Kimmy Beach at Greenboathouse Books

After the roundabout discussion Moose and I had over the complicated grammar in the previous Dickinson poem, I thought I'd post a contemporary, accessible poem. I like this for the commonality of the depicted experience (taking pictures with friends) with the creepy twist of being watched or shadowed by someone without knowing it. I found this poem in the archives of the Greeboathouse Books site. Check it out; there's some great stuff over there.

Andres
(who lurked for three days)

you appear blurred in the background
of photos taken before we knew you
your eyes on Brenda
she takes over the taverna
noisy tourists on all sides of us

I can make out your pressed white shirt
the dark moustache
Brenda's laugh holds you

here       you watch us down
another bottle of Retsina
in this picture       we pose for an American
holding my camera

over Brenda's right shoulder
just above the hand I have placed there
you lean in
watching with no expression

we don't meet you until three days later
you are in every photo
studying us from behind
and to the right

Kimmy Beach

"As from the earth the light Balloon..."

I just returned from Albuquerque, where I visited with extended family. Saturday morning, we went to the International Balloon Fiesta and watched the Mass Ascension. This occurs early in the morning, when the balloons (about 750 of them) are filled with heated air, then untethered and lifted into the sky. For a few hours, the New Mexico horizon is dotted with balloons of all colors and shapes from all around the world. It is a beautiful sight.

I found this lovely poem by Emily Dickinson, which captures a little of the mystery of the ascension. By the way, thanks for all the kind words and good wishes I have been reading in the comments, along with some insightful poetry analysis.


As from the earth the light Balloon

As from the earth the light Balloon
Asks nothing but release --
Ascension that for which it was,
Its soaring Residence.
The spirit looks upon the Dust
That fastened it so long
With indignation,
As a Bird
Defrauded of its song.

Emily Dickinson

Mark Strand's Dark Harbor

I just got a rejection in the mail for my latest batch of poems, which is a bit disappointing, but now at least they are free to be sent somewhere else.

A few days ago, I purchased a copy of Mark Strand's book Dark Harbor: A Poem, published in 1993 by Alfre A Knopf, Inc. It begins with a poem entitled "Proem," a poem that serves as a preface to the book. In it, the speaker sets off on a journey, confident of "the way" and his desire to follow it. He does not reach his destination, but that does not bother him. It is the journey itself that allows him to "breathe," to say to himself, "This is the life." Let's use this as encouragement to keep following our poetic paths, eschewing discouragement and negativity, and enjoying even the rejections that may often appear disguised as obstacles.


PROEM

"This is my Main Street," he said as he started off
That morning, leaving the town to the others,
Entering the high-woods tipped in pink

By the rising sun but still dark where he walked.
"This is the way," he continued as he watched
For the great space that he felt sure

Would open before him, a stark sea over which
The turbulent sky would drop the shadowy shapes
Of its song, and he would move his arms

And begin to mark, almost as a painter would,
The passages of greater and lesser worth, the silken
Tropes and calls to this or that, coarsely conceived,

Echoing and blasting all around. He would whip them
Into shape. Everything would have an edge. The burning
Will of weather, blowing overhead, would be his muse.

"This is the life," he said, as he reached the first
Of many outer edges to the sea he sought, and he buttoned
His coat, and turned up his collar, and began to breathe.

Mark Strand

Jenny Browne in xconnect

Here's another one for you from xconnect: writers of the information age vol. 6. Pick up a copy of this book; there is such a great variey of poetry in there.

This one is on page 17, and is written by Jenny Brown:


ON BEING TOLD TO GET MORE EXPOSURE

Why not iron your dream
on a T-Shirt
or wrap your face
round a mug that steams, be seen
and heard?

Remember the big history book
with a picture of Alexis St. Martin,
the flap of his stomach lifted
by Doc Beaumont to show
how he digested the latest news
and his wife's potatoes.

