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Thursday, August 24, 2023

Poems for Aug. 30

Aug. 30

Elegy, Surrounded by Seven Trees  by Rachel Eliza Griffiths

The poems below  selected by John Lee Clark,the deaf-blind poet  who wrote How to Communicate.  This short interview explains his choices!

https://poets.org/July-2023-poem-a-day-guest-editor-john-leeclark?mc_cid=9815c49871&mc_eid=248758c95e

            Dear America by Rachel Eliza Griffiths

            A New National Anthem by Ada Limón 1976

            United by Naomi Shihab Nye

            Old South Meeting House by January Gill O’Neil

 I couldn’t resist sharing the selection of poems  in the forwarded message below—  so many inspiring lines as we draw close to the beginning of yet another new month.

I hope this note finds everyone well.  We have had a splendid reunion with family here in London, and will leave on the night train to Scotland at the end of today.
My head is reeling with all we have seen and experienced — especially yesterday, riding the boat past the centuries of history and modern skyline to get up to the Tate Modern… here’s a little taste of just one of the exhibits: https://www.tate.org.uk/whats-on/tate-modern/capturing-the-moment  

Uncanny how the poems selected for discussion Aug. 30 seems to lend a similar thought-provoking lens!  Enjoy! Note that the bulk of them were selected by this month’s curator of “Poem a Day”, Deaf-Blind poet John Lee Clarke (to whom we were introduced to prepare for reading Kaminsky’s Deaf Republic). 

Sent with the poems, the Aug. newsletter from the American Academy of Poets:

 
The Luzumiyat of Abu’l-Ala, CXIX” by Al-Ma‘arri, translated by Ameen Rihani
The Seedling” by Paul Laurence Dunbar 
Origin of Planets” by Jennifer Foerster
Remember by Joy Harjo
Hello” by Sean Hill
Ahead and Around” by Laura Riding Jackson
Let Me Begin Again” by Major Jackson
Each year” by Dora Malech
Move” by Alicia Ostriker
Morning Song” by Sylvia Plath 
in our chant of the creation of the world” by leilani portillo
Beginnings” by Mahtem Shiferraw
Seed of Mango, Seed of Maize” by Lynne Thompson

Sunday, August 20, 2023

Aug. 23 to Oct. 4 :

 I will be out of town from Aug. 23 until Oct. 3.  I am hoping to be back for Oct. 4 for the Pittsford Discussion.  

Aug. 23

To Make a Prairie --  Emily Dickinson

Golden Shovel [1]by Kimiko Hahn

The Golden Shovel by Terrance Hayes

Invented Landscape by L.A. Johnson

Tyranny of the Milky Way  by Claudia Castro Luna

The Meaning of Simplicity  by Yannis Ritsos (trans. by Rae Dalven)


[1] Form invented by Terrance Hayes.   https://www.writersdigest.com/write-better-poetry/golden-shovel-poetic-formYou will see how he imitated Gwendolyn Brooks' use of the repeated end word "We" in her poem  "We Real Cool" (The Pool Players/ 7 at the Golden Shovel). https://poets.org/poem/we-real-cool  In hommage to her, he uses her entire poem, word by word, ending each line.  Some poets have done this with first words of each line, rather like an acrostic. 

**

Aug. 30

Elegy, Surrounded by Seven Trees  by Rachel Eliza Griffiths

The poems below  selected by John Lee Clark,the deaf-blind poet  who wrote How to Communicate.  This short interview explains his choices!

https://poets.org/July-2023-poem-a-day-guest-editor-john-leeclark?mc_cid=9815c49871&mc_eid=248758c95e

            Dear America by Rachel Eliza Griffiths

            A New National Anthem by Ada Limón 1976

            United by Naomi Shihab Nye

            Old South Meeting House by January Gill O’Neil

***

Sept. 6

Dust to Dust  by George Pestana

Passing Through by Stanley Kunitz

The Quarrel by Stanley Kunitz

Let Me Begin Again by Philip Levine

The Layers by Stanley Kunitz

for a celebration of Kunitz: https://www.theatlantic.com/magazine/archive/1996/06/a-visionary-poet-at-ninety/304941/

Judith reports: Mary said this selection was the most philosophically gripping of any you have assembled.  Paul was his ineffable, urbane self in presiding, and created a complex design to connect certain word and themes—result, a diagram that resembled an arcane illustration in some alchemical or theosophical tome…( in connection with the hourglass poem) which was amazing

O it was fine!

