Posts Tagged: poem

A new poem in Abundance Literary Magazine

Ekphrasis strikes again!

I love to write poetry in response to art. This poem was inspired by a painting by Jules Bastien-Lepage, of Joan of Arc having a vision. It hangs in the Metropolitan Museum of Art.

By Jules Bastien-Lepage - Metropolitan Museum of Art, online collection (The Met object ID 435621), Public Domain, https://commons.wikimedia.org/w/index.php?curid=94602
http://www.metmuseum.org/art/collection/search/435621

My friend Karl says it’s his favorite painting in the European gallery. He guided me to it many years ago.

Now that you’ve seen it, you can go read it!

Read the poem here in Abundance: Joan in the Garden

Poem up at NewMyths.com: A Robot Brings Flowers

Another poem in June!

I have a poem called “A Robot Brings Flowers” at NewMyths, a fantasy/science fiction journal. You can read it here:

A Robot Brings Flowers

Thanks to NewMyths, and also to Rattle

I wrote this poem in ekphrastic response to a beautiful piece of art, “Yellow Flowers” by Carla Paton. This was part of the Ekphrastic Challenge by Rattle.com, and when I saw it, my heart just kind of exploded with tenderness.

I’ve linked to the illustration below.

Yellow Flowers” by Carla Paton

“Yellow Flowers” by Carla Paton, courtesy of Rattle.com

Apparition: I love this poem so much.

Apparition by Danielle Boodoo-Fortuné

Apparition

There is a woman’s face in that tree
gathering moss along the jawline,
paper nest of wasps in her hair.
From the half-open back door,
everything is more magical than me.
Ti Mari folds itself in two,
trembling with sunlight, never once
considering what it might mean
to be shut.

Someone once asked, “Will you still write
after the baby is born?” I think about this often,
about the doorway, its rusted hinges,
the one broken latch that rattles,
wrenched daily by small, insistent hands.
I have been doorway, latch and hinge
all the things that exist for no purpose
but to open for others.

It’s always the smallest things
that take up the most space,
seed under leaf, hiding its medicine,
bachac treading back and forth
in overgrown grass until
eventually the path appears.

I carry it all with me, the right words clenched
between jaws like bitten leaves, wearing
beaten paths from room to room.
We make space for what we must become
in tightly woven nests of spit and paper,
in termite mounds, secret underground chambers
where we can grow into ourselves unseen.

The woman in the tree appears
to no one but me. Her body rises from the earth
in broad plank roots, winding in ridges beneath
cracked concrete. Her arms keep the earth together.

~

https://swwimmiami.substack.com/p/apparition

You can hear her read it at the link.

Interior: The Suburbs

A poem not by me.

There is no rest for the mind 
in a small house. It moves, looking for God, 
with a mysterious eye fixed on the bed, 
into a cracked egg at breakfast, 
looking for glory in an arm-chair, 
or simply noting the facts of life 
in a fly asleep on the ceiling. 
The mind, sunk in quiet places, 
(like old heroes) sleeps no more, 
but walks abroad in a slouch hat 
performing adultery at violent street corners; 
then, trembling, returns, 
sadly directs its mysterious eye 
into a coffee-cup. There is no rest 
for there are many miles to walk in the small house, 
traveling past the same chairs, the same tables, 
the same glassy portraits on the walls, 
flowing into darkness.

There is no victory in the mind, 
but desperate valor, 
shattering the four walls, 
disintegrating human love, 
until the iron-lidded mysterious eye 
(lowered carefully with the frail body 
under churchyard gardens) 
stares upward, luminous, inevitable, 
piercing solar magnitudes 
on a fine morning.

–Horace Gregory, from his first poetry collection, Chelsea Rooming House (Covici-Friede, 1930)

New in “Pasager”

Poem out but not up

I love being published in physical print, but I like being able to share with you, too. This is a print publication of my poem, “Awakened by the Nashville Skyline.” It’s in the winter issue of Pasager Press’s journal.

Passager is a nonprofit, independent publisher whose mission is to publish the work of older writers, encourage the imagination in the later stages of life, and create beautiful and welcoming publications.

Cover of Pasager

If you’d like a copy, you can order it here: Pasager

Yanking the chain – Byron and Blake

A Non-trad student, that was me.