Now I have a new recipe
I want to try but I need
a spring-form pan, I need
to remove the sides
of my own life, get a little
more visibility. I am whispering

my plan to the man sitting
next to me, but his ears
are pierced.

Jenny Browne


Stanley Kunitz states that one should end a poem with an image "and not explain it." Browne does exactly this. What is the power in using this technique? What do you think is the significance of a listener with pierced ears?

Mark Halliday in xconnect

I was browsing through Barnes and Noble a couple days ago and picked up the latest copy of xconnect: writers of the information age. It's published by the University of Pennsylvania Press, and features some wonderful work by both poets and short story writers. The current volume (VI) also includes poems by the late, great Robert Creeley.

This poem on page 65 by Mark Halliday stuck with me for it's strong sense of sound and rhythm and humor:


EXISTENTIALISM

It's true that I was a turkey yesterday
and a bit of an asshole the day before that
but that is all flotsam gone over the dam
thanks to our being in this
vastatious unknowable flux. Which makes for
hump upon hump of sadness except when I'm thinking
of my turkeyhood yesterday not to mention
anus behavior two days back.
Today is--
I wake
to rain whickles and the bonking
or workmen placing cobbles in the lane,
don't they care da da da da the rain?
Lane, rain--can I not release this brain
from rhyme and make this day a secret
villa in the forest of some alternative to
Spain? Nobody can say
how I might be today--oggi
oh gee--let today be "Death to all those
who ever yammered on about the Death of the Author"
day. Let me be the most amazing non-poultry!
There is no proof that I cannot.
...No positive proof. Euripides,
"Outlaw Blues," come with me now babe
we got nothingness to lose.

Mark Halliday


When I read the line "Let me be the most amazing non-poultry!" I knew I loved this poem. Its seemingly random, stream-of-consciousness style is simply the sheen on a complicated, unified, beautifully crafted poem. Sometimes the use of this kind of humor can come off as too snarky or crass, because it is used for its own sake--to shock or grab the reader. But Halliday clearly has mastered how to use it. The desire to be the best "non-poultry" he can be is a passionate declaration by the speaker--he just wants to learn how to be human! But what a lesser poem this would be if he shouted, "Let me be the most amazing human!"

What do you think?


Freaky turkey photo found here.

Check me out

The new issue of eratio is out, and three of my poems are in it. So instead of posting a poem for you today, I'm pointing you toward this highly regarded journal where you can read my work, as well as poems by amazing writers such as Jack Foley, Dan Masterson, Marcia Arrieta, and Eileen Tabios.

Thanks to editor Gregory Vincent St. Thomasino for putting it all together, and placing me in the company if these gifted poets.

Arlene Ang in Shampoo

Check out the poetry journal Shampoo for some well-crafted, compelling poetry. The current issue includes the following poem by Arlene Ang:


First Name: Laron

Coarsened by dungarees,
he whitewashes my walls.
His brush thriftily dampened
into the can is spared of drip.

Face tipped to his backside,
I am thinking he may ask me out.
The pungency of his wet paint
makes me hold my breath.

Like tossed coin, a sober globule
lands on last week’s newspaper,
obscures what the Premier quipped
regarding women on the moon.

Arlene Ang


I love the word choices in this poem: dungarees instead of jeans; a brush "thriftily" dampened; face "tipped" to check the guy out; a "sober globule" of paint. Ang is a master of creating compelling imagery and tone through judicious word choice.

The word "dungarees" is interesting; it is a word that evokes a man who is more earthy and who labors for a living that the word "jeans" would. There is something primitive in the speaker's description of him--his clothes, the "dampened" brush, the "pungency" of the paint, and her checking-out the guy's physique. It is a moment of nearly pure attraction.

A drop of paints lands on the paper, covering what I'm sure is a highly relevant quote about "women on the moon." Does anyone know to what this refers?

