Transcendental Telemarketer eBook Beth Copeland
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Copeland’s Transcendental Telemarketer contains beautiful lyrics of emotion and meditation, but it also contains rants against war and violence, and all the while it swings us from the U.S. to Japan to Afghanistan, from Islam to Buddhism to Christianity It’s compelling, playful, and well-crafted.
—William Allegrezza, author of Fragile Replacements
Beth Copeland’s poems are music. She combines powerful alliteration (“following blue rivers of blood/flowing back to the heart”) with unobtrusive rhyme (“silver wolves/howl, owls hoot”). Occasional use of form seems to grow from the poem. Asia influences Copeland’s writing; as in Japanese poetry, nature imagery becomes philosophy. Fresh juxtapositions “explode like poppies from the barrels of guns.” Color commands our vision “the violet wave of light around the Japanese iris.” We hear, mystically, “the Earth’s vibrations/ converge in a single note.” Read this book several times––each visit will uncover a different layer.
––Anne-Adele Wight, author of Sidestep Catapult
Beth Copeland's Transcendental Telemarketer lifts language beyond its typical meanings, lets it "whirl like a spinning top set loose on the sidewalk," until language and meaning split - the way the "I" does in the poems -- "I break in two one girl stays on the bed while the other one floats to the ceiling to watch." With rare prowess, Copeland crafts these poems, delivering "the equator in that Ouija world," "death" as a "potent aphrodisiac."
—Debrah Morkun, author of The Ida Pingala
Beth Copeland lived in Japan, India, and North Carolina as a child. Her book Traveling Through Glass received the 1999 Bright Hill Press Poetry Book Award. Her poems have been widely published in literary journals and have received awards from Atlanta Review, North American Review, The North Carolina Poetry Society, and Peregrine. Two of her poems have been nominated for a Pushcart Prize. She is an English instructor at Methodist University in Fayetteville, North Carolina. She lives in a log cabin in the country with her husband, Phil Rech.
Transcendental Telemarketer eBook Beth Copeland
Modern poetry seems to be either self absorbed in its cleverness or plagued by its laziness. And some poets are so disciplined that they are downright boring. I believe it's a rare occasion when you find a poet who is clever, intelligent, disciplined, carefree (not lazy) and downright ingenious. In Transcendental Telemarketer, we have found such rarity not often found in our slush-world of literary endeavors. This book surely stands out as a top shelf achievement.Every single poem in this book stands out as meritorious, but there are a few that really jump off the page and bear comment. "Wisteria" captures the essence of Nature. The poet begins with how the word sounds "mysterious and wistful combined." The vine is somewhat of a mystery in its beauty, yet its character possesses a pensive quality that we learn about at the end of the poem: "gnarled vines that tighten like wires around a choking host." I believe Ms. Copeland has done a superb job capturing the true grit of Nature. That in one sense it is beautiful, yet in another sense, it is violently corrupt. Think of the alluring Venus flytrap that induces the honey bee into its open bud only to make it its next meal.
Another poem, "Russian Dolls" is a brilliant achievement in visual poetry verse. You need to be familiar with the Russian Matryoshka doll to fully appreciate what Ms. Copeland has done here. Briefly, Russian Matryoshka dolls are nesting/nested dolls, which refer to a set of carved wooden dolls that decrease in size as they are placed one inside the other. Copeland's verse is constructed in the same fashion as the carved dolls, each line nested "inside" the previous line, so that each stanza appears like a complete Matryoska doll. This poem was an exciting discovery for me.
Part II of Transedental Telemarketer deals with the author's having lived in Japan. "Mikimoto Pearls" represents another poem utilizing a brilliant method of construction. As if to give homage to Basho himself, Copeland has chosen to utilize tanka for every stanza in her poem. Tanka is a five line poem construction that employs five syllables for the first line, seven syllables for the second line, five syllables for the third line, seven syllables for the fourth line, and finally seven syllables for the fifth line. Copeland chooses to incorporate each tanka into the entire poem of "Mikimoto Pearls." Besides being a brilliantly constructed poem, it is also a beautiful poem that submerges the reader into Japanese lore of the pearl.
If I have any beef with any of the work in Transcendental Telemarketer (which I don't), but for the sake of maybe someone having one, it might be with the poem "The Origins of Silk." This is a beautiful poem saturated in social conscious, which unfortunately, makes too many people in this world uncomfortable. As to my liking, I'm happy that such a poem exists in which the world is made aware of the exploitation of the disenfranchised so that the "privileged" may wallow in their luxurious accoutrements. From the criticism angle, yeah, it might be a bit too didactic. So, if someone wants to beef about that, okay, I get it. As for me, the "lesson" doesn't bother me one bit. I think it's wonderful that Ms. Copeland possesses the social conscious to speak out about the labor exploitation that takes place in the creation of silk. Go for it, Ms. Copeland!
And while you (reader) are out there, go for a copy of this excellent book, Transcendental Telemarketer. It truly is a superior book of verse that you'll enjoy owning and reading .
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Transcendental Telemarketer eBook Beth Copeland Reviews
Beth Copeland's poems in Transcendental Telemarketer combine a recollection of youthful (but never cloying) female innocence with wry humor and a fierce compassion. Copeland delivers pop references to Casper the Friendly Ghost, Ricky Nelson, Howdy Doody, Zenith televisions with vacuum tubes, the Amazing Kreskin, and the Beatles. She also mentions Lord & Taylor and Nagasaki. Her poems synthesize the numinous with the ordinary and the ridiculous.
