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Friday, November 15, 2024

Poems for November 13

 Smoking Ceremony by Hemat Malak; Things by Lisel Mueller; Elegy for my 1958 Volkswagen by Ruth Bavetta; Safety Pin  by Valerie Worth; Nuthatch by Kirsten Dierking; The Lost Garden by Dana Gioia; Oh, y’know, just your standard Q&A by Alex Z. Salinas; Practice by Ellen Bryant Voigt

Nutshell of discussion: Many of the poems seemed to address the theme of loneliness, letting go, and how we relate to things.  

Smoking Ceremony: Without the note, you might not have noticed that this poem is a villanelle with a slight variant, and indeed, it provides an example of how form can embellish meaning.  The initial prompt was to write a villanelle that mentions your favorite season.  Fall is the ideal season for thinking of things passing away, of transitions and here, the idea of a "Ceremony" honors years which like autumn leaves, are burnt, almost like a ritual purification, to allow for Spring.  The repeated "smoke" and "sighs" moves through a progression to describe a sigh: it is thick; it chokes; it bursts into a thousand bubbles, and finally becomes flames to bless.  Woven in the alternate end of stanza rhyme of goodbye, (singular)  fireflies (plural) this is accentuated by the singular "A" end rhymes:  firefly, sky, dry,  (singular in the first 3 tercets) and butterflies, eyes, prophesize (plural in the last 3 tercets) providing concrete terms in the first 5, as if to provide "ink"  to shadow or echo for the description of the smoke.  

Further repeats: mad to madness (twice),  which rhymes with bless and the slant rhyme of arsonist/artist.  Curious that "mad firefly" on the first line, becomes made two fireflies on the last line of the 4th tercet, with a "slant eye-rhyme" between mad and made.  The "u's"  curl, hue, burst, bubble contrast with  the hard /k/ in smoke, curl, crackle, cleansecanvas, mistake, ink, sink, (twice: once as noun, once as verb) pink, drink,  with the inner "B" end rhyme shifting in the final stanza to spring. Alliterations abound: the in firefly, comfort, fall, flames b of bubbles/burst  the ch of choked, children, the th in those (years) together, thick; the st of artist/arsonist, (2) mistake, starburst, toast, the l in smelted, love, left, bloom, bless.

Such work with sound imitates a sense of unspoken grief of what is not carried on, or as Judith brought up with Jane Austen,  those letters one tries to burn but cannot.  Many of the 24 participants nodded in agreement, facing the problem of sorting and tossing out a lifetime of photos, souvenirs, letters.

As for the title, Smoking is rife with context  could be an adjective, as in smoking hot, although unlikely, and perhaps evokes an image of smoking a peace pipe, but seems to imply a sanctifying  smudge ceremony.  The poem elicits any number of situations involving grief:  perhaps a divorce, a death leading the reader to observe and participate in a cleansing ceremony which indeed honors "the smoke of years".


Things:  (https://www.poetryfoundation.org/poems/53133/things-56d2322956d0a In her inimitably frank manner, Lisel spells out how humans tend to anthropomorphize and foist our human attributes and self-importance on concrete objects like clocks, chairs, tables, shoes, bells, pitchers, bottles, only to move on to larger universals like country,  an implied sense of religion in "what is beyond us"  and abstraction of safety.  There is so much "mythology" and superstition attached to things, children learn, like "step on a crack, you'll break your mother's back".  In the poem  there is also an added hint of things as being part of a whole, and implication of the Ding-an-sich, the object as it is, independent of our way of observing and representing it. Delightful poem, rather tongue in check, but comforting.  The mouth of the cave made some think of the beginning of time.  The final stanza also evoked the sense of  "passing on" leaving behind an imperfect world.  We discussed at length how humans try to control by ascribing meanings, and how metaphors can be useful as persuasive devices especially dealing with the negative effects of politics.   I couldn't resist writing a poem back to Lisel, which I shared. (see below)

About Things

a small conversation with Lisel Mueller's poem, Things 

 

The clock started weeping, tears 

trickling towards the numbers

circling its face

 

and the chair broke

unable to support Gramma's back

and even the table's legs

seemed unable to support

the weight of the  tons of books and magazines

on its sagging surface.

 

As for the wagging of those tongues

inside the church bells, the ringing

is likewise in our ears from too much

noise, although statistics show

those who indulge loudly in generous 

amounts of it served in local bars

from generously-lipped

pitchers, seem unaware

of the din.

They go on 

no matter the length

of the bottle's neck.

 

We thought we could pass 

into safety, pass on

useful lessons,

understand how to see

eyes of hurricanes, 

believed in hearts 

of countries, especially. 

 

The thing is, things, no matter

how beautifully personified,

have their own slippery way

to pretend to offer just

the right substitute

for the missing word,

the thing, in itself, 

only for itself, not us. 