Langston Hughes: Rivers and New Orleans

I am leaving for vacation tomorrow, so I won't be posting for about ten days. Before I go, I'd like to suggest three places to donate for katrina disaster relief:

Red Cross
The Humane Society
Black America Web

I am going to leave you with this gorgeous poem by Langston Hughes, which I found at The Academy of American Poets. The speaker uses the depth of rivers to illustrate the depth to which his soul has grown, and the connection between himself and his ancient heritage. It seems an appropriate reflection given the tragedy on the Gulf Coast. Take care, and read some poetry.

The Negro Speaks of Rivers


I've known rivers:

I've known rivers ancient as the world and older than the

     flow of human blood in human veins.



My soul has grown deep like the rivers.



I bathed in the Euphrates when dawns were young.

I built my hut near the Congo and it lulled me to sleep.

I looked upon the Nile and raised the pyramids above it.

I heard the singing of the Mississippi when Abe Lincoln 

     went down to New Orleans, and I've seen its muddy 

     bosom turn all golden in the sunset.



I've known rivers:

Ancient, dusky rivers.



My soul has grown deep like the rivers.

Langston Hughes

Charles Bukowski Poem on New Orleans

Charles Bukowski is known as a Los Angeles beat poet, but he must have spent some time in New Orleans to come up with this poignant, unusual love poem to the city.


Young in New Orleans

starving there, sitting around the bars,
and at night walking the streets for hours,
the moonlight always seemed fake
to me, mabye it was,
and in the French Quarter I watched
the horses and buggies going by,
everybody sitting high in the open
carriages, the black driver, and in
back the man and the woman,
usually young and always white.
and I was always white.
and hardly charmed by the
world.
New Orleans was a place to
hide.
I could piss away my life,
unmolested.
except for the rats.
the rats in my small dark room
very much resented sharing it
with me.
they were large and fearless
and stared at me with eyes
that spoke
an unblinking
death.
women were beyond me.
they saw something
depraved.
there was one waitress
a little older than
I, she rather smiled,
lingered when she
brought my
coffee.
that was plenty for
me, that was
enough.
there was something about
that city, though:
it didn't let me feel guilty
that I had no feeling for the
things so many others
needed.
it let me alone.
sitting up in my bed
the lights out,
hearing the outside
sounds,
lifting my cheap
bottle of wine,
letting the warmth of
the grape
enter
]me
as I heard the rats
moving about the
room,
I preferred them
to
humans.
being lost,
being crazy mabye
is not so bad
if you can be
that way:
undisturbed.
New Orleans gave me
that.
nobody ever called
my name.
no telephone,
no car,
no job,
no anything.
me and the
rats
and my youth,
one time,
that time
I knew
even through the
nothingness,
it was a
celebration
of something not to
do
but only
know.

Charles Bukowski

The speaker expresses nostalgia for his time in New Orleans--a time when he was broke, could only afford a rat-infested apartment, and was doing nothing particularly productive. This time was important to him because of its simplicity--"no anything / me and the / rats / and my youth"--and because New Orleans left him "undisturbed." Despite the harsh living conditions, the speaker remembers being happy there, reveling in "something not to / do / but only / to know."

A kind of Zen point of view permeates this poem: the not-doing, the peaceful acceptance of one's place in the moment, the lack of guilt and the aquiring of an "undisturbed" life. The speaker is not, in this moment, looking for anything more; no ambition, no desire, no need to be with anyone but himself. This creates contentment, even with the rats.


Check out the previous post in Living Poetry's New Orleans series.

New Orleans poet David Brinks

David Brinks and Andre Codrescu are the founders of the New Orleans School for the Imagination in the French Quarter--"right above the Gold Mine Saloon"--a non-profit oganization for poetry, arts, yoga, and buddhist thought. They had just built brand new studio space in which they were planning to offer Saturday poetry workshops.

