Thursday, April 19, 2018

Shannon's April Poem

Sorry for the late post! I had the flu and am just now feeling better.

On Handling Grief


In ancient Greece,
dolls perched,


bird-like, atop                  
gravestones.

Their dresses

were peppered

with notes
for the dead and purple

tulips. Cupped 

upwards, the dolls'

terracotta hands
seemed to 

be weaving 
the same patch of air

or maybe they
were waving. Their


fingers, too,

undone 

by the smallest
tremors.

Thursday, April 12, 2018

Dargie's April Poem

Hi friends - I am just now caught up on comments, so take a look back at your Feb and March poems :)  Thanks for your help with the parking garage!  I submitted to the residency and will keep you posted. 

MT. ST. HELENS’S GHOST IN THE REARVIEW MIRROR


was not a mountain, but a massive,
unusually distinct cloud,
shaped like a pyramid with a flattish top,
building upward, just before dusk.

Its surface caught the apricot light of sunset,
alpenglow
of the plains.

It danced teasingly
from my rearview mirror to each side mirror and back again
as the highway wagged west,
presiding over the landscape with a desultory menace
and a beguiling beauty, and growing in apparent
potency as I drove—
but at a distance,
partially seen and
being left behind. 

In the morning, I read that the tornado
the cloud became killed a person and destroyed
three houses a hundred miles to the east.

In Kansas, look for your cataclysms
in water vapor.

Underestimate me.
That’ll be fun.


Monday, April 9, 2018

Kasey's April poem

Hello poet friends,

Thank you so much for your helpful generous comments on my March poem... on ALL my poems. I'm very grateful for this group - so glad to be with you and your work, your minds and hearts (I'm never sure if people go back to the comments from previous months - I sometimes remember to and sometimes not - so I wanted to make sure you all saw this! I'm still getting the hang of Blogger...).

Happy spring - very much looking forward to reading your April poems.

Kasey


At Cape Henlopen

All night wind insists in the trees, its unsteady hush
funneling us down into sleep under the tender
shelter the oaks, even leafless, make—all night
their trunks creak and sigh and speak. Speak
to me—I think the word protect until its edges
dissolve, inside the tent that wraps us
like another, thinner skin, rocked and chastened
by the wind that doesn’t cease: it ripped
the nylon from our hands as we tried
to pin the edges down, make the tent stakes hold
to dead leaves and damp and sand, the tangled
ground that presses back against our bones.
The ocean hidden but near: all night I mistake
wind for waves, waves for breath, imagine the blur
at the horizon where it practices dividing sea
from sky, one blue utterance from the next. I want
never to mistake you, though I do it all the time,
though we wake and drink the tea before
it turns cold. Later you crush juniper berries and hold
your fingers to my face: gin, that muscled scent
sun and forgetting keep falling through. Later we walk
the town churchyard and read: Sacred to
the Memory Of. Fell Asleep. We walk in light
so steep I can see each single stitch
of your gray sweater, its hem and sleeve; see
for a moment how we’re knitted together
in the wind that keeps tearing us gently from our names.

Saturday, April 7, 2018

Vasiliki's April Poem

Hello dear poet friends-- here is another poem from my manuscript. This is one that has stumped me, because I've tried more than a few times to see it published, only to have no takers. The other poems sent along which I valued less were the ones picked up. Any insight about how this poem is received would be so helpful for me.




Ektachrome

he left me
a ring
of partial glimpses
//

pellucid Pelasgia
partial coinage
of a man-made image

//
or something like this
tangible language, this audible curve,
this emotionese

//

the way I see it
I was left
to translate him

//
man takes a woman
on a wedding trip
before I was born

//

last look upon home
the village square, the field,
family harvest of exile

//

I lift his disembodied eye
to my eye, find no archive
of anecdota but shed and shadow

//

recognize this slide, Cézannesque
basket of fruit, dappled wall
I plucked this fruit, too

//

how to square my sepia-toned 1980s
pastoral with 1960s Kodachrome
tray of glass-bottled sodas, metal ashcan

//

his markers of industry,
what I artfully sought
to leave out of frame

//

apple, o apple of my eye,
he called me
matia mou, you are my eyes--

//

why this slide?
I pressed him,
slides are better, they last

//

last, little pools of memory
in this cold water
we  trickle
              over


Sunday, April 1, 2018

Claire's April Poem

Hi all! I am missing out on Easter with my family due to an aching back. So while I am lying here, I thought it might be a good time to post my April poem. Looking forward to reading yours!