-- Kitty Jospé


Elegy for my 1958 VW:  So many wonderful memories and stories came up from this delightful poem which provides an echo to Lisel Mueller's "things".  How do we make sense of life?  The poet concludes there is only what is, and what has been.  Her descriptions certainly provided the colors, sounds, inconvenient and loveable characteristics of "the people's car" with a great sense of humor -- especially those "bowling shoes" which found a place with the 7 bags of groceries, 5 kids, the neighbor (mind you, friendly), 2 dogs.


Safety pin:  a relatively recent invention, like a coat hanger, this poem provides us a novel way to think of this useful object.  There were a few stories of how "safety" pins, are not always "safe"!  This one sentence poem in one skinny column ends with an apt implied metaphor of how we look at ourselves.


Nuthatch:  Starting a poem with "what if" immediately invites our imaginations to set to work.  We wondered how the poet came up with the idea of this poem and why a Nuthatch.  What drove her to write it?  Does she want to be alone?  Does she long for another living being, but just not people?  Interesting fact: the Nuthatch is a songbird who goes down a tree trunk headfirst.


The Lost Garden:  Instead of "what if", this poem starts with a rather melancholic, "If we ever see those gardens again"... Immediately, we are transported to the past, perhaps walking in Versailles and imagining the glory of the court of Louis XIV, the "gracious acreage of a grander age".   Gioia adds a mocking bird,  the delicious detail of "so many trees to kiss" quickly followed by "to kiss or argue under" to embroider the possibility.  The contradictory, "what pleasure to be sad in such surroundings"  is given the space of a stanza break to absorb the meaning, only to drop down to a qualifying fragment:  At least in retrospect.  


The poem is evocative as well of the book The Secret Garden and Judith brought up the scene in Cocteau's Belle et la Bête (Beauty and the Beast) where Beauty, in her long dress, mounts castle steps strewn with dead leaves.  The only end-rhyme in the poem, 2nd stanza, "describing someone else who shares our name",  with "game" hints at romance gone awry. It brought us back to the first poem, Smoking Ceremony ending with "the trick is making  memory a blessing." 


Oh, y'know:  Rather like regular conversation, not an interview, it is an interesting portrayal of a self-absorbed person asking him/herself questions, with a shadow self sketching his/her portrait in reply.

It provided a contemporary context, with hints at equality, sexuality, shopping malls, tourism, and where in all that is beauty, any truth or honor.


Practise:  It seemed to me to provide a sequel to the interview above but directly applied to grief.   What do we practice, in terms of habits, faith, attitudes?  How does this change when someone or something dies?   The "you said" gave us a sense of the person writing trying to honor someone who passed away, honor their words, but unable to do so.  In the face of loss, what do we still believe in? 






 




Friday, November 8, 2024

Poems for Nov. 6

 I highly recommend the Fall/Winter issue of the Journal of American Poets.  It is chock-full of inspiring messages such as this: "With poetry, you're never alone.  You're never starting from scratch and you're always mingling with a lineage you've yet to comprehend fully. With poetry our time becomes mutual and bearable. We hold each other up in times of grief, and times of joy." The Bruschac poem below appears in it.  We may have discussed the Al Poulin poem before which is on Poets Walk -- to see links to all the poems and stories on this Rochester treasure conceived by the late Joe Flaherty, founder of Writers and Books: https://mag.rochester.edu/walk/  

Poems: October Nor'easter by Marge Piercy;  Refugia by Traci Brimhall; Taking Stock  by Elaine Equi; The Cane  by Joseph Bruschac; The Angels of Radiators  by Al Poulin  (founder of BOA Editions, another Rochester treasure in the publishing world.)

American Academy Reading 11/7:  You can replay the reading on YouTube here: https://www.youtube.com/watch?v=N4G3LW4vDzo.

To revisit the poems shared this evening, visit our digital program book here: https://poets.org/gather-poems-2024.

 

Line-up of poets reading poets:

Ricardo Maldonado (current Pres. and Ex. Dir. of the Academy)  reads “Shoulders” by Naomi Shihab Nye (one of our favorites!) 

**Carolyn Forché reads “On Living” by Nâzim Hikmet

Joseph Rios reads “They Won’t Find Us in Books” by Willie Perdomo  (his friend and mentor)

Diane Seuss reads “The Miracle of Giving” by D. A. Powell

**Andrea Gibson reads “The Church of Michael Jordan” by Jeffrey McDaniel

**Robin Walter reads “Wait” by Galway Kinnell and “I Belong There” by Mahmoud Darwish

Tracy K. Smith reads “Carrowmore” by Lucie Brock-Broido

Tree Swenson reads “Otherwise” by Jane Kenyon  (Tree designed the cover of the book. Also President & Executive Director of the Academy of American Poets for 10 yrs before

Jen Benka who recently retired after 10 yrs in this position. Jen reads “From  **‘Elegy in Joy’” by Muriel Rukeyser and “job prescription” by Evie Shockley

Patricia Smith reads “Words Whispered to a Child Under Siege” by Joseph Fasano

avery r. young reads “VOODOO V: ENEMY BE GONE” by Patricia Smith (another Chicago native).  Avery is Inaugural poet laureate of Chicago.  He sings. 