"My Life as a Slut" is structured by the age of the speaker but not in chronological order. Here's my favorite stanza,
Age 21 My mother calls me a "harlot," "Jezebel," and "strumpet" after I stay /out all night with my boyfriend. I roll my eyes and say, "If we're going to have/ this conversation, at least update your vocabulary. The word is `slut."
Copeland uses the word "wisteria," in her work, which is native to Japan and the east as well as to North Carolina. She also mentions such plants such as pear trees, iris, water oaks, and poppies.
The second section of Transcendental Telemarketer contains a poem titled, "Canzone." Within the poem, Copeland defines a canzone. No, she says, it's not some kind of pizza. "It's an Italian lyric with repeated end words." Perhaps less well known than sestinas and pantoums or ghazals. But, as in her canzone in homage to another poet, Agaha Shahid Ali, the canzone is musical and satisfying. It has a rhythm and slant rhyme and vowels that taste lush. The repeated end words are, canzone, dreaming, no, mother, and Kashmir. Cashmere. Soft, rare, luxurious, opulent. Other canzones are sprinkled throughout the book and they are delicious.
The lengthiest poem in the book is "The Origins of Silk." It informs and celebrates and scolds and calls to awareness and action. Despite the title, it is not just the origins of silk that are covered but its history, manufacture, cost, and ultimate destination. The poem says, as almost all good poems do, pay attention.
Section three of Transcendental Telemarketer contains the poem of the same title. The person in the poem is offered an all expense paid vacation to Paradise, Heaven, Nirvana, Valhalla, Olympus, or the Promised Land by telemarketers that will not take no for an answer. I won't spoil the ending for you. The poems in this last third of the book have the scent of intimacy. In "Drawing Lesson" Copeland addresses her sixteen year old son, Joe,
"...When the skylark bones of your hand soar in an arc
of swift, penciled flight, when you trace the line
of rain falling straight from heaven to earth,
you will know how to draw from life.
At the end of the book, I was forced to wake from my dream of travel, of being myself and yet of being someone else. I returned to my own waking life safe but changed a little. You will, too.
I donated a copy of the book to Poets House at 10 River Terrace New York, NY. If you feel like reading it you can find it there. I related to the book because I was a telemarketer for quite a while.
Modern poetry seems to be either self absorbed in its cleverness or plagued by its laziness. And some poets are so disciplined that they are downright boring. I believe it's a rare occasion when you find a poet who is clever, intelligent, disciplined, carefree (not lazy) and downright ingenious. In Transcendental Telemarketer, we have found such rarity not often found in our slush-world of literary endeavors. This book surely stands out as a top shelf achievement.
Every single poem in this book stands out as meritorious, but there are a few that really jump off the page and bear comment. "Wisteria" captures the essence of Nature. The poet begins with how the word sounds "mysterious and wistful combined." The vine is somewhat of a mystery in its beauty, yet its character possesses a pensive quality that we learn about at the end of the poem "gnarled vines that tighten like wires around a choking host." I believe Ms. Copeland has done a superb job capturing the true grit of Nature. That in one sense it is beautiful, yet in another sense, it is violently corrupt. Think of the alluring Venus flytrap that induces the honey bee into its open bud only to make it its next meal.
Another poem, "Russian Dolls" is a brilliant achievement in visual poetry verse. You need to be familiar with the Russian Matryoshka doll to fully appreciate what Ms. Copeland has done here. Briefly, Russian Matryoshka dolls are nesting/nested dolls, which refer to a set of carved wooden dolls that decrease in size as they are placed one inside the other. Copeland's verse is constructed in the same fashion as the carved dolls, each line nested "inside" the previous line, so that each stanza appears like a complete Matryoska doll. This poem was an exciting discovery for me.
Part II of Transedental Telemarketer deals with the author's having lived in Japan. "Mikimoto Pearls" represents another poem utilizing a brilliant method of construction. As if to give homage to Basho himself, Copeland has chosen to utilize tanka for every stanza in her poem. Tanka is a five line poem construction that employs five syllables for the first line, seven syllables for the second line, five syllables for the third line, seven syllables for the fourth line, and finally seven syllables for the fifth line. Copeland chooses to incorporate each tanka into the entire poem of "Mikimoto Pearls." Besides being a brilliantly constructed poem, it is also a beautiful poem that submerges the reader into Japanese lore of the pearl.
If I have any beef with any of the work in Transcendental Telemarketer (which I don't), but for the sake of maybe someone having one, it might be with the poem "The Origins of Silk." This is a beautiful poem saturated in social conscious, which unfortunately, makes too many people in this world uncomfortable. As to my liking, I'm happy that such a poem exists in which the world is made aware of the exploitation of the disenfranchised so that the "privileged" may wallow in their luxurious accoutrements. From the criticism angle, yeah, it might be a bit too didactic. So, if someone wants to beef about that, okay, I get it. As for me, the "lesson" doesn't bother me one bit. I think it's wonderful that Ms. Copeland possesses the social conscious to speak out about the labor exploitation that takes place in the creation of silk. Go for it, Ms. Copeland!
And while you (reader) are out there, go for a copy of this excellent book, Transcendental Telemarketer. It truly is a superior book of verse that you'll enjoy owning and reading .
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