Codrescu is the editor of the journal Exsquisite Corpse. This poem by David Brinks is in their online issue:


the red earth

I was born from a gentle rise
in the left trouser-leg
of my father

my mother's kiss formed me into a fish

inside their volcano of approval
I discovered a legendary
moonsplit plum where I slept
an eternal history
of nine months
in the land of trembling water

the great earthquake of my mother's body
was my first poem

-Dave Brinks


I think this poem appeals to me right now partly because of the line "in the land of trembling water." I am also drawn to its depiction of beauty being created out of an arbitrary meeting and born from a violent event. The speaker is formed in a "volcano," sleeps in the seemingly eternal but ultimately temporary security of a "moonsplit plum," then is born when that security is shattered by a bodily "earthquake."

This birth is the speaker's "first poem," a statement that claims the poem as experience and a state of being rather than an artificial process. It also declares the poem as a birth, a creation; aligning the poem with birth imbues it with inherent mystery, humanity, and pain.

Some nifty posts

There is so much going on in the poetry world right now--debates, discussions, new work, reviews, philosophizing, etc. I thought I'd list a few of the interesting posts I've been reading lately.


Josse has a thoughtful post about the legistlative threat to our national park system, and one with another lovely poem by Mark Wunderlich.

Rolling Thunder's BZoo Radio--you can stream their station live. They offer folk, bluegrass, rock and spoken poetry. Where else can you get that mix?

Jordan's long poem Their Fields is published as an ebook.

Gilbert won the Golden Point award for English language poetry.

Dead Poet discusses the differences between poetry and prose.

Robin asks which New Orleans writers are important to us, and chimes in on the discussion about poetry contests.

Roger weighs in on "Ars Poetica."

Whimsy Speaks takes issue with Alan Gilbert's declaration that desire has been "hijacked" by capitalist culture.

Gabriel wonders if mediocrity is "abundant in today's poetry."

Jorie Graham

I have been reading Jorie Graham's Swarm. In this collection, Graham uses a lot of white space, sentence fragments, single, separated words, and parentheses. The poems look like pictures on the pages, and beg to be read aloud.

Here is an excerpt from "Daphne" on page 44:



DAPHNE

Pick     a card.

Wrong again.

Interrupt    belief.

Write down    hope.

Move lips in sleep.

Widen.

Translate.

Be   less.

Be found.

Be    muzzled.

Say    write hard answers on me.

Bear down    make clear.

The moon rises.

Will never be perfect.

Be good    open mouth.

Don't scream.

This poem reads as a list of imperatives. An unseen speaker instructs Daphne--the nymph who was changed into a laurel tree while fleeing Apollo's unwanted attention--on how to escape the love-struck god. She must become an object, something that is "less" than fully human, something "found," and "muzzled;" something that is acted upon--"write hard answers on me"--rather than the actor, the one who used to run and hunt and enjoy the riches of nature.

Tom Daley

Here's another one from the current issue of 32 Poems by Boston's own Tom Daley:



Dragonfly

In the stairwell of the airport parking garage
a dragonfly lies without rebuke,
inert and dessicated,
papery fossil of an extinguished grace.
Its blue-black head droops,
knobby and askew.

What a darting was here,
what whirled profusion--
mylar wings ribbed with veins
hammering a downdraft,
hinged between water tension
and the weight of the sky.

Tom Daley


In the previous post, I mentioned that memory, to a poet, can be just as tangible and present as anything going on in the "real" world at that moment. In this poem, the speaker describes not a memory of the dragonfly, but an imagining of the energy and life that once existed in the now "inert and dessicated" corpse. S/he creates this description out of previous experience with dragonflies--how they move, their speed, their lightness--and pure imagination.

As poets, we spend a great deal of time trying to describe something--a feeling, an object, a thought, a philosophy, etc. We want to properly convey the experience through words. We want to be accurate, but artisitic and original. I think that the imagination can never be overestimated in crafting a poem. If it's a feeling we want to describe, how might that feeling be reflected in nature? How might an object be described if it were an animal? How might the color red smell? Or, as the speaker imagines, how might an already dead dragonfly exist if it were still alive?