Robert Hass reads “Crossing Brooklyn Ferry” by Walt Whitman

one comment in chat: Uncle Walt bring us home…remind us of who are still at our core🫰

 Ricardo Maldonado: ​​This poem is a vision -- a prophecy, an aspiration

see line 83 Play’d the part that still looks back on the actor or actress,

age of photography.  You are the film;

great or small you furnish your parts towards the soul.  (final line)

 

**

Comment from Tree Swenson: The academy feels like home... Reading a poem, feels like coming home.  

**

Blog Notes about poems discussed Nov. 6

I didn't particularly PLAN a program poems which offer hope, however, given the nature of human beings, their politics, I was grateful to be reminded how hope is essential for survival. 

 I started by reading aloud a quote from MLK : “An individual has not started living until he can rise above the narrow confines of his individualistic concerns to the broader concerns of all humanity.” “Every man must decide whether he will walk in the light of creative altruism or the darkness of destructive selfishness. This is the judgment. Life’s most persistent and urgent question is, What are you doing for others?"  

I also referred to Alison Luterman's Poem, Holding Vigil: https://www.rattle.com/holding-vigil-by-alison-luterman/.  We are living in a time some might call one of vigil :

 Nutshell of discussion:

 

October: If you are from New England, you know what kind of storm a Nor'easter is.

Neal noted that Marge Piercy describes the weather the way a sailor would, fully understanding the violence.  Elaine picked up as well on how it "ripped" in the vocabulary, the rain turning to scimitar, how stripped and bare to the bone we feel. From storm, to self observation one senses an older person looking back, with the added touch of the enjambment between the 3rd and 4th stanzas, grabbed// at what chance offered.  The end offers a surprising new association of "hard", unlike the hard as granite (rain) in the first stanza, or using days hard in the third.  Now hard is juxtaposed with  "where love rubbed sweetly".  

Elmer brought up another poem by the poet, A Work of Artifice where the "could have beens" of a bonsai, crippled by the art  also provide a surprising twist at the end. http://famouspoetsandpoems.com/poets/marge_piercy/poems/19228

 

Refugia:  The title demands your attention, and indeed, you will be rewarded by this definition: an area of relatively unaltered climate that is inhabited by plants and animals during a period of continental climatic change (such as a glaciation) and remains as a center of relict forms from which a new dispersion and speciation may take place after climatic readjustment.

Brimball shares what she loves, but in the context of "discovery".   What things did you not notice/know you love?   Not only does she love unusual words like skirling which refers to the shrill wailing sound of bagpipes  and gravid which from Latin gravis, means "heavy" but  also has the figurative meanings of pregnant: "full or teeming" and "meaningful", but she also  "verbs" nouns, and gives us instructions on naming groups of animals.  Elmer informed us that normally a group of buzzards is called a wake,  but it is indeed one of the three names for vultures[1].  I noted in the poems the comment from Major Jackson in the Slowdown: "Today’s poem knows some environments awaken us daily to the wonders. Maybe that is paradise — a place of first permission to go on loving the world."

 

We appreciated the sense of stillness, sense of sanctuary, and the delightful, unusual, but apt oxymoron of "the hopeful ugliness" of cygnets.  3rd stanza:  I'm not sure the legs of insects only tested  n's and o's (in her book), but again, an unusual way of noting two letters usually indicating negativity.  How refreshing her use of color in the 4th stanza, the bold, bare blue of an afternoon, the white of ecstasy at its edges -- followed by the enjambment of lyric// bending me

over its knees which enacts the gesture!  Her skill continues, wrapping us up to notice with her, and reconsider how we really feel about living things like wasps.  What in the natural world allows you to know you love life... watching survival at work?  It is easy to write how we love the moon, but to love tomorrow's moon, not just visually, but connecting it to scent it coats raises the level of affection and reinforces hope.   Driptorch in the penultimate stanza brought up commentary of positive effects of what looks negative.

Elaine R. brought up as compliment to Brimball, the fabulous poem by Nazim Hikmet, born 1902 and recognized as first "modern Turkish poet", Things I Didn't Know I Loved :    https://poets.org/poem/things-i-didnt-know-i-loved

 

Taking Stock: This poem exercises a skillful cleverness that seems comfortable with contradiction and allowed the discussion to entertain thoughts on what is involved with thinking,

whether rational "brainwork" or introspection and how it relates to understanding intuitively through our other senses.    Curious how English has two words for sight, (see vs. look); touch, (physically tactile and emotionally moving); hearing (auditory perception vs. listening).

What is the role of a label?  How does it help or hinder living?  Eddie brought up the sense of primitive rhythms of the 4th stanza, the iambic heartbeat and placement of the repeated Hearing

as "bread" holding the repeated feeling and solo thinking.  Neil brought up the first sound a baby is aware of: the mother's heartbeat in utero! 

How much is choice involved with selection of labels?  How else do we identify?  The poem shares an intimate insight of how the poet is Taking Stock.

