Archive for May 2014

Fault Lines

May 14, 2014

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Fault Lines

Mea culpa mea culpa mea maxima culpa–
mostly, I say it sans latinate hoopla.
I’m sorry, my fault, like the big San Andreas,
cracks me in two–the scales that do weigh us
find me as lacking, as far from perfection,
as star from Mariana’s entrenched mid-section–
it’s not generalized failing–that much I know–
but what wrong I’ve done, I will not say now.

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A poem of sorts for Mama Zen’s Words Count on With Real Toads--to write a confession in 65 words (or less.) Just made it, without title.

Process note–the Mariana’s Trench–deepest place in the ocean.

Update from Train/Novel

May 13, 2014

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I am right now sitting on a train going backwards. This is not the same as sitting backwards on a train going forwards–that is, upon a back-facing seat.

This is sitting on a train that is, as it were, backtracking.

In this case, although we have all paid a substantial premium to take a train that is supposed to be faster and more reliable than the other trains on this line (in other words, we are on the Acela); we are hampered by an engine malfunction and are undergoing some kind of backwards maneuver to allow the back (functioning) locomotive to take over for the front (problematic) locomotive.

Ah. And now, we are stopped–with a dirt and gravel slide out one window and a stone wall on the other.

It reminds me today of noveling–i.e. trying to finalize and publish a novel.

Those who follow this blog may wonder–oh yeah, wasn’t she talking about that months ago?

Oh great. So, now we are moving backwards again–past cheery penguins and a worried polar bear painted on the side of a parking lot–they have big black gaps in their middles where the walls break to ventilate exhaust.

As in, yes, I was talking about this months ago.

The conductor, by the way, said that this delay would take about ten minutes, but it feels like at least fifteen. The good news is that we are moving quite quickly now; unfortunately, all passengers agree that we are still heading in the wrong direction.

So, about that novel.

Finalizing, publishing, seems to be one of those things ready any minute now, only not. This is my fault. Small corrections take an unduly long time as I just can’t bear to attend to them. (And also because I always sense that I should instead be doing major corrections.) I feel as if I’ve lost all sense of discrimination about the stupid thing–i.e. is something boring? Flowing? Awkward? Good?

By the way–we have been going backwards now for about twenty minutes and really fast too. (Since when do train conductors feel that they have to live out my metaphors!)

One of my problems now is deciding about the formatting. The paragraphs look way too tightly spaced on the page. I feel like I can hardly read them. On the other hand, when I pull books off the shelf and look at them, they seem to have similar tight spacing. Have I never noticed this before in books off the shelf?

By the way, it turns out — all passengers now agree–that we have NOT been going backwards for this last speedy half hour.

On the other hand, the train will be about an hour late.

Above is the picture I did for the novel’s cover. (All rights reserved.) I’ll save posting the actual cover till it’s ready. Any day/week/month now! (Ha!)

What I love– (painting oranges from the imagined perspective of Seraphine Louis, an outsider artist)

May 11, 2014
By Seraphine Louis

By Seraphine Louis

 

What I love–  (painting oranges from the imagined perspective of Seraphine Louis, an outsider artist)

–That when I hold a brush
I go away,
that only the eyes
stay.

And the orange.

As a child, I’d pull the sheet full-up
so that no one else could see
the pale blue me
breathing shallowly cloth’s suffocated folds,
but this moment’s neither muffled blue
nor me, but the airy light of orange,
where canvas is freely taut and breath
comes in the easy vein
of leaves, vining.

Sometimes, they are one eye
that inhales the altogether,
but mostly the eyes are many–
they peer from my grip
on the brush and from the tip
of the brush itself,
as it redampens in the blink
of pigment,
and as it looks up too,
in the quickened stare
of the I that is not there.

The tip circles up, around,
a twirl that could dance the sun, the moon,
that could pirouette any
planet, but arcs right now
an orange,
this truly and forever only orange,
until the next one.

The peekhole of the orange looks out at me,
that place that once connected it
to green,
the peekholes of all the oranges.
I don’t need to press them to my eye
knowing as I do what they do hold–the souls
of oranges-
able, with brush in hand,
to see into them
from arm’s length, and maybe even
from a greater distance.

******************************************************

I’m calling this one a draft.  It is written belatedly  for the prompt of  Fireblossom, (Shay of Shay’s Word Garden)  on With Real Toads to write about an image of Seraphine Louiw, a naive/outsider artist, who ended life in a mental institution, not painting.  Look at Shay’s wonderful prompt to read more, but the poem really has to do with painting, I think, and its absorptions, especially for someone who approaches it without all the concerns of a more established/professional painter.  

Wild Things in Washington (photos)

May 11, 2014

I have been staying in Washington, DC for a little bit. These are photos of animals I’ve seen in or by the Georgetown Canal, where I jog very slowly. My husband is convinced the snake, over six feet long, is a boa constrictor that someone must have released. I didn’t get close enough to get a definitive pic unfortunately !