Mary Oliver

Mary Oliver's The Leaf and the Cloud is both a pondering and a questioning of how the poem can be used as a reflection of the natural world. As the speaker says in "From The Book of Time" on page 17, "maybe the world, without us, / is the real poem."

If you love to read descriptions of the natural world and consider what our role is as both inhabiters and observers of nature, get this book. It is a startling and beautiful rendering of how a poem can use the sensuality of nature to explore emotion, circumstance, and philosophical questioning. Great stuff.

Here is an excerpt from "Work," a lengthy segment in which the speaker muses over the nature and purpose of writing poetry.


4.

All day I have been pining for the past.
That's when the big dog, Luke, breathed at my side.
Then she dashed away then she returned
in and out of the swales, in and out of the creeks,
her dark eyes snapping.
Then she broke, slowly,
in the rising arc of a fever.

And now she's nothing
except for mornings when I take a handful of words
and throw them into the air
so that she dashes up again out of the darkness,

like this--

this is the world.

Mary Oliver


The speaker is describing the process of writing memory into poetry. By throwing a "handful of words...into the air," she conjures her dog Luke to her side. "This is the world," the speaker states; not just what we can actively touch and see and hear, but also that which we create from our own minds. To the poet, memory can be as tangible and present as the world rushing around right outside the door.

Julianna Baggott on Marie Curie

When I was a kid, Marie Curie was my greatest idol. I wanted to be a physicist for years, and I loved reading biographies of Curie, fascinated by her intelligence, drive, and passion for nuclear physics.

A Polish woman who lived most of her life in France, Curie (born Marie Sklodowska) had two children with husband Pierre Curie, also an eminent scientist. Pierre was killed in 1906 when a horse-drawn carriage ran him down, crushing his head.

The following poem is in the current issue of 32 Poems (Vol. 3 No. 1) on page 22:


Marie Curie Gives Advice to her
Daughter Irene Before her Wedding

I remember this moment--the pram distilled,
its sediment was an infant,
no longer something born from me,
not residue, not pitchblende,
but its own particle,
an open mouth, a cry,
within its head, a mind wrestling with thoughts
--my motherland could be there,
driven into the skull,
some ancient homing.
Years I have soaked
in radium.
I've begun to bleed light.
I see your father again
crossing streets in rain--
the doors are locked,
his umbrella fills with wind,
the horses approach,
hauling a wagon of soldier's uniforms--
something to dress the dead--
it's come to crush him.
My navy suit with solid stitching crushes me.
And since then I've begun to confuse
the glowing test tubes
with wicks of the moon, a dazing field of stars,
my own soul, and a moment goes by
when I forget the brutish charm of work.
My hope, daughter, is that
what you love doesn't come to kill you,
eye by eye, ear by ear, bone by radiant bone.

Julianna Baggott


Marie Curie died from complications of radiation poisoning, although it is unclear whether in 1926--the year of Irene's wedding--she was aware that her ill health was due to radiaton. The first physicists who worked with these elements were mostly ignorant of the connection between their later ill health and radiation, which seems shocking to us today. What is especially poignant is that Irene goes on to become one of the most revered scientists in France, like her mother also wins the Nobel Prize (along with her husband), and later dies of leukemia contracted from exposure to radium.

Both of these women worked in an exciting, difficult, and deadly field, but before they left the earth, they made remarkable accomplishments for science and for women. They lived lives of dedication and passion.



Marie Curie photo found here.

Mark Wunderlich

I have participated in two workshops with Mark Wunderlich at the Fine Arts Work Center in Provincetown, and it's about time I posted one of his very fine poems. He has two volumes of poetry: The Anchorage and Voluntary Servitude.