 

**

Sept. 13

Fun with form:  Villanelles

Do not go gentle into that good night by Dylan Thomas

Go Gentle  by Bruce Bennett

Rondel of Merciless Beauty by Geoffrey Chaucer

Closures by by Oliver Tearle

If I Could Tell You  by W.H. Auden

The House on the Hill  by Edwin Arlington Robinson

The Waking  by Theodore Roethke

Judith proposed two more: Voicemail Villanelle and Villanelle of Acheron by Dowson

Her note on Dowson:  source of two memorable quotes—one of which is that of a famous novel and film, Gone With the Wind, and the second is in a famous Broadway song, and may be the title—“I’m Always True to You, Darlin’, in My Fashion” and of course I cannot remember what show.  Dowson lived in the days of classical education, and the title is drawn from Horace (Quintus Horatius Flaccus, that is, not my brother…) Non Sum Qualis Eram Bonae Sub Regno Cynarae.  I Am Not Such, As I Was in the Reign of the Good Cynara.  Odes Book IV. 

He is very good at what he did, what he did was self-induced morbidity in large part and imitation Verlaine, (whom he translated), but also a sort of watered down Swinburne?  Gets icky if indulged in a lot, and won’t feed one sturdily.  Too anemic.  But nice as petits fours.  And of course he is immortalized as one of the models for “Enoch Soames” in the Max Beerbohm short story. 

Judith also gave this recap of a "lively discussion boosted by a "newbie" Cynythia.  David White, known to Paul and a few others  also ambled in.   Bernie had some interesting things to say, and Martin was quite inspired as well.  The modern villanelle I brought was much appreciated after some of the back and forth about do not/do go gentle.  I quoted Millay (of course) but only remembered the last lines, of her long poem "Moriturus" —“they shall drag me forth, screaming at the south and clutching at the north…”

Paul attempted the interesting idea of having us read the first two alternately—but folk lost their place and it got very muddled…but game attempt.  

 

**

Sept. 20

The Caseworker Speaks of a Good Fit by DJ Savarese

Ship/Plum by Maija Haavisto

My Number     by Sandra Alcosser

For Horses, For Horseflies by Jane Hirshfield

Sheep by Jane Hirshfield

Zone Rouge by Molly Underwood  

**

Sept. 27: Kathy Button

Salvage by Amy Clampitt 1920 - 1994

The Illiterate by William Meredith 1919 - 2007

Pont des Arts by Rebecca Wee

Body  by Alice Oswald from Falling Awake, 2016

Like tiny baby Jesus, In velour pants, sliding down your throat (a Belglan euphemism)[1]

            —Jenny  by Thomas Lux, from Child Made of Sand: Poems 2007-2010

Render, Render  by Thomas Lux - 1946-2017

The Word that is a Prayer  by Ellery  Akers

Question  by May Swenson



[1]Note from Kitty:  C'est le petit Jesus en culotte de velours”—  (according to the internet, "it's an expression you can use to express that what you’re drinking or eating is so delicious you’re having an ecstatic experience.”) Neither my husband or eye ever heard it in Belgium.  However,  It makes sense if you want to describe a smooth alcoholic beverage that slips down your throat and metaphorically sends you straight to heaven!

 **

Oct. 4 + 5

Habit by Jane Hirshfield

Poem Holding Its Heart In One Fist by Jane Hirschfield

A Cedary Fragrance by Jane Hirschfield

Rock by Jane Hirschfield

 You're from Nowhere by Abby Murray

October by Helen Hunt Jackson

Speech — is a prank of parliament-- by Emily Dickinson

Thursday, August 17, 2023

Just a little extra... for August 23 possibly?

 Each month, I collect poems... and try to make reasonable decisions about which ones to discuss.

Herewith, poems that I "didn't have room for" in August.