When I went back to school as a non-trad student (meaning old), I had a professor who was losing control of his classes. By that, I mean, he couldn’t keep the thread of his lectures. He wandered from topic to topic, reacting defensively when another student asked him what his ramblings had to do with Blake and Byron, who were the subjects of the only class I ever took from him.

The Byron and Blake class was one of the many classes in the English department taught to both high-level English majors (like me), and grad students (not like me). The grad students had to turn in an additional paper and an annotated bibliography. My friend Denise and I exchanged scribbled notes that mocked one grad student who kept drawing parallels between the Romantics and the Beats. Everything inspired him to draw long verbal comparisons, especially Beats-with-Blake, which is silly because Blake was his own visionary self, not really part of the Romantics (was he supposed to be their Kerouac? I can’t remember. Maybe he was their Ginsberg). Nothing could stop the discourses of this young man.

Okay, but at least he talked a bit about Blake, which was more than the professor did. He just kept going on about Byron. Our teacher loved Byron, but aside from the professor’s insistence on saying “Don Joo-ahn” (apparently that is the correct way to pronounce the title of Byron’s masterwork) I wasn’t learning much. In fact, that was nearly the sum total of what I absorbed about this poem.

I was not the only person feeling baffled by how little I was actually learning. I was 39 when I took this course as an undergraduate, but not the oldest person in attendance. There were several 65+ auditors in the class. One of them actually said out loud what most of us were thinking, words to the effect that she’d taken this class because she’d heard that our professor was an expert on Blake and Byron, but she was still waiting for evidence of that. “I took this class for your brilliant insights, and I’m getting nothing.” It was brutal. It was also true. I want to audit classes next year, and I wonder if I will ever be so pointed.

She was frustrated, and she was only auditing. Those of us who had paid money to take the course as part of our degree requirements were probably more frustrated, because we were expected to produce papers on these Romantic legends. How? I’d turned in exactly one paper in this class, a close reading paper on Byron’s poem, “Darkness.” There is so much meat in this poem that I certainly didn’t need an instructor to explain it to me. It’s long, but I’m putting it here because it reminds me of our present day situation of toppling institutions, billionaire oligarchs, and climate disaster.

Read if you’d like, or not–if not, you’ll need to scroll.

Darkness, Lord Byron

I had a dream, which was not all a dream.

The bright sun was extinguish’d, and the stars

Did wander darkling in the eternal space,

Rayless, and pathless, and the icy earth

Swung blind and blackening in the moonless air;

Morn came and went—and came, and brought no day,

And men forgot their passions in the dread

Of this their desolation; and all hearts

Were chill’d into a selfish prayer for light:

And they did live by watchfires—and the thrones,

The palaces of crowned kings—the huts,

The habitations of all things which dwell,

Were burnt for beacons; cities were consum’d,

And men were gather’d round their blazing homes

To look once more into each other’s face;

Happy were those who dwelt within the eye

Of the volcanos, and their mountain-torch:

A fearful hope was all the world contain’d;

Forests were set on fire—but hour by hour

They fell and faded—and the crackling trunks

Extinguish’d with a crash—and all was black.

The brows of men by the despairing light

Wore an unearthly aspect, as by fits

The flashes fell upon them; some lay down

And hid their eyes and wept; and some did rest

Their chins upon their clenched hands, and smil’d;

And others hurried to and fro, and fed

Their funeral piles with fuel, and look’d up

With mad disquietude on the dull sky,

The pall of a past world; and then again

With curses cast them down upon the dust,

And gnash’d their teeth and howl’d: the wild birds shriek’d

And, terrified, did flutter on the ground,

And flap their useless wings; the wildest brutes

Came tame and tremulous; and vipers crawl’d

And twin’d themselves among the multitude,

Hissing, but stingless—they were slain for food.

And War, which for a moment was no more,

Did glut himself again: a meal was bought

With blood, and each sate sullenly apart

Gorging himself in gloom: no love was left;

All earth was but one thought—and that was death

Immediate and inglorious; and the pang

Of famine fed upon all entrails—men

Died, and their bones were tombless as their flesh;

The meagre by the meagre were devour’d,

Even dogs assail’d their masters, all save one,

And he was faithful to a corse, and kept

The birds and beasts and famish’d men at bay,

Till hunger clung them, or the dropping dead

Lur’d their lank jaws; himself sought out no food,

But with a piteous and perpetual moan,

And a quick desolate cry, licking the hand

Which answer’d not with a caress—he died.