 

The Cane: Kathleen brought up her connection to the poet, Joseph Brushac, Poet Laureate of Saratoga Springs.  His website will provide more information on the way he gives voice to "marginalized people, amplifying their wisdom and stories"  https://joebruchac.com/

We definitely felt the strength of Native American tradition where the word condoled is used, selecting the next chief during the time of condolences for the one who has passed.  The cane,

symbol of wisdom, tool to guide us, help us balance —something to lean on passing on words

to young teens who lean on them as they shape their own journeys and memories.  Beautiful poem where one does not need capitals, punctuation, stanzas as you feel your way, voicing each word just like the cane of the elder, speaking to all of us.  We all walk our paths, and profit from the support and guidance.

 

Angels of Radiators:  Old fashioned radiators still exist, and many shared memories of how it used to be to keep a house warm in cold weather.  The juxtaposition of a personalized furnace with celestial references is humorous: it fails like heaven, its water turning to steam as grace runs out, the angles of rooms unlit, cold, waiting for the cold, white, silent, dead angels to activate.   Mary who read the poem added her touch of humor, saying, sitting in a cold draft of the room, the poem "warmed her up" !  Indeed.  All of us could feel the pure spirit of those radiators singing -- and dancing wild allelujahs warm as spring.

It reminded us of Robert Hayden:  Those Winter Sundays which I read aloud. https://www.poetryfoundation.org/poems/46461/those-winter-sundays

 

 

 

 

 

 

 

 



[1] Kettle: A group of vultures in flight; Committee: A group of vultures resting in a tree or on a fence post

Wake: A group of vultures feeding on a carcass

Thursday, October 31, 2024

Poems for Oct. 30

 

The Weighing by Jane Hirshfield; Fleas interest me so much by Pablo Neruda; Walking In An Old Forest With Our Young Son On My Back, I See The Fates Of My Friends In Every Tree by Kim Stafford; Before the Rains Had Come  by Kim Stafford; From “The Windy City”  by  Carl Sandburg; Thunderstorm in Dorset, Vermont by John Updike; Virginia, Autumn  by Molly McCully Brown; Calculations  by Brenda Cárdenas

The Hirschfield poem came from a long line-up of suggestions from Maria Popova's blog: https://www.themarginalian.org/2024/10/22/marginalian-18/

The American Academy posted several poems from the archives under this rubric:  "A place of quiet, and journey that is a kind of returning to love.  Isn't it wonderful that there are SO many poems to choose from!

The White-headed Woodpecker  by Sean Hill

The Flight of the Crows by Emily Pauline Johnson 

Drowning Creek by Ada Limon : (Ending lines: There is a solitude in this world/ I cannot pierce. I would die for it. 

I was tempted to choose Ada Limon's poem because of our discussion of White Towels, Solitude and Loneliness... but preferred Polly's share of Neruda's Fleas!.

 

Nutshell of discussion. 

 

The Weighing:  The title already is "weighted" with a freight of possibilities:  to weigh evidence or a decision in one's mind, or the actual physical use of weights and measures, whether noun or verb, even the sound of weighing with its silent letters seems to breath a sense of ambiguity which we discussed.  The opening line immediately triggered the line from French Philosopher/Mathematician, Blaise Pascal (1623-62) which addresses the intuitive, emotional side of understanding that needs to be balanced with reason:  "The heart has reasons which reason cannot know".  Curious that "Pascal" is also a unit of measure and other meanings in our 21st century world. We discussed the paradoxical 2nd stanza with the mention the forgiveness of the eland which brought up the question of when one meets death willingly, realizing it is time to let go. The last stanza evoked the stories of courageous people meeting difficult circumstances, but  could apply to fighting for civil rights and in spite of prison, or any cause against  impossible odds, still acting on an intuitive passion connected to something larger than sacrifice or one's fate.  Knowing that Hirshfield is "science-savvy" as well as Buddhist, made us suspect the poem aims to address what lies beyond the visible as neither good nor bad, but rather the nature of the larger cosmic mix.  She blends beautifully this sense of the larger scale with the personal.  The penultimate stanza is a powerful reminder that revives hope without resorting to wishful thinking.  The poem sets it up in measured truth. 

 

Fleas interest me: A wonderful demonstration of how to address something irritating with craft and humor, calling on actual observation.

We all enjoyed the line "someone should introduce them to me", which allows a step away from oneself and  which also made us think perhaps the fleas are a metaphor for human beings with the ironic implication that indeed, we might not know ourselves as well as we think!

 

Two Kim Stafford poems: The first with the "show-off title" that is longer than its lines provoked criticism, a common response to ambiguity and wanting a message delivered with more clarity.  However, it also provoked a good discussion about what it's like to be the son of a famous poet, perhaps passing on to his son what he has learned.  The second poem, Before the Rains has an intriguing title which could imply perhaps something as Biblical as Noah's flood, or metaphorical deluge, especially since it uses the past tense.  We had fun making fun of the "Design Committee" and how sea water with its salt is probably not going to be terribly helpful to the desert.  Who is the doorman?  Is the mystery of mist perhaps understanding that when sea water evaporates, the salt is left behind?  Why a dream?  Enjoyable alliterations in the second stanza.  The short i's and sibilance in whisper, mist,  contrast nicely with the rolling l's (hall/pull/child/all) and the long I in child,

with an answer the long-I'd desIgn committee with their pIpes would disregard. 