Invented Landscape  by L.A. Johnson

It is the world as I’ve never seen it—

the sky, a kaleidoscope of orange blossoms 

and seagulls that drift soft as dandelions

                                                  and snow that falls

 

but then changes to glossy clouds, thin as cotton,

that float in gentle breeze; where the glow

from a high balcony becomes a portal 

                                                  to an orchard

 

untouched by human hands, where every tree

blooms with tufts of ivory, the rain descending

with low music, as the earth cools and smells

                                                 of soap; a kite

 

in the sky loops higher and higher in the wind

until the kite is a circle with no beginning,

a day that never ends in night, and a child glimpses 

                                                 wonder beneath

 

its salt-air sail, holding all mystery on a string.

 

This is the world as I’ve never seen it.

I’ve woken in dark rooms, I’ve toiled days facing

                                                an empty wall.

 

I want to write the world gorgeous

enough for my father to return to it. A world 

where oceans meet. A world of lands 

                                                  never split

 

with fire. Where you can tell the time

by the stars or the sun or by the dimming

minutes themselves, the way they feel

                                                   light in your hands.

"Invented Landscape" by L.A. Johnson. Used by permission of the poet.

from the Slowdown, 7/13/23

 

Last Days by Kwame Dawes

Rain and ashes seal my lips

                                        --Allen Ginsberg

In the season of drought and hurricane,

this stiff earth cracks and the spawned

eggs of mosquitoes burst into a plague

of coughs and side stitches. Every wild bird

predicts a plague of woes. All around us

the whisper is of “Last Days”, the coming

of the end, and the tyranny of present danger.

 

December 21, 2005, Marvin Williams,

ex-Drill Sergeant and born-again Arkansas

cotton-picker, remembers the morning he

was bumped from the airliner that flamed

over Lockerbie. Blessed, he says, trying

to calculate the debts he still owes.

Why was he kept; for what?

 

The dragonflies are dying,

and in the suburbs the pandemic

runs amok. Our bodies betray us

and the summer’s heat warms

the sea, as deep as plummet sounds.

In the desert it rains in deluge,

while the glaciers vanish from mountains.

The stars die a million years ago.

 

On a beach in Bahia,

a congregation in white descends

to the water’s edge, singing. The surf lips

the disembowelled carcasses of small

animals. A rash of flowers eddies

on the swollen surface like a garland of prayer.

 

Better go to the house of mourning

than to the house of feasting.

 

From WHEELS (Peepal Tree Press, 2011)

 

Tyranny of the Milky Way  by Claudia Castro Luna

 

The way clouds taste as they go from castles to rabbits above your head.

You are twelve, your skin damp from the humid tropical day, the grass

under your arms and legs benign even if itchy. The way a million stars

scatter at night, and you in jersey gown and bare feet seek the same spot

from earlier in the day to count far away incandescent rocks and tucked

behind your ear your secret wish to spot a single UFO. The way a slice

of tres leches cake on your thirteenth birthday surrenders in unison on

your tongue its sweet milks. The way at twelve you tasted marvel and

by fourteen you’d tasted war.

 

Ewako by Tanya Linklater (with an exercise) 

This enigmatic poem is one line in an indigenous tongue.  I looked for a pronunciation guide.

Words that are more than the sentence in English which approximates it. (This then is the Earth).

I have reproduced it exactly as poem-a-day presented it.  They do not explain the relationship between Duane and Tanya Linklater.


 

My question to the group.  Given what is given on the page, what do you make of it?

I googled Ewako and found this site which explained the name Ewako invokes cheerfulness, trustworthiness and empowerment.  It includes a letter by letter analysis! https://nameecho.com/ewako

If you rearrange the letters, the word  can become awoke.

 

If you went outside, blindfolded, what would your senses tell you?  How might it be different to describe "this is the earth" without sight?  without drawing on memory?  

 What words can be visited once spoken by those pushed off the land on which they lived?

 

Ewako

 

Ewako ôma askiy.

 

 

It’s hard to translate ewako. It has a feeling in it. It’s almost a feeling word.

 

 

(This then is the earth.)