Here is one of his poems on poemhunter.com:


The Bruise Of This

The night I woke to find the sheets wet from you,
like a man cast up on the beach,
I hurried you off to the shower to cool you down,

dressed you, the garments strict and awkward in my hands,
and got you into a taxi to the hospital,
the driver eyeing us from his rearview mirror--

The blue tone of the paging bell,
the green smocks, metal beds,
plastic chairs linked

in a childhood diagram of infection,
and when they wheeled you by
there was a needle in your arm,

the bruise of this
already showing itself,
and rather than watch gloved doctors handle you

in their startling white coats and loose ties,
I took a seat outside and waited,
time yawning, thick and static--

and made clear to me in the bright light of speculation
was time's obstacle in the body,
and those things I could do that might cushion it.

Mark Wunderlich


No matter what kind of poetry you like to write--whether you prefer free verse, traditional, postmodern, romantic, or whatever--you can never go wrong using clear, strong, carefully crafted imagery. This poem is a fantastic example. Every stanza brings a new, powerful image to the poem and carries the reader through the experience.

Someone with night sweats this severe is very ill. The speaker attends to this person with careful urgency--perhaps this is not their first trip to the emergency room. Every space these two occupy is painted for us: In the bed, we see someone "cast up on a beach." In the taxi, we see the furtive glances of the driver in the mirror. In the hospital we see "greens smocks," even a "blue" bell. We see the needle and the bruise it has caused. We even see time, "thick and static."

The speaker is made aware, within the frightening arena of an emergency room and the lack of control a patient's relative has, of "time's obstacle in the body." A fascinating way to end the poem, in that it is somewhat cryptic in a poem of such clear imagery and chronology. It has something to do with this illness--perhaps illness is the obstacle to time in the body, i.e. time is inhibited by the illness. The speaker wonders what can be done to "cushion" the obstacle--make it less powerful--thereby giving time a better chance. The "bruise" can be seen as the emotional scar left on the speaker by loving and caring for someone with a dangerous disease. It is very urgent and sad poem, but not without hope.

"Spare Change" Poetry

Those of us who are city-dwellers are familiar with "Spare Change," a newspaper sold on the streets by homeless, or formerly homeless people, to provide them with a source of income. I picked up a copy a couple days ago. Did you know there is a poetry section?

Here's one I like. It's on page 6 of the August 4 issue:


After the Crash

people light candles
in a small town,
wrap yellow ribbons
around street posts
and trees. Stores
close. Friends
wander in a daze
stand in small
circles. One reads
from a letter the
victim wrote the
day before: "summer
has been great,
between performing
at Carnegie Hall
(I got roses) and
attempting to get my driver's license,
pedestrians beware."

Lyn Lifshin


I am compelled to read this poem over and over because of that last cryptic line. What does it mean? Was the "victim" killed as a pedestrian by a driver, thus making the line a poignant ironic statement? Or was s/he a driver? Was anyone else involved? We are given just enough information to understand the town's grief over the loss of a talented, young person, and that's it. This short poem successfully captures the emotion of loss and grief simply by painting an image.

Grace Paley

At FAWC, I had the pleasure of hearing Grace Paley read to a packed audience. There were people sitting in chairs outside in the dark humidity, being bitten by mosquitos, just to hear her. She is a short story writer and poet. I found the following poem in the plagiarist poetry archive:


This Life

My friend tells me
a man in my house jumped off the roof
the roof is the eighth floor of this building
the roof door was locked how did he manage?
his girlfriend had said goodbye I'm leaving
he was 22
his mother and father were hurrying
at that very moment
from upstate to help him move out of Brooklyn
they had heard about the girl

the people who usually look up
and call jump jump did not see him
the life savers who creep around the back staircases
and reach the roof's edge just in time
never got their chance he meant it he wanted
only one person to know

did he imagine that she would grieve
all her young life away tell everyone
this boy I kind of lived with last year
he died on account of me

my friend was not interested he said you're always
inventing stuff what I want to know how could he throw
his life away how do these guys do it
just like that and here I am fighting this
ferocious insane vindictive virus day and
night day and night and for what? for only
one thing this life this life

Grace Paley


Wow, what can I say about this? Those of us who struggle with illness will always be frustrated by those who take their health for granted; imagine the reaction of someone fighting to stay alive hearing about a healthy, young life thrown away for no real reason.