Does the doorman burst his daughter's bubble?  It's a lovely parable that hints at the wisdom that comes out of the mouths of babes.

 

Windy City : we all were seduced by the sounds, the rhythms, colors and  the rich layering of history, of climate, in this portrait of Chicago, but also the feel of the wind, in each season how it can pull at our coats and whip our hair.  For sure, we'll need to share more Sandburg.  (We don't need the Louis Rubin Jr.s of the world to tell us what a wonderful artist he is, but I couldn't resist including that note that the Academy attached to their excerpt of this poem!)

It inspired Neil to share two stories and Little Orphant Annie!

https://poets.org/poem/little-orphant-annie

 

Thunderstorm: I love that the first word of the poem is "It"... without requiring any idea of what "it" is... circumstances, the weather, general conditions.  It launches us into the personality of a thunderstorm, its power and effects.  We thought the "concussions" of the 2nd stanza could be "percussions".  The relief of the exit followed by the personnification of rain and leaves softly unfurling and leaves limply steeping themselves in green is masterful.  I return to the Hirschfield thinking... no matter the storm, the potential damage, "still the scales balance."

 

Virginia:  This multifaceted poem has a reference to the  season of Fall and all that falls: the effect of the poet's own cerebral palsy, birds, men fallen in the civil war . It finishes with turning to the sun and the rather enigmatic line, "What we love is rarely blameless."  Her play on the sun "catching" in the changing trees emphasizes a sense of hope brought by the light. 

Calculations: This bilingual poem allows the clever juxtaposition of the role of a teacher and a parent on a child who comes from a different linguistic and cultural community.  The Spanish calls on the Mayan culture and their intricate knowledge of mathematical calculations and use of zero.  The teacher inadvertently suggests reinforcing the fact that "story time" also is a way to hang on to truth even if the stories keep changing.  Jim brought up that Quetzal birds would rather die than be captured.  Although this is not brought up in the poem, it is interesting.  Teacher: she's stuck at "Ground Zero" .. Is it the mother's response that zero is a velvet swoop into dream? or is this the poet who is overhearing this parent-teacher conference?

Polly brought up Virginia Elson's comment that all zeros should be treated as numbers.  I found these articles interesting too. https://www.scientificamerican.com/article/what-is-the-origin-of-zer/

https://www.cbc.ca/radio/ideas/zero-number-series-ideas-cbc-1.6977700

Maura adds how hearing Eddie and Claudia talk about their experiences as immigrants made her grateful for  the gift of deeper understanding about all the nuances of the impacts on young children as they navigate between the circle of their families and a whole new culture. Our culture is enriched by them.




Monday, October 28, 2024

Extra: poem by Bob Hicok published by Rattle Magazine. sent out 10/27

 This just arrived in my inbox 30 minutes ago.   I am not sure if it will have the same impact in the line-up we will discuss on  November 6.

Try to be the best human being you can be in this remaining time before the elections.
I am thanking Bob Hicok in my heart and Timothy Green, (tim@rattle.com) editor of Rattle for sending this timely piece.

All good wishes,
Kitty

Paul's response:
 Lotta words well executed ( except for a few grammatical errors) but like so much blarney, no solutions offered. Actors spend their lives speaking words written by much greater minds. They live for limelight, perhaps jealous of politicians taking their glory. ( PERHAPS..K. Jospe)  And, I suppose, half the readers of a poet's works agree with the content, if it is meant to exhibit a point of view.
     For moi, a wide eyed cow vs. a bull in a china shop: what could go wrong?
Begin forwarded message:

From: Daily Rattle <tim@rattle.com>
Subject: “A Poet’s Response to an Actor’s Assessment …” by Bob Hicok
Date: October 27, 2024 at 6:30:23 AM EDT
Reply-To: tim@rattle.com

October 27, 2024
Bob Hicok


I’m dumber than a Phillips head screwdriver
or on-ramp or speculum or rain and every diacritical
you can think of, critically or not, can do something
I can’t, I believe in the wisdom of matter,
that every form it takes is a species of intelligence,
an embodiment of knowledge, so to call
a candidate for president as dumb as a fencepost
or as dumb as a combover or as dumb
as a three-legged stool on the side of the road
looking as if it wants to cry, is like chiding the ocean
because it does a shitty Watusi or making fun of a puppy
who barks at its own hiccups, there’s a video of this,
probably more than one, and yes it’s kind of stupid
but that puppy could sniff out cancer or cocaine
better than you, and wag more fulsomely and literally
than you, and a fence post does an honest day’s work
every day of its life if given the chance, so if you must try
to insult someone running for president,
it’s better to call them as dumb as someone
who thinks calling someone dumb is still in style
after third grade, and what if that person is rubber
and you are glue, what then, dumbass, are we to make
of democracy in 2024, if insults are the currency
of debate, if love isn’t at the core of the endeavor,
love of our shared stupidity, cupidity, humidity,
our common state of befuddlement
over where this is all headed
and how best to get where we don’t know
we’re going, we need a president
who isn’t afraid to shrug, who gets
that ten people putting ten heads together
still leaves us with what experts refer to
as half a brain, please, god, enough
of the solo swagger, the hero pose,
I want a president who puts the everyone
in team, who believes that people
are our best chance to be human,
to maybe, possibly, one day
figure out what that even means.

