Monday, May 31, 2010

there are two things I want to remember

In the City of Light

by Larry Levis

The last thing my father did for me
Was map a way: he died, & so
Made death possible. If he could do it, I
Will also, someday, be so honored. Once,

At night, I walked through the lit streets
Of New York, from the Gramercy Park Hotel
Up Lexington & at that hour, alone,
I stopped hearing traffic, voices, the racket

Of spring wind lifting a newspaper high
Above the lights. The streets wet,
And shining. No sounds. Once,

When I saw my son be born, I thought
How loud this world must be to him, how final.

That night, out of respect for someone missing,
I stopped listening to it.

Out of respect for someone missing,
I have to say

This isn’t the whole story.
The fact is, I was still in love.
My father died, & I was still in love. I know
It’s in bad taste to say it quite this way. Tell me,
How would you say it?

The story goes: wanting to be alone & wanting
The easy loneliness of travelers,

I said good-bye in an airport & flew west.
It happened otherwise.
And where I’d held her close to me,
My skin felt raw, & flayed.

Descending, I looked down at light lacquering fields
Of pale vines, & small towns, each
With a water tower; then the shadows of wings;
Then nothing.

My only advice is not to go away.
Or, go away. Most

Of my decisions have been wrong.

When I wake, I lift cold water
To my face. I close my eyes.

A body wishes to be held, & held, & what
Can you do about that?

Because there are faces I might never see again,
There are two things I want to remember
About light, & what it does to us.

Her bright, green eyes at an airport—how they widened
As if in disbelief;
And my father opening the gate: a lit, & silent

City.

Sunday, May 23, 2010

It's Never That Easy

These poems were up for a hot minute at Leigh Phillips' blog and are as precise & astonishing as she is.

White Dog

by Carl Phillips

First snow—I release her into it—
I know, released, she won’t come back.
This is different from letting what,

already, we count as lost go. It is nothing
like that. Also, it is not like wanting to learn what
losing a thing we love feels like. Oh yes:

I love her.
Released, she seems for a moment as if
some part of me that, almost,

I wouldn’t mind
understanding better, is that
not love? She seems a part of me,

and then she seems entirely like what she is:
a white dog,
less white suddenly, against the snow,

who won’t come back. I know that; and, knowing it,
I release her. It’s as if I release her
because I know.

Mantra

by Ruth Stone


When I am sad
I sing, remembering
the redwing blackbird's clack.
Then I want no thing
except to turn time back
to what I had
before love made me sad.

When I forget to weep,
I hear the peeping tree toads
creeping up the bark.
Love lies asleep
and dreams that everything
is in its golden net;
and I am caught there, too,
when I forget.

SUN poem DAY

This morning my poetfriend Jason Kirin came over to help me with some poems I'm working on & thinking about reading at a benefit in early July. Jason's a terrific thinker and listener, and it's always a pleasure working with him as he edits in a completely different way than I do. It's much easier for him to toss around whole phrases & concepts in my work (he's an actual juggler too) than it is for me, maybe because he's not attached to the content, or he knows how totally I trust him; many of the great edits from our sessions have come from him reading a few lines backwards then shaking them together in a new way.

Afternoon was spent haphazardly looking for apartments in Houston via Craigslist, while reading the newest issue of Sampsonia Way, which is sponsored by City of Asylum/Pittsburgh, an organization that "provides sanctuary to writers exiled under threat of death, imprisonment or persecution in their native countries."

The air is lovely this evening, o lush air thick with the scent of dirt & plants --

Wednesday, May 19, 2010

what chimes:

Gerard Manley Hopkins
Carrion Comfort

Not, I'll not, carrion comfort, Despair, not feast not thee;
Not untwist -- slack they may be -- these last strands of man
In me or, most weary, cry
I can no more. I can:
Can something, hope, wish day come, not chose not to be.
But ah, but O thou terrible, why wouldst thou rude on me
Thy wring-world right foot rock? lay a lionlimb against me? scan
With darksome devouring eyes my bruised bones? and fan,
O in turns of tempest, me heaped there; me frantic to avoid thee and flee?

Why? That my chaff might fly; my grain lie, sheer and clear.
Nay in all that toil, that coil, since (seems) I kissed the rod,
Hand rather, my heart lo! lapped strength, stole joy, would laugh, cheer.
Cheer whom though? the hero whose heaven-handling flung me, foot trod
Me? or me that fought him? O which one? is it each one? That night, that year
Of now done darkness I wretch lay wrestling with (my God!) my God.