                                                -- Tanya Lukin Linklater

                                                Alutiiq/Sugpiaq artist and writer. The author of Slow Scrape, reissued in 2022 by Talonbooks,

 

Duane Linklater[1] learns Ininīmowin from nohkomnânak mina nimôsomnânak—in close study—felt—over decades. (These ones, they stay with language through ongoing efforts to disrupt our bodies, our thinking, our lands.) We visit, our words, their energy, the incompleteness of translation, our radical love of breath in motion sound on air throat sweep and call. I hear drift and grain in vowels of silty river, spongy muskeg, windswept tamarack, clay that holds us as it held our ancestors. I am not a speaker of Ininīmowin nor am I Omaskeko—(gwi suk)—yet niwâhkomâwak.

Gwisuk:  (?) name of people who speak Inininowin

Not sure where I saw this, but wrote it down:  Radical love of breath in motion, sound on air; throat sweep and call.

 



[1] poem a day does not furnish any information about Duane Linklater.  I found this:  Born in Moose Factory, Ontario, Canada, Linklater now lives in North Bay. He is married to artist-choreographer, Tanya Lukin Linklater.

This 2016 exhibit: https://www.gallerieswest.ca/magazine/stories/duane-linklater-and-tanya-lukin-linklater-a-parallel-excavat/

and this  https://art.newcity.com/2023/03/16/representation-as-liberation-a-review-of-duane-linklaters-mymothersside-at-the-mca/



Tuesday, August 15, 2023

Aug. 16

 The Arrival of the Past by Scott Owens

My Dearest Black-Billed Streamertail  by Michelle Whittaker

Moon Friend by Jim Jordan

Our Future Tense  by Margaret Randall

The Sum of One and One  by Margaret Randall

8/15: Well... Paul has it all figured out a day in advance sending me this! 
"Oh, my heavens.......there are so many references to quantum mechanics throughout the upcoming selections for Wednesday, not just the one but in many, if not all of your choices.  The 1920s,the 1930s, Werner Heisenberg and The Uncertainty Principle, Erwin Schrodinger's Cat in the Box mental excercise....moon and stars.......Well, I'm up late having fun with Brennan's proof that Physics and Philosophy are as intertwined as groups of particles and that thoughts that seek to unravel a poet's intent fit in comfortably with those two concepts. Well, give me an hour on Wednesday and I will ramble, mentally, through these great, eternal puzzles. Einstein did not like Heisenberg's construct of uncertainty. Will we argue with Al? At nearing the speed of light , I release you from uncertainty"

to be continued
8/17:  Another wonderful discussion -- and indeed, Paul did share his careful notes on all of the above... but best of all, is the repeated weekly receptivity to discussing -- not with the goal of 
"now I get it", but to examine the immense complexity of life brought to us by carefully crafted poems.   We do not need to reach "consensus" and each offering allows us to polish and expand our lens outward.  We manage in our weekly discussions to find the perfect antidote to the moral emptiness referred to in this excellent article by David Brooks: https://cdn.theatlantic.com/media/magazine/pdfs/202309.pdf

In a similar vein, yesterday, Maria Popova in her marvelous blog The Marginalian  brings up the stoics,  https://www.themarginalian.org/2017/08/27/seneca-anxiety/?mc_cid=a110fa6954&mc_eid=2e713bf367 and the impossibility of judging something that happens as "good or bad", since the whole process of man and nature is an integrated process of immense  complexity.  “The truth is, we know so little about life, we don’t really know what the good news is and what the bad news is,” Kurt Vonnegut observed in discussing Hamlet during his influential lecture on the shapes of stories.

Nutshell:

The Arrival of the Past:  Think of the title for a moment.  How many different ways can you understand it?  Personal memories?  Repeated history?  The strange twists that time takes where "arrival" allows a new beginning of sorts of what is in fact never finished?

The poem reminded Bernie of  Jane Hirshfield,  citing Nabakov, about the precision of poetry and imagination of science:  Indeed, the interrelationship of precision and imagination one could argue is at work in both for good results.

We remarked on the sounds, the use of all the senses in the poem, the synaesthesia of "hearing" the light break-- how it "ignites sparks of dust".  Onomatopoeia of water washing "uncovering the lost and forgotten" (not, not "recovering", but a more active revealing of what might be hidden).  What a set up for an epiphany -- where "the charge of  the world" is  electrified with morning.  None of us needed convincing -- we all joined in conjuring up, and able to "smell", able to swing in the last stanza.