 

from Poets Respond
Bob Hicok: “This is a poet’s response to an actor’s assessment of a politician’s intelligence.”

Thursday, October 24, 2024

October 23

 White Towels, by Richard Jones; To You, by Kenneth Koch;  (suggested by Graeme)*; A Violet Darkness  by Najwan Darwish; In Trackless Woods  by Richard Wilbur; Haiku by Almila Dükel as an ekphrastic response to a picture in Rattle magazine; Erasers  by Mary Jo Salter; From a Country Overlooked  by Tom Hennen; Joy  by Lisel Mueller* other wonderful picks he suggested: Through the Window of the All-Night Restaurant by Nicholas Christopher; The Old Liberators  by Robert Hedin; Sentimental Moment or Why Did the Baguette Cross the Road? by Robert Hershon;  I also had on my "maybe" list  Missing the Boat by Naomi Shihab Nye (discussed in October 2012!)  


What Joy indeed, to return to O Pen, and be there in person after 7 weeks of absence.  Choosing poems is never a quick decision, but rather a perusal of a collection of poems gathered daily, each month, where one poem suggests another.  This morning reading Maria Popova's blog, https://www.themarginalian.org/2024/10/22/marginalian-18/

I admired how in a way, I emulate her "Marginalian" but make it a living, weekly forum, where I am merely the facilitator of discussion, which enriches the depth and breadth of each poem chosen.  Nothing happens alone. 


 In White Towels,  the fact that the poet, Richard Jones shares that he has been studying the difference "between solitude and loneliness" allowed a host of commentary from those present:Solitude:  a choice, often made because one is comfortable with oneself,  whereas loneliness is involuntary, not something you seek, but rather try to avoid, as it often emphasizing a hurt within. 

How skillfully he links this "study" to the story of his life... and then on to telling it to the towels... which then become likened to his children asleep in his arms.

One person offered the reflection on the use of the subjunctive "as if they were" that this reflects a sense of aloneness, perhaps he had no children, or if he did, they have left. The fact of laundering white towels is in his control, sharing his story with them a solitary act not involving others. 


After half an hour, it was clear that much more was packed into the weave of these 7 lines and all 23 present could have continued with the discussion.

I am so grateful to Graeme for sharing this poem, which takes a simple idea of "telling the story of my life/to the clean white towels taken warm from the dryer.   The shortest line is the 3rd, "telling the story of my life" — followed by the longest line where the towels become the recipients who safeguard it.  They are  clean, and warm as well as white — able to handle (perhaps make peace with, or forgive?) any messiness involved, as white is not an easy given  for a towel given its function. 


For those who prefer to take in the entire gestalt of a poem, and respond to that emotionally, this is that kind of poem, with a tremendous flow of feelings which does not require such parsing to feel its truth and beauty.

 

To You  by Kenneth Koch:  another poem shared by Graeme.  Which "you" it is, seems to be a non-identified lover, but as pronoun, you is delightfully ambiguous, and as title, invites each "you" of a reader.  It could also be the understood you, the singular or plural you, or even the reflection of oneself.  The poem rolls with unlikely metaphors, circling around the you, rather like the feeling of falling in love when indeed one can feel "crazier than shirttails".  If you are not convinced of the truth of the fundamental importance of love, the 7th and 8th lines leave

the walnut, the vision of a head connected by a neck to shoulders and red roof of a heart and speak an indisputable truth: what solves the unsolved mysteries is love.  We live because we love.  And the poem rolls on... perhaps the Kid is a baby goat searching for its mother, or a child; it doesn't matter where the trustworthy sidewalk leads, which port of call one starts the voyage or finishes.  The penultimate line mentions the sun -- perhaps symbol of enlightenment, but also the source of life, always with us, even when we are asleep.  

Best of all the final enigmatic line   the sun/ "receives me in the questions which you (specific, or understood) always pose."  


A Violet Darkness:  to hear the poem in English and in Arabic: https://soundcloud.com/poets-org/najwan-darwish-translated-by-kareem-james-abu-zeid-a-violet-darkness-1?utm_source=poets.org&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fpoets-org%252Fnajwan-darwish-translated-by-kareem-james-abu-zeid-a-violet-darkness-1


This is a poem where indeed, the poem shapes our breathing... allows us to enter seas of consciousness that become part of spontaneous energy of life.  We understand,  "Love was time" -- as a universal, which we think is beyond time, as if love could carry time to timelessness, but all splinters and cracks... myths, love, and all that are ghosts.