Sunday, May 16, 2010

It's My Party & I'll Cry if I Want To!

I'm feeling reflective, chickadees, indulge me; I have been 27 years old for a whole hour now. Funny, I have the same sort of birthday feeling that I had in my mid-teens - a little sad, a little pleased, a little loose in the world.This birthday marks the beginning of the first Saturn Return, which is said by astrologers to be a period of restructuring and reevaluation. I could certainly use both. It's very strange to think that it's been 10 years since I turned 17. 10 years composed of the awkward end of adolescence & the scraggly beginning of adult life, all in a jumble in my head: stumbles & scraped knees, bitten nails, Greyhound buses, living in headphones, writing poetry, living in ripped tights, overdrawn bank accounts, scars, drunkenness, emotional haircuts, long nights writing research papers at the last possible minute, driving around singing at the top of my lungs, getting arrested in Canada, waking up in playgrounds, taking children to playgrounds, visiting England, sickness, hospitals, therapy, cigarettes, drawing monsters, learning to tap dance, playing the piano, trying sobriety, dropping out of Syracuse, moving to Boston, moving to Pittsburgh, falling in love for real, getting engaged, a thousand church basements, mourning lost friends, making new friends, getting to know my parents, getting to know my siblings, becoming an aunt, working in coffee shops, babysitting, writing poetry, getting unengaged, selling photographs, getting published, giving readings, learning to dance again, making small books, keeping plants, owning a car, driving across the country for a month, getting into graduate school, writing & writing & writing & not giving up entirely.

Things have been rather difficult lately, and I've been somewhat dreading this birthday. I have this thing about Time, see, which you'd know if you ever saw the hourglass tattoo on my wrist. A birthday can (if you let it, and I do) be one's own little New Year's. I've been holding onto some things that aren't useful, speaking to ghosts, watching ghost dreams. But Time just keeps moving, and on the horizon for me are opportunities I've worked hard to earn. Trying to always twist backwards doesn't agree with Time. It's not as if I can let everything go today, just because it's my birthday, but maybe, just for today, I can. What's a birthday anyway? Another day, another possibility.

Happy birthday to me. Thank you for being in my life, chickadees, wherever you are.

Saturday, May 15, 2010

Dancing through life

Some of you chickadees know that I was a musical theater kid a million years ago. Well, I think that kid was just sleeping somewhere in my heart, curled up sweet in her little pink tutu & tap shoes, but I listened to "Next to Normal" all night the other night, and now she's wide awake, discovering new musicals, dancing up a little storm.

Here are two clips from the original cast of "The Last Five Years," a musical where the two characters tell the story of their relationship - one from the beginning, one from the end, and almost never appear in the same moment. It's a profound telling - the mismatch of timing, which is ultimately what always kills relationships...

Anyway, Sherie Rene Scott and Norbert Leo Butz are ridiculously talented.






Also, in "Next to Normal," there was guy my age named Aaron Tviet and well, I unabashedly have a crush on him. He's a natural. A NATURAL. I'm sold. And I just discovered "Wicked." Late on the uptake, I know, but it's so amazingly cheesy, it makes me gleeful.



Wednesday, May 12, 2010

Bless you

I re-discovered one of the most beautiful & devastating poems I've ever come across.

The Embrace
-- by Mark Doty

You weren't well or really ill yet either,
just a little tired, your handsomeness
tinged by grief or anticipation, which brought
to your face a thoughtful, deepening grace.

I didn't for a moment doubt you were dead.
I knew that to be true still, even in the dream.
You'd be out--at work maybe?--
having a good day, almost energetic.

We seemed to be moving from some old house
where we'd lived, boxes everywhere, things
in disarray: that was the story of my dream,
but even asleep I was shocked out of narrative

by your face, the physical fact of your face:
inches from mine, smooth-shaven, loving alert.
Why so difficult, remembering the actual look
of you? Without a photograph, without strain?

So when I saw your unguarded, reliable face,
your unmistakable gaze opening all the warmth
and clarity of you--warm brown tea--we held
each other for the time the dream allowed.

Bless you. You came back, so I could see you
once more, plainly, so I could rest against you
without thinking this happiness lessened anything,
without thinking you were alive again.

Tuesday, May 11, 2010

Haikusday #3

Today, chickadees, I think I will give you some of Bashō's thoughts on poetry:

Don't follow in the footsteps of the old poets, seek what they sought.