This is a place that smells

like childhood and old age.                          

It is a limb you swung from,                          

a field you go back to.

It is a part of whatever you do.

Elaine brought up the idea of 3 ages... childhood, middle age, old age... how the concerns of middle age give way as the end of life joins the beginning, which brings us back to the title.

The link will take you to a few pictures of this bird with a impressively long tail, and indeed, emerald feathers.  Although I normally do not stress the biography of the poets,  one can sense a remarkable person behind the poem.  Indeed,  Michelle Whittaker is a West Indian-American poet, pianist, and university instructor whose interests include expository and creative writing pedagogy, music composition, 20th century American poetry, and eco-poetics.
 
What changes in a poem when adopting a epistolary style?  Not just, "Dear Bird", but My Dearest  followed by a 5-syllable name of an exotic-sounding bird. It starts with an apologetic, confessional tone, and I felt like a "peeping tom" learning how the Awarak called it, what the poet's Auntie said about... and then this desire to pluck, like her ancestors the feathers... 
There is a personal slant in a letter which prepares us for the big question: Don’t we crave conversation /as much as we desire attraction?  However, first, she refers to her compulsion held tight to her chest, like a fist holding  a crumpled, unsent love-letter... followed by opening her hands in gratitude.  We were surprised at the end to find out a bigger "secret" held to her chest,  struck by the verb choice "nestle" referring to "malignant masses" and how to learn "the illusion of stillness".
There  is something magical in this writing, spaced into couplets which softens the leap from the malabar vine, to stars, like the flight of the bird, accentuating her desire for it to help her overcome her fear...

We were reminded of Kunitz "what makes the engine go?  Desire, desire, desire". What is it that we desire?  And what is it that allows us to trust that everything will be OK, that we are not needed for it to be so?

Moon Friend:  forgive two typos:  gaze and learning in case you didn't figure it out.
Here, the absurdity of the mental exercise offered by Schrodinger's Cat kept rising to the surface... and indeed, we had quite the animated discussion covering uncertainty, indeterminancy... but also this phenomenon of people exiting a concert, play or party, gravitating towards each other, having shared something.  Imagine Science Festival Week... and everyone exiting, excited, and still curious about what they had just heard.
There's a hint of love story...  extended metaphor.  We spoke about elliptical orbits... how it takes time to go "full circle"...  And as for cats... Polly suggested to put Schrodinger in the box!
In the middle, Martin made the point, that whether or not you liked the poem, what was important was the engagement in the discussion.  

 He announced that he had had eye surgery the day before, but that the conversations in the group are so important to him he didn't want to miss it! 


I love that people shared stories... like witnessing a car falling down a sinkhole, the connection between bystanders until first responders came... the offer by a stranger to join for a cup of coffee... 

As Bernie summed up: "We like to tell stories... about ourselves...and are much more interested in our own bumping.  The poem?  Well... lots of thick dense weeds to run through.  But worth it."

Polly sums it up:  We need one another to understand anything! 

 

I think you can gather that we were having a rollicking good time and spirits were high.


Our Future Tense:  Back to time... We enjoyed the personnification of Industrious, Lazy, Brilliant -- not easy words, and perhaps back to Elaine's idea of the "middle of our lives" don't really apply to childhood or old age.  Quiet observation about words, poetry... the power we may not always recognize. 


The Sum of One and One 

We enjoyed this meditative poem... the idea of "should" as in  (1+1 should equal 2) reminded Bernie of this funny 9 minute video of a 1st grade teacher, and a student insisting that 2+2= 22.

https://www.youtube.com/watch?v=Zh3Yz3PiXZw


Bernie commented on the spare, barren structure and that it  reminded him of Genesis... 

These lines sum up a feel that our love for technology has impacted our ability to love each other.


A field of words reaches for

meaning among the weeds.            


A small reference to artificial intelligence and how imagination is our saving grace to retain our ability to practice humane behavior, striving to be better than we might be otherwise.  


 

Thursday, August 10, 2023

Aug. 2

 

This is a thank you to Paul! I am so grateful that not only do we have a guardian of the microphone battery, overseer of room set up -- but poetry organizer extraordinaire!

Word reached me that it was an excellent time -- and on Aug. 9, there was applause from those who attended.  I was sorry to miss.