Violet is a special color, in between blood red on one end of the color spectrum, and the purple on the other, that leads to  darkness. Existence, as the translator says in the note, "within a liminal space between life and death."


In Trackless Woods:  Wilbur's use of rhyme, his playful extension of the 9th line of this sonnet, use of mathematical vocabulary, does not deter him from a good reading of the landscape, a sense of place.  He notes the tracks/traces of people, only to gently surprise us by "tramping on" beyond the "stiff geometries" to patterns of hornbeam  and the wondrous spirals pinecones.  We agreed on the enjoyable aspect of this poem,  in a way, reflecting the same contrast between "solitude" and "loneliness" of the opening poem.


Haiku by Almila Dükel: We asked... what makes it a Haiku without following the syllable count?  This has been asked for a long time.  The usual answer is that because English is a non-syllabic language,  one needs to respect the "spirit" of a haiku:  two images, not necessarily related, and then the spark that jumps between them when you read the poem.  Dükel does this beautifully.  She lives in Turkey and writes Haibun as well as haiku.


Erasers: Several present raised their hands about attending a religious-affiliated school, and many more raised their hands about remembering the clapping of erasers.  What is lovely about this poem, as one person put it, "it makes us laugh, but then it gets bigger".  Indeed, who and what is "erased"?  The enjambed stanzas with occasional end rhymes (chalk/talk... boys/noise), the personnification of chalk snow, powdering the eraser's noses and unrecorded word-clouds forgetting themselves, go along with good story telling of an older father up to the last line of the penultimate stanza: though all the lessons,/most of the names (he doesn't spell line and stanza break providing an empty white space this out) ... now are dust.


From a Country Overlooked:  Kathy brought in the book of collected verse this poem comes from:  Darkness sticks to Everything, published  thanks to Ted Kooser and a few other Minnesota poets, who insisted Tom Hennen be known.  Clearly he knows nature, and shares  sensitive observations.  Polly decided she would quarrel with the first line.  There are indeed some creatures you cannot love.  She picked on Fleas and provided two delightful poems:

one by Terry Hoffman,** the other by  Pablo Neruda entitled Fleas.  This brought up other beasts one might not love, such as ear ticks, cockroaches, and Maura's anecdote about the rescue of a mouse Richard wondered perhaps if it was the same one in his pantry.  All good to have laughs. ** https://www.poetrysoup.com/poem/fleas_-_with_apologies_to_joyce_kilmer_818942

Back to Hennen, we were carried with him, as "the day is carried across its hours".  The "You are", repeated, unlike the Kenneth Koch poem seemed to be an understood "you".  


Fleas - With Apologies To Joyce Kilmer

I think that I shall never see a beast as loathsome as a flea. A flea whose hungry mouth consumes all the blood that it exhumes. A flea that gets into my hair and makes me scratch 'til I am bare. A flea that makes me itch all day and irritates in every way. Upon whose head curses we rain; whose biting we have scratched in vain. Poems are made by fools like me, but God should not have made the flea.



Joy: One of my favorite poems about this "nameless opposite of despair" referred to as "it" until sung twice.  Read the poem, you'll see the magic and feel it inside.  




.

Thursday, October 17, 2024

October 16



 Graeme kindly offered to MC!  Poems: Otherwise by Jane Kenyon; Mending Wall  by Robert Frost;  Once the world was perfect  by Joy Harjo;  A Valediction: Forbidding Mourning  by John Donne; Did I Miss Anything  by Tom Wayman


I love Graeme's criteria for what he LIKES in a poem:

Clear

Precise

Strong

Brief, even terse

Tells a story

Accessible—most people can understand it

Substance over style

Unpretentious

Elegant

Emotionally arousing

Feelings not just facts

Powerful imagery

Defined or implied audience

Sense that the poet has a purpose

 

 

and also what he DOESN'T Like

Preachy

Taking an easy, popular position—sucking up

Birds, bees, clouds, and flowers

Ugly words or construction

Too long—a page is plenty

Foreign words or expressions that most people wouldn't know

Insensitivity to rhyme and rhythm

Pretentious formatting or construction

Snobbishness

Superiority or contempt

Needless vulgarity

Style over substance



Tuesday, October 8, 2024

October 9 -- a note on Poem a Day in October + Bernie's supplement for Oct. 9

 Bernie kindly offered to MC

Please Call Me by My True Names – Thich Nhat Hanh;*; Junk  by Richard Wilbur; Empty Words  by Taha Muhammad Ali; Refrigerator, 1957 by Thomas Lux; Acceptance by Robert Frost

   We had discussed earlier in the summer Interrelationship – poem by Thich Nhat Hanh

Just a note about "Poem a Day" -- I won't be selecting poems from them to share -- as I wanted to pre-select poems for my 7 week time away.  Perhaps Oct. 30, I can dedicate the 4 pages to poems presented.   The American Academy says this:

Each morning of this month of October, Poem-a-Day readers around the world will open their inboxes to poetry curated by Sarah Gambito, our Guest Editor for October. Gambito is a poet in her own right, known for including elements like recipes and menus in her work, particularly in her latest collection Loves You. This month she offers you, our readers, a delightful palette of autumnal readings from poets who may be new to you as well as some who are undoubtedly well-known.

