Kieth has an interesting post on the intricacies of chapbook production -- a guide for the DIYers. One thing though: for Sky of Ink, I downloaded a chapbook template from the League of Canadian Poets website,
here. Downloads are free for anyone. We were able to alter its configuration to take legal sized pages folded in half, which is a size I like for poetry, as it provides "breathing room" especially for long lines. (It does limit, though, one's choices of paper.) The nice thing about this template is that you paste the poems in sequentially and it automatically recto-versos
them for you in the right order. Then we take the file to our local copy shop and presto!
Chapbooks, as Keith says, can serve as a poet's business card. They're the literary equivalent of the music EP.
The chapbook length, as I've said elsewhere, is to my view the most suitable for poetry, considering the intense demands poetry makes on its readers; one can conceivably get through a chapbook in one sitting. The full length trade book demands a considerably greater a commitment. Was it Thorton Wilder who said that out of any city we create a village we call our own? Most poetry readers dip into collections; it could be said that out of every full-length collection, we create a chapbook we can call our own.
Besides, look at the organization of many a poetry collection: a lot of them are simply subdivided into parts -- a series of chapbooks.
For all its advantages as a reading experience, the chapbook in our culture has a problem of status. It is akin to the part-time job. Full-length books, like full time jobs, get all the benefits: reviews, prizes, inclusion in libraries, etc. -- even though part-timers may put in the most inspired work! (I know that's true of teaching, at any rate.) In the States particularly, there are a number of chapbook manuscript competitions with promise of prize $$, honour, publication -- some of these may even raise money for their publishers. You can find them listed every month in Poets & Writers. But there are precious few prizes for finished DIY-type chapbooks. The BP Nichol competition is one; the WCDR international chapbook challenge, in which
our own Nina Bruck came out a
winner for 2008, didn't run this year and appears sporadic, if not defunct. These are the only ones I know of. Can anyone out there suggest another?
Another disadvantage: chapbooks tend to get lost on a shelf.
So why make chapbooks? Well, these productions are a joy to make, and a means to grow. Publishing is an integral part of the creative process: juxtaposing poems in fresh combinations, seeing how they relate to one another, or how motifs repeat can be a real eye-opener. Ones' editorial skills are instantly honed when one prepares one's work for public exposure in this way. If one doesn't have a tradebook publisher ready to publish one's work, this can be a good intermediate step.
"Dabble Dance 3" by Jocelyne Dubois