Unfortunate Coincidence by Dorothy Parker 1893 –1967

Observation  by Dorothy Parker

Captain Kidd  by Stephen Vincent Benét 1898-1943

Dinner in a Quick Lunch Room by Stephen Vincent Benét

[grEEn... ] [All in green went my love riding] by E.E. Cummings  (1898-1943)

proud of his scientific attitude  by E. E. Cummings

The Traveller's Curse after Misdirection  -- by Robert Graves (1895-1985)

The Lord Chamberlain Tells of a Famous Meeting  by Robert Graves

Two Limericks (Atomic Courtesy by Ethel JacobsonMy Face  by Anthony Euwer)

Syria and Palestine  by Alama Iqbal  -- 1877- 1938 (two different translations)

 [1]An Unrelated Coincidence by Fr. Kurt Fahrt


[1] POEMS FROM IQBAL Translated from the Urdu by V. G. Kiernan:  Published December 1947, by Phiroze K. Mistry for Kutub Publishers Limited, 17, Gunbow Street, Bombay, and printed by S. Ramu, Commercial Printing Press, Fort, Bombay

(133pp) Book purchased in 1950 by Harry John Wood, Saudi Arabia. Later sold by

S M Mir, Bookseller and Publishers Agent, 3/B-Chartered Bank Chambers, Wood St., Karachi-2   I thought you might enjoy the travels of a book of poetry.

 Poetry in that? Bombay to Saudi Arabia to Karachi to Rochester to Fairport.


Paul's note about the final sharing: 

 The Hard Life is a screamingly funny little number....a narrative from the view of a gossoon who hides at the top of the stairs and eavesdrops on the conversations between his father and Fr.Kurt Fahrt, S.J.. So, Fr. Fahrt is a character ( 1 of 3) in a book of argumentative conversations on a myriad of subjects which progresses (as does the volume and vehemence of the two speakers) through the evening to, "Have another one, your eminence ?" The subject matter and the convolutions of logic keep pace with the whiskey.  Translation of the good father's name?  German..Kurt ( little or short)  and Fahrt is meant to stay what it describes in English!).  Beal na Blath was the physical place, the scene of the ambush and murder of Michael Collins, an honest to goodness hero of the Revolution of 1916.

 

 

August 9



Song of the Shattering Vessels 
by Peter Cole
Drought Essay by Isabel Neal

Fetish by Tim Skeen

the great escape by Charles Bukowski

Picture of the Sun  by Molly Spencer

A State of Permanent Visibility  by Steve Healey  (sadly, we ran out of time to discuss this one.)

The poems this week seemed to toss us up between crests of waves of "now it's working" and cast us down into troughs of "now it's not".   For sure we enjoyed the first poem and the refrain "Either the world is coming together//or else the world is falling apart" where each stanza's small twist would remind you that "hope is not a resting place, but a starting point — a cactus, not a cushion" to quote H. Jackson Brown, Jr. (on the back of the Environmental Defense Fund's Summer 2023 publication "Solutions").

Peter Cole: 

It is not surprising that the title of the first poem, penned by this poet/translator, Yale Professor, author of five books of poems and many volumes of translation from Hebrew and Arabic, would have a connection to the Kabbalah.  The "Shattering Vessels" refers to the mystical belief that the embodiment of God was shattered into "vessels".  A slightly different version of the "great chain of being" where all is inter-related.  As Bernie put it, it is like reading a "tongue-twister" for the mind... Elaine loved the fact that it didn't quote specifics, but a refreshing general take on the kind of specifics we hear in the news.

It starts with the world impossibly coming together/ very possibly falling apart... and continues to play with together/apart whether interior or exterior, statement or question, or subjective note of what might be true.  The final reference seems to emphasize that everything (our perception, our experience, as the world "comes together" and our "knowing" falling apart)  happens  simultaneously. 

Maura brought up the sunrise/sunsets she sees from her home -- how not only is that one point where a day "comes together" but is constantly shifting... and continues to happen as our Earth continues to rotate and follow its path around the sun. Herewith a picture she shared of last night's sunset:

(As she put it: "I was thinking about everyone and wishing they could be here to enjoy this with us. It would have made it even better!!")