KNOT GARDEN


Was this her habit before Dad’s diagnosis:
Trailing me down the backporch steps, initiating

conversation even as I close the car door? I beg her
to Go inside, you’ll catch a chill, triggering her final litany:

Don’t forget to lock your doors. Watch out for black ice.
Once, in a Scottish castle garden, I hid from her—crouched

like Eve in boxwood shade. My shame? A simple thirst
for my own mind after eight days of shared hotel rooms,

train cars. In peace, I focused my lens on the knot garden
and she was there: knee-deep in interlocking circles

of germander and lavender, silver-gray santolina
shimmering in noon heat, stock-still as if the life-force

within her had departed, something bereft in her profile,
the curve of her belly where I first resided. I called out Mom!

and in my lens she came alive again, raising her arm into air
thick with summer as she stands now under golden porchlight

and a waning November moon, waving, waving.


Monday, March 12, 2018

Kasey's March poem


Inverting the Winter
with lines by Louise Bourgeois

For a lifetime I have wanted
to say the same thing. Daubing red

paint against the sky, taking it away
in a different print. More blue then.

Laid down amid the shapes that mean
lake, mountain, house until the spaces

between them tremble and flush
with color. Over and over

the etched plate pressed to paper. Nothing
is lost. Inverting the winter tree

so branches become roots, burrowing
the mute earth. So roots become

branches, cradling a woman’s face.
Breasts press outward from

the trunk, her pelvis nestles where roots
descend. It was a subterranean,

unconscious land that I longed for.
Over and over the paper’s thirsty skin

opens to drink in pigment, ink. Over
and over the tree’s stripped limbs

stroked with crimson. Now they reach
in every direction, rouged. Now

for the sky behind them. Now for the blue.

Thursday, March 8, 2018

Vasiliki's March Poem


Dovecote

in a frame above the stairs
ink sketch of a Greek soubrette
in feathered hat and fur muffler

she looks away—

so far away
her features cannot be gathered back
lovingly nor made out

her expression is a dove
flown so far ahead of us

its shadow has returned to perch
here

 peristerióna
            dovecote

you who flit and fly
alongside

such eyes
you never meet
but in this niche

rise

above the white hills of the island

Sunday, March 4, 2018

Claire's March Poem

THE TERRITORY AHEAD
[with apologies to the copywriters!]


Even without the Call of the Road Shirt, rich lingo
of distant highways woven into its cool-looking crosshair
plaid, you managed to get there. Without a Cut to the
Chaise Pullover, crafted of dual-colored, cotton-blend yarns,
wrapped, looped or twisted into an ultrasoft, buoyantly
textured fabric or, God forbid, the Permanent Vacation Shirt
(here the copywriter takes the easy way out with multicolor
why not mango swirled with cabernet?). In the right mood, you might have
pulled off the Social Animal Shirt with coconut-style buttons, large
tropical leaves. And had you ever mail-ordered the Light Duty
Canvas Pants, the Anglophile in you would have specified
them in British Khaki, saved the trousers for your next visit to Tante
Yvette in the “Capital of All Capitals,” for a stroll along the Thames.
Now that you have travelled to that territory far ahead of us, I like
to picture you enjoying the Anti-Tribulation Work Shirt, perhaps
a pair of Big Dippers trunks, soft, amphibious, super light.

The Territory Ahead has been creating “Exceptional Clothing for Life's Adventures” (for men) since 1989.

Friday, March 2, 2018

Shannon's March Poem


Coconut Ice Cream

When it hits your tongue,
it tastes like somersaults or
skipping down a big dirt road
when the sun is shining so
brightly you can only see
the day in pieces or patches.
Or maybe it’s more like a tapestry.
Of silk, of laughter,
like full belly laughs.
Like that time you ran so fast
down an icy hill you thought
you were flying. Yes, coconut is
like that too, sometimes.
Like that time you slipped honey
into your pocket and felt
sticky sweet between your fingers.
Somehow, you felt so close to it all—
To the farm where the cows live
that made the milk, to the well where
water was taken and frozen
and to the bucket were it all churned.
To the cold metal crank you
can almost feel churning,
churning. This slow, steady, delicious,
drawn out rotations of the hand,
of muscle, and tongue.
Wouldn’t it be great if we, too, could be
made and remade like this?

Thursday, March 1, 2018

individual poems vs. poems in a collection...

Vasiliki ends her great comments about the poem I posted with some questions: "Sometimes, I wonder whether I expect too much from any single poem... How does everyone weigh this? A single poem and the amount of context it needs? Esp. when sending out poems for publication... I have many very short poems that perhaps make more sense in a bigger grouping." I have that question, often, about my own work. And lately I've been thinking about this esp. while reading Dargie's poems, which I know are from a manuscript and which speak to each other around the experience of living in Kansas. Dargie's poems are maybe not the best way to address the question, though, because I think they're successful in both standing on their own and speaking back and forth to each other. I guess that is the ideal? (Or at least my ideal) That each poem provides enough to stand by itself and that it can be in conversation with other poems that might surround it in a book. But then there's the question of what "enough" is - different for everyone.

I tend to write poem-by-poem even when I'm trying to work on an m.s., so I think for me the individual poem comes first - but I suspect that for others it might the opposite, or that those things might weigh equally.