Here at the Academy, we often talk about Poem-a-Day less as a literary magazine and more as a public poetry project: what does it look like to publish poetry in the town square? What does it mean to ask readers to give their attention to a single poem? Along those same lines of thought, in her interview about her curation and work, Gambito asks “How can we hold shelter for one another?,” a question, I think, the best poetry always asks us.

Bernie sent this information out as supplement:

This explanation of Tom Lux's poem Refrigerator: https://onbeing.org/programs/thomas-lux-refrigerator-1957/#transcript Also gives some background of this poet. I particularly like this interview because it starts with my Mentor, Ellen Bass, who during covid, would read poems aloud and memorize them with her wife, Janet -- and they picked this one.  

The gift of a poet to give panache to something most people consider ordinary is part of the goal of a good poem.  I love how Lux puts it:  That he "tries to make the reader laugh and then steal that laugh right out of the poem by the throat.  In Refrigerator, there are lessons and Padraig emphasises what this romp with a cherry provides:  :"you do not eat that which rips the heart with joy.  "  How many ways can you understand THAT? 

Another Tom Lux Poem: Tarantulas on the Life Buoy: https://www.poetryfoundation.org/poems/48483/tarantulas-on-the-lifebuoy

https://onbeing.org/programs/thomas-lux-refrigerator-1957/#transcript

Another Taha Muhammad Ali poem, Exodus, also from his 2006 book So What, which I highly recommend. (see below).  In Exodus "the Palestinian poet Taha Muhammad Ali traces the hollow rhythms of a town being emptied of its people. The poem is a meditation on another painful chapter in the ongoing Nakba — the 1982 massacre of thousands of Palestinian refugees and Lebanese civilians by Israeli-backed militia in Beirut."

Bernie shares his talent and quotes Paul in Descartes’ Minor Error 

            (je pense, donc je suis - R. Descartes, 1637

            You shouldn’t believe everything you think - P. Brennan, 2016)
and a poetry quiz!

Who can guess who wrote : I Wanted to Share my Father’s World and The County Boss Explains How It Is

Exodus

The street is empty
as a monk’s memory,
and faces explode in the flames
like acorns—
and the dead crowd the horizon
and doorways.
No vein can bleed
more than it already has,
no scream will rise
higher than it’s already risen.
We will not leave!

Everyone outside is waiting
for the trucks and the cars
loaded with honey and hostages.
We will not leave!
The shields of light are breaking apart
before the rout and the siege;
outside, everyone wants us to leave.
But we will not leave!

Ivory white brides
behind their veils
slowly walk in captivity’s glare, waiting,
and everyone outside wants us to leave,
but we will not leave!

The big guns pound the jujube groves,
destroying the dreams of the violets,
extinguishing bread, killing the salt,
unleashing thirst
and parching lips and souls.
And everyone outside is saying:
“What are we waiting for?
Warmth we’re denied,
the air itself has been seized!
Why aren’t we leaving?”
Masks fill the pulpits and brothels,
the places of ablution.
Masks cross-eyed with utter amazement;
they do not believe what is now so clear,
and fall, astonished,
writhing like worms, or tongues.
We will not leave!

Are we in the inside only to leave?
Leaving is just for the masks,
for pulpits and conventions.
Leaving is just
for the siege-that-comes-from-within,
the siege that comes from the Bedouin’s loins,
the siege of the brethren
tarnished by the taste of the blade
and the stink of crows.
We will not leave!

Outside they’re blocking the exits
and offering their blessings to the impostor,
praying, petitioning
Almighty God for our deaths.

From: So What
**
Bernie also shares this: " I looked a bit more closely at a book recommendation Elaine Olson had passed me a few weeks ago titled An Immense World: How Animal Senses Reveal the Hidden Realms Around Us -Ed Yong. I wondered if it might shed some light for anyone interested in the question of Frost's (in "Acceptance") imagining birds' words or thoughts, versus anthropomorphizing them. Or at least leaven the discussion with a little scientific fact.

I haven't read it yet but I did read this segment of a book review: 

"One touchstone is of course Thomas Nagel’s famous 1974 essay but the lodestar of this book is a concept defined in 1909 by the Estonian-German zoologist Jakob von Uexküll: that of an animal’s “Umwelt” (literally translated its “environment”). Whereas the previously reviewed Sentient introduced this concept belatedly in its epilogue, Yong sensibly opens with it and offers a crisp definition: every animal “is enclosed within its own unique sensory bubble, perceiving but a tiny sliver of an immense world” (p. 5)."

I expect he goes into it a bit more deeply as the book goes on...