 We discussed the possible meanings of "the Isaac of this art" .  Isaac, the son of the impossibly old Abraham and wife, Sarah (Sarai), bears the name which means "laughter"-- indeed  "what a funny, unpredictable arrival"... but  there's also the more ominous part of the story where God orders Abraham to sacrifice his son.  Fortunately, Abraham passes this test of faith, and an angel appears with a Ram to be sacrificed instead of Isaac.

 Paul suggested perhaps the Isaac refered to Azimov and his futuristic tales with a slightly hopeful tenor; Judith countered with Isaac Newton and his scientific examinations.  Perhaps the "taking apart" might also be poetry itself, as a means for "piecing the world together" as Naomi Shihab Nye proposes in an interview with Jeffrey Bean, the fabulous poet and professor who led the workshop I attended last week at Maine Media.

We all admired the title of the book of poems from which this one came: Hymns & Qualms: New and Selected Poems and Translations. © Farrar, Strauss and Giroux, 2017.

 Drought Essay by Isabel Neal: (apparently has an awesome rating at University of Michigan where she is professor of creative writing.) We appreciated her note About this poem: “Leaning on prose’s visual density and its illusion of order, I have tried to consider how thought, grief, and desire might be ways of tending to the self—even when ragged, even when askew.”  

Indeed, the form, with extra spaces here and there, allows you room to think, to absorb the fragments, the sense of a self unable to do what it normally would do... Kathy brought up the 2016 Orlando gay Nightclub shooting where over 40 people killed. https://www.npr.org/2016/06/16/482322488/orlando-shooting-what-happened-update
Drought we agreed refers to drought of spirit, of will.  In this summer, one of the hottest ever, we can relate to the land being "out of order"... The final image of the corn at the end brought up a discussion about twins... those in the sky, Castor/Pollux; the mortal/immortal fates of  Clytemnestra/Helen.  
Marne brought up several associations with braids -- (weaving, oneness) and symbolic cutting (rebellion against authority, circumstances) and we felt a connection to the corn silk.  
The final sentence gives shivers: "When   we    shucked   the   first   ripe   one,   only   half   filled   out,

even  the  cruel   twins   left   the  shed  and   pressed   to  look  and   touch  the  ear.

Its freak pearls, its cool thread." 


Fetish by Tim Skeen

Lots of chuckles and fun followed this poem!  I doubt I am the only one thinking we should establish a theatre troupe after Mary, Joyce, Elmer, Maura, Ken, Judith each delivered a stanza!

The epigram from Peter Lorre brought up quite the discussion of the movie M. Bernie supplied this review: https://www.rogerebert.com/reviews/great-movie-m-1931

Judith brought up the detail of hearing the theme of  Papagano, bird capturer, his theme played (as girls are playing game... ).  The poet captures the emotional grip of printing!  Brilliant stanza enjambments enhance the rush, almost frenzy of the hunger of wanting more, more, more!  Indeed, there is emotional meaning to each typeface... 


the great escape by Charles Bukowski

Thank you Polly for continuing the theatrical  delivery with a fabulous reading of this poem -- it's just so much fun to read aloud!!!! It reminded Maura of this New Yorker magazine cover

 and reminded Judith of this Blue Grass song: take this hammer Lord. https://www.bluegrasslyrics.com/song/take-this-hammer/


Picture of the Sun  by Molly Spencer: This poem left us breathless starting with the homonym of sun/son, the line set up (longer line followed by an indented line; no stanzas, so a seamless confusion between the speaker of the poem (it all ended in 8th grade) and her son, age 7.   

It reminded Judith of Shakespeare's Richard III (and that famous opening line, "Now is the winter of our discontent".)  I forget which of the 21 of us said the poem reflected the three parts of our lives: childhood, (and the shorter and shorter period of innocence of contemporary children, inundated with information); more self-absorbed middle life and the return to a more childlike acceptance in older age (for those lucky enough to accept with grace the inevitable... ).   God... and weather... where "global warming" is now referred to as "global boiling"... and this word "extinction" is on the tip of our tongues, not  thinking ahead to the day the sun will burn itself up, but what we have done to our planet.


We could have gone on much longer to discuss this well-crafted and timely poem.