And yet, there was a reason. His heart was broken, but more than that, he had come to a psychological state where dying seemed the logical course of action.

What I find so effective about this poem is Paley's working in of urgency, of an almost-rescued feeling, with the parents "hurrying... from upstate" to help him out, even speculating about the actions of witnesses and rescuers who weren't there. It feels as if the young man was almost saved, but in fact, he carried out his death in secret seclusion.

Joshua Weiner

Just returned from a week at the FAWC in P-town, and I tell you I did not want to come back. Poetry workshop in the morning, afternoons on the beach reading and writing, evenings listening to readings and watching slide shows of visual artists. I heard the stories of Grace Paley, the poetry of Joshua Weiner and Robert Pinsky, the fiction of Julia Glass, and saw slides of block prints by Peik Larsen. Others who read during the week were Norman Mailer, Mark Wunderlich (my workshop leader), and Mary Oliver. Can you imagine such a lineup? What a week. And I have several new drafts of poems to work on.

I'm going to feature a few poems by the writers who were at FAWC this week, starting with Joshua Weiner. This poem is from his book The World's Room, University of Chicago press, p. 61:


Bruno's Night

Up the hill of snoring
The father climbs in dream,
The mother sinks in silence
And baby sucks its thumb.

But struggling next door
Boy Bruno smells the dawn
While the sick, the sad, the torn
Apart quiet their song.

Dropped curtains hide the night's
Inspired fantastic pomp
That liquidates with light--
Don't oversleep--Wake up!

Run to the grimy window,
Press your nose to the dirt.
Under the dawn: you follow
The mass of gathering earth.


This is the last poem in the book, and it ends on such a poignant, and somewhat ambiguous, note. I imagine this boy in a home of persistent struggle and sadness, perhaps even brutality and/or poverty. The father "climbs" only in dreams, the mother "sinks," and the ungendered baby shares their room. Bruno's window is "grimy" and dirty. He is a boy of amazing sensitivity--he can smell dawn breaking--and he forces himself to wake up so he won't miss it. He ignores the dirt on the window, putting his nose right in it, so he can watch not the dawn itself, but the earth as it pulls together under the rising light.

This boy finds beauty in a world full of cramped struggle, and he finds it not in the transcendent faraway sky, but down on the earth itself. He can find joy in a world that so far has forced him to look for it. I wonder about the future for Bruno. His sensitivity is what allows him to uncover the world's wonder, but it is also what will make him vulnerable to its brutality.

"Minimal Sound"

I'm headed back to the FAWC today, this time for a week-long poetry workshop with Mark Wunderlich. And a little beach time.

Generally, I don't like poems about poems. Barbara Guest's newest book, The Red Gaze, is an exception; each poem continues a reflection on the poet's art. It is full of little glimpses of detail, memory, and color. The following poem is on page 29:


Minimal Sound

What we are becomes a memory, the hand may open a secret lock.

The poem enters on tiptoe, climbs the terrain,
weary, it listens to minimal sound, the slowed
tree branches are drawn on purpose, part of the same program.


Here, the poem's world is fragile; the poem itself must tread very carefully, and it has become "weary," perhaps of trying so many times to capture the truth of the world. The poem's talent is it's ability to hear "minimal sound," the smallest bit of detail or movement or color, the qualities that would be scared off by a loud entrance. Then, the writing: "the slowed / tree brances are drawn on purpose," the poem listens carefully to the world it inhabits, but eventually must stop and put down on paper what it finds.