK), roadrunner, Salamander Cove, Solitary Plover, South by Southeast, Spiral Orb, The Mainichi Daily News (Japan), The Marsh Hawk Press Review, Truck, Under the Basho, and Wang Pingʼs Kinship of Rivers |||||
FIRST CHAPBOOK: Intimate Boundaries (self- produced and published, 1991) / OTHER: Donna’s poetry appears regularly in literary periodicals in Japan, England, and the U. S., anthologies, and monthly from 2010 to 2015 at the CT Environmental Headlines website (Christopher Zurcher, editor). Her blog word pond, begun in March 2010, is a curatorial content blog of contemporary poetry, photography, music, visual arts, depth ecology, ecopoetics, news stories, and permaculture. /
FEATURE READINGS: 2014: Infinite Well, New Haven, CT; Hartford Public Library, downtown Hartford, CT; and Forbes Library, Northampton, MA; 2013: Capital Community College, Hartford CT; New Britain Museum of American Art, New Britain, CT; Forbes Library, Northampton, MA; cell39 gallery, Ludlow, MA; Pegasus Gallery of Middlesex Community College, Middletown, CT; WordForge Reading Series, Hartford, CT; and Wintonbury Public Library, Bloomfield, CT. She was assistant editor of bottle rockets journal, anthologies, and serial volumes from 2007–2013. / /
Poetry and Communication Theory, Semiotics, Pragmatics, American and English Literature and History, Botany, and Ecology. University of Connecticut and University of Hartford. BA degree 1988. Completed independent study in ecology at the Talcott Mountain Science Center, Avon, CT. / /
A pre-press master journeyman in four-color process stripping for thirty years, Donna transitioned to digital technologies in the textbook publishing industry as a Mac operator and proofreader. She now copy-edits and proofreads on a freelance basis. Fleischer is listed with The Haiku Foundation, that seeks to establish the importance of haiku "as a literary vehicle in the present and future": http://bit.ly/165V29f and The Living Haiku Anthology, published by the journal Under The Basho (Don Baird, editor).
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Listing last updated: October 10, 2015