Eleanor Kedney

Eleanor Kedney's Poems

Mslexia – New Writing, theme of birds, Issue 68, Dec/Jan/Feb 2015/16

Comments by Mslexia guest editor Gillian Allnut on "Stellar's Jay" chosen for publication:

‘Stellar’s Jay’ by Eleanor Kedney is, by contrast, pleasingly plain and matter-of-fact. It has the quiet simplicity of a Chinese poem, centuries old, in translation. Precise, it tells us what we need to know in order to feel the effect of the last two lines. It was the truthfulness—and the exasperation—of these lines that initially drew me to the poem. There’s skill here in an unobtrusive use of assonance and alliteration—listen for ‘e’ and for ‘c’ and, in the penultimate stanza, ‘d’—that carries the emotional energy. I admire how that stanza makes a metaphor of the song-borrowing jay in order to show us the reality of the speaker’s situation.


THE RESIDENT, November 16-29, 2016  (www.theresident.com)
By Roger Zotti

Excerpt: “The terrific poems in the “The Offering,” with their unique and often startling images and caring humor, do precisely what Eleanor, the founder of The Writers Studio Tucson, intended—which is to ‘connect with some of the reader’s own personal truths that are very private.’ " Eleanor’s book is available at Amazon.com. To learn more about this extraordinary poet, visit www.eleanorkedney.com.”


To read the entire interview published in The Maynard:

I want to say a bit about two qualities of voice and character. First, I appreciate the self-deprecating tone the poet/speaker uses in some of the poems. This allows poet/speaker to be seen as a fallible human being. In the very first poem of the chapbook, “The Offering,” she is responsible for the death of a quail; in “What We Do,” she describes her husband as “patient” with her “OCD”; in “Twelve Days from Transfer” she provides intimidate details about her process of in vitro fertilization. Not every person or poet would allow herself to be seen in these ways. Here, she joins the company of Sylvia Plath, Anne Sexton, and Sharon Olds, among others who also share intimate details of their lives in their poetry.

--Jami Macarty on The Offering

In “A Long Period of Sadness,” when “palms press against the window, feels like an echo,” the window also becomes mirror. Looking out and looking in/(back) are no longer distinct. As one of the last poems in the collection, for me it suggests a dislocation of the personal and intimate subject or self: “the calling of my name stops—released from what failed to bloom.” There is a failure to remember or mourn, but there is also a release from failure and a release as failure. Instead of trying to unconditionally assert itself, the voice gives into itself. This, for me, is one of the most powerful and exciting things a poet can do.

— Nicholas Hauck on The Offering


"The Craft of Writing" - The Tucson Weekly, August 24, 2006


"The Writers Studio Helps Students Hone the Art of Crafting Words" - Inside Tucson Business, March 8, 2013