The crowd was famish’d by degrees; but two

Of an enormous city did survive,

And they were enemies: they met beside

The dying embers of an altar-place

Where had been heap’d a mass of holy things

For an unholy usage; they rak’d up,

And shivering scrap’d with their cold skeleton hands

The feeble ashes, and their feeble breath

Blew for a little life, and made a flame

Which was a mockery; then they lifted up

Their eyes as it grew lighter, and beheld

Each other’s aspects—saw, and shriek’d, and died—

Even of their mutual hideousness they died,

Unknowing who he was upon whose brow

Famine had written Fiend. The world was void,

The populous and the powerful was a lump,

Seasonless, herbless, treeless, manless, lifeless—

A lump of death—a chaos of hard clay.

The rivers, lakes and ocean all stood still,

And nothing stirr’d within their silent depths;

Ships sailorless lay rotting on the sea,

And their masts fell down piecemeal: as they dropp’d

They slept on the abyss without a surge—

The waves were dead; the tides were in their grave,

The moon, their mistress, had expir’d before;

The winds were wither’d in the stagnant air,

And the clouds perish’d; Darkness had no need

Of aid from them—She was the Universe.

And this is one of Byron’s shorter poems. Doesn’t it seem prescient? Or am I just recovering from watching “Eddington” last night? Maybe one day I’ll dig out the cardboard box that holds my college papers and read what I had to say about this dark litany, but there is another paper in that box more germane to this story, so back to the story we go.

Well, then. Anyway…

As the deadline for our final project approached, I became angry. Aside from his short works, Byron was doing nothing for me. The instructor would rhapsodize about how people would line up on the docks to get the latest installment of Don Juan, but that didn’t inspire me to read any more than the assigned passages. I found nothing in those to inspire a thesis. A topic was needed, so I decided to educate myself on Blake, because the professor had spent so much time on Byron, Blake had barely been mentioned.

Off I went to the PSU library. I researched, made notes, turned over motifs I’d noticed, wondered what to make of them that could be supported by criticism without recapitulating someone else’s ideas wholesale. I produced a final paper on Blake’s chain imagery. I was especially proud of this paper because I had gotten nothing out of the class. Whatever I’d written, I’d found on my own.

But wait. There’s more.

As relieved as I was to be done with this embarrassment of a class, it wasn’t over yet. We would receive our final grades in person, at a one-on-one meeting with the professor. My mood was slightly truculent as I went to his office and sat down.

I intended to tell him how hard it had been to learn anything in his class, but I didn’t have a chance. He began to talk about what a difficult quarter it had been for him. He’d been in denial about how deeply his lack of hearing had affected his teaching. He’d misheard or missed much of what his students had to say, and knew it had affected his teaching. He planned to get hearing aids, but after he read the class evaluations, he was so discouraged that he’d considered retirement.

He lay a hand on my paper. “But when I read a paper like yours, I know I’m still doing a fine job. I have to be, if my students are producing work of this caliber.”

I didn’t have the heart to tell him. I nodded, and left with my A. 

black dog with brown eyebrow dots, probably a Doberman
in honor of the poor loyal dog that guarded the “corse” in Byron’s “Darkness.”
Image by Briam Cute from Pixabay

Migration Patterns by Dana Wall

I have become a country
people leave at night,
suitcases packed with borrowed breath,
passports stamped with might-have-beens.

The sky keeps folding into smaller squares
until it fits inside a locket—
the one my mother wore when fever
turned her garden into salt.

I am learning the architecture of absence:
how doorways remember what passed through,
how silence builds its nest in abandoned bells,
how your name has become a room I no longer enter.

Each winter, the geese reverse their arrows,
rewriting the sky’s ancient manuscript.
Even their certainty is a kind of faith:
north exists, and so we must.

The archaeologists of tomorrow will find
my ribs curled around nothing,
excavate the empty museum where I kept
all the artifacts of almost.

Memory is a climate we cannot predict—
droughts where once were floods,
hurricanes in deserts, ice where fire bloomed.
I’ve become my own strange weather.

Yesterday, a child asked why the moon
follows her home each night.
I wanted to explain how loneliness
becomes devotion if you give it enough time.