The basis of art is change in the universe. What's still has a changeless form. Moving things change and because we cannot put a stop to time, it continues unarrested. To stop a thing would be to halve a sight or sound in our heart. Cherry blossoms whirl, leaves fall, and the wind flits them both along the ground. We cannot arrest with our eyes or ears what lies in such things. Were we to gain mastery over them, we would find that the life of each thing had vanished without a trace.

The secret of poetry lies in treading the middle path between the reality and the vacuity of the world.

Is there any good in saying everything?

The bones of haikai are plainness and oddness.

_________________

a note on haikai, from a resource at Columbia University: "Haiku evolved from the haikai, linked verse, that was written in the Tokugawa period. Every haikai begins with an opening verse of seventeen syllables. This opening verse was called a hokku. It was written in three lines of 5, then 7, then 5 syllables to make the total of 17 syllables. Bashô took this opening verse, the hokku, and refined it to become what is now known as the haiku."

_________________

I should now reveal that my interest in haiku has been reawakened in the past four or five months by this book The Essential Haiku : Versions of Bashō, Buson, & Issa, edited by Robert Hass. I used to write haiku when bored on bus rides - once wrote twenty or so interlinking on a long Greyhound ride from Pittsburgh to Syracuse. It's been wonderful to slowly explore & learn more about the history & traditional forms... slowly, slowly, slowly.

Monday, May 10, 2010

how this longing grabs me

Chickadees, good news! I got into the Tinhouse Summer Writer's Workshop with a full scholarship! I had given up thinking about it, because I just assumed I'd hear by May 1 if there was a scholarship for me or not. But, then today came good news. I was at the gym, in the locker room, when I got the call, and hopped up & down in my too small white towel like a maniac. So excited. Wouldn't have applied if it weren't for my darling Tom Johnston, who believes in me like some weird little moon, and always has the best advice. Going to be taking a workshop with D.A. Powell:

corydon & alexis, redux
by D. A. Powell

and yet we think that song outlasts us all: wrecked devotion
the wept face of desire, a kind of savage caring that reseeds itself and grows in clusters

oh, you who are young, consider how quickly the body deranges itself
how time, the cruel banker, forecloses us to snowdrifts white as god's own ribs



what else but to linger in the slight shade of those sapling branches
yearning for that vernal beau. for don't birds covet the seeds of the honey locust
and doesn't the ewe have a nose for wet filaree and slender oats foraged in the meadow
kit foxes crave the blacktailed hare: how this longing grabs me by the nape



guess I figured to be done with desire, if I could write it out
dispense with any evidence, the way one burns a pile of twigs and brush

what was his name? I'd ask myself, that guy with the sideburns and charming smile
the one I hoped that, as from a sip of hemlock, I'd expire with him on my tongue



silly poet, silly man: thought I could master nature like a misguided preacher
as if banishing love is a fix. as if the stars go out when we shut our sleepy eyes

Wednesday, May 5, 2010

Reading this Saturday :


Join us to celebrate the release of Natural Language: Carnegie Library of Pittsburgh Sunday Poetry and Reading Series Anthology with a reading and reception!

featuring readings from some contributing writers:
Nikki Allen • Madalon Amenta • Tess Barry • Margaret Bashaar • Jan Beatty • Deborah Bogen • CM Burroughs • Jay Carson • Kristofer Collins • Jerome Crooks • Jim Daniels • Toi Derricotte • Barbara Edelman • Che Elias • Angele Ellis • Jessica Fenlon • Rebecca Foust • Crystal Hoffman • Jason Irwin • Robert Isenberg • Marc Jampole • Dana Killmeyer • Sophie Klahr • Karen Lillis • Joseph Lyons • Sharon Fagan McDermott • Heather McNaugher • Judith R. Robinson • Richard St. John • Ed Steck • Michelle Stoner • Justin Vicari • Judith Vollmer • Stacey Waite • Michael Wurster

Renée Alberts, editor
Connie Amoroso, designing editor

Natural Language: Carnegie Library of Pittsburgh Sunday Poetry and Reading Series Anthology collects work from featured writers of the library’s monthly reading series. The Sunday Poetry and Reading Series, which began in 2007, is free to the public and features academic, experimental and spoken-word Pittsburgh poets and writers. The anthology was made possible by a donation from Poets for Humanity.

Books will be available for purchase for $10 each.
All proceeds will directly support the continuation of poetry programming at the library.

Saturday, May 8, 2010
2 pm

International Poetry Room
Carnegie Library of Pittsburgh – Main (Oakland)
4400 Forbes Ave
Pittsburgh, PA 15213

412-622-3151
newandfeatured@carnegielibrary.org
www.carnegielibrary.org