The calendar on my wall is quietly
eating its own months. December
feeding on April, September
swallowing May. Soon there will be
only one day left, unnamed and endless.

I have grown wings on the insides of my hands.
They beat against my palms when I make fists,
a private migration no one sees
as I cross borders visible only to me.
image courtesy Pixabay.com

From SWIMM (source) one of the places that sends me a daily poem.

 Subscribe here for more

Two Daughters

two sisters in a meadow
Photo by Daiga Ellaby on Unsplash

By Emily Pérez

When there are two 
            daughters, one is soft
one is swift
            one can stretch
her face to contain 
            honey or humor
saline, a bone graft
            disdain.
One cannot bend
            but knows her place
the curtains
            the floorboard’s tongue-
in-groove, the hearthstone.

When there are two
            daughters there are two
moons, both sickle-celled
            and fawn-eyed.
One that sings
            one that scolds.
Both hold their breath
            under bridges. 

Sometimes there are two
            rivers cutting landscape
flooding farms
            sometimes fire strides forth
on two fronts
            sometimes two stars
orbit each other, but these
            reflect each other’s light
and these are not
            two daughters.

(source)

Putting this up here, thinking about my sister. I’m ruminating.

What I Find Funny

Ye olde mockery

So years ago, at my old writing group, a friend (we will call her Camille) revealed that she had actually written a YA unicorn novel. Another friend, Garth, joined me in mercilessly pelting her with affectionate mockery. I don’t even remember what we said to her, just that she accepted all this mild-yet-intense jibing with a bashful “Come on you guys” rearrangement of her bangs and sweet chair twisting that let us know she was amused, flattered, and exasperated to be receiving this much attention.

I can see her in my mind’s eye to this day. We adored this woman and she is one of the most talented people I have ever known. The only thing to do with all the admiration and affection was to torment her, as if we were grade school boys bullying a crush. It went on and on until Garth and I finally let her go.

But that was not the end of it.

Camille was a slush reader for a fantasy magazine that was always open to submissions. So Garth and I both made throwaway email addresses (yes, addresses that referenced unicorns) and sent in submissions to the magazine. I don’t remember what Garth sent. I sent Camille short story called “The Last Virgin in New Orleans.” It was an extended conversation betwee two male fantasy writers in a bar in NOLA, who both wrote the kind of novel I was tired of seeing back in the 2000s.

This was a particular time in fantasy/science fiction when, in the name of “inclusion,” straight white men wrote a lot of books about lesbian women of color who wore leather pants and brandished weapons in between bedding every woman they could find. Very much a male fantasy of what being a woman would be like, in other words.

Both of the main characters in my story wrote that kind of book and felt good about their work for BIPOC inclusion in the sf/f literary world. I can’t remember the entire plot, but a unicorn came into the bar in search of a virgin’s lap in which to lay its horned head. It had no luck with most of the patrons, including members of a bachelorette party. But then, of course, it indeed found two authorial laps upon which to rest its pretty white head.

I also used the email address to send this poem:

“Unicorn Delight”

Ah, magnificent mythical creature of palest white!
How thou prancest and dancest with otherworldly delight,
weaving a magical spell of tapestried splend’r!
Eftsoons, thou will seeest fit to set thy canter to a canticle,
as thy flowing ivory locks cascade along the length of thy delicate neck.
Thy strength is the strength of maidens, the chaste and pure,
conserved in the name of Time’s immemorial virginity.
Thy beauty, thy purity, thy contained, bashful beauty of
flashing pearly hooves, twisted nacreous horn, and lashes long as Garth’s.
Dance, Unicorn! Frisk, gambol and caper! We will watch,
transfixed, transported, and anon, transformed.

The trouble was, Camille thought that was a sincere attempt to submit to the magazine (until she got to the part with Garth’s eyelashes). And somehow, that was the funniest part of this entire unicorn interlude, even funnier than the poem’s title, which (as I noted back in the day) sounded like a dish for an elven casserole.

AI generated image of a unicorn
Image by Bianca Van Dijk from Pixabay

RealDoll Haiku is live!

So pleased.

That’s right, the RealDoll Haiku are live. Read them here: The Offing

Also, my ego really enjoys being at the top of the banner.

Posed Barbie Dolls

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