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What he spoke of

May 10, 2014

 

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What he spoke of

My father did not talk much
except to say, “listen to Momma,” or,
more commonly, “look at Momma,”
for my mother,
a bit of a child inhabiting her,
mandated many
look-at-me moments,
her favorite when she modeled old clothes
to show that they still fit,
or didn’t–
”gee,” holding the two flaps of
zip across a hump
of underwear-covered
hip–”was I thin back then,
or what?”

Though what he said even more frequently, to her, to me,
was “let me give you a kiss,”
which, as illness nestled throughout
his body, stoppering his
throat, bogging down
his mouth, was not always
a pure pleasure,
yet also was–
sweetness way
outweighing decay–

What he did not talk of much
was God–
This was not because he didn’t believe
but because he believed
so strongly.

Oh, he talked of Him before meals–
the Lord,
“who has given us
this bounty,”
but not the Lord
after death–the Lord, who not only giveth
but taketh away-

Because, I think, he didn’t much believe
in the “taketh away” part.

Not that he had not lost things.

But he had no doubt that what was lost
would be found.

So that when that nestling illness reared
its head, and there was talk
of next
decisions–going to the hospital or staying home
to die,
staying at the hospital or coming home
to die–
his only question ever–
“but what will happen
to Momma?”
Even in the moment that he died–
and, believe me, dying
is hard, not-breathing not
what the body
desires–it was her
he patted, consoled–knowing that she
did not hold inside
that same sure light–

I think this morning about stars,
partly because they rhyme with “are”,
and, like being and not being,
are wonders of the universe,
but too, because of a certain kind
of love (”of course, I miss him terribly,”
she says each time life’s
being managed)
whose light is seen, even after
it might be
extinguished–
these are not things that
can be readily taken off or completely
grown out of,
thankfully.

 

*******************************************

A poem for Claudia Schoenfeld‘s prompt on dVerse Poets Pub about using conversation/dialogue in poetry. (I’m not sure the picture quite fits, and also sorry about the rather gloomy posts, a death in my extended family this week, not of my father who died a couple of years ago, but of my very-much-loved father-in-law. I don’t feel comfortable writing of that, but it has made me think of my own dear father.)   

  

So, it seems

May 9, 2014

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So, it seems

In even the most peaceful death,
there is a grimace,
as if the body gives life’s hand
a last tight squeeze, or is
itself squeezed,
the interlace of face releasing
into surprise,
an ah as the jaw slackens,
as if to say, ‘so, that was it, then.’
So, at least, it seems,
holding the hand,
onlooking.

 

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A poem of sorts.  I am linking this to Susie Clevinger’s prompt on With Real Toads about lace.   I have uploaded the photo from my iPhone and fear it may be cut off by some browsers; just click on it, if you wish to see the whole thing.

I have edited this post twice within three minutes of posting!   I’m not sure if I’ve made better–but seems to be my way lately–indecision in editing–

Our Hearts Bleed (for Nigeria)

May 6, 2014

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Our Hearts Bleed (for Nigeria)

In last years, Nigeria has lost
most forests,
but the Sambisa seems a place
of bush as much as tree,
or, at least, thorn.

Traditionally, only elephants,
or others with similarly thick skins,
could traverse it.

Elephants are few
now,

but some trucks seem tough enough,
and too the hides of those who treat people
as things–
those who have been trained in the way
of the cutlass;
though the skin of even strong
young girls
is soft, warm, such
that fingers touching it
should sing.

Boko Haram:
“Western education is
forbidden.”
Only the Western part
is a ruse,
it is education
that is
forbidden–

For things
should not read,
property does not write.
What is to be sold, used, fisted–
tethered to post
and slop pail–
should not have tools
to speak her mind.

The terrorizing
of schools
is a kindness truly–
so, they may say, pulling at their hats
and other parts–
for they are very good
at stopping mouths,
but they do not wish
to have to blind, maim, amputate–
no, they want girls
intact,
young limbs spread dark
as woods’ night shadows,
eyes pooling
stripped bark.

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A poem of sorts for Abhra Pal’s prompt on trees on dVerse Poets Pub, about the horrific abduction of now more than 230 girls in North-East Nigeria. It is suspected that the girls have taken into the Sambisa Forest, a stronghold of the Boko Haram.

Religion has been misused against women and education for a very long time. But what’s happening in Nigeria right now to both girls and boys pursing education is beyond evil. It’s really beyond what I could write of here–just trying to raise awareness,

The drawing, like most on this blog, is mine. — this post has been edited– the last line– since posting.

Reversal at Arlington

May 5, 2014

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Reversal at Arlington

Oh you are men of stones
now. You have cracked
heaven’s vault,
one way or another.
Having tongues and eyes, you have also,
at some point,
howled,
whether silently or aloud, being of
this earth,
this hallowed, hollowed earth.

Though you’re now reduced
to roles–names, dates, ranks, wars–
‘father, husband, grandfather, Purple
Heart” – you were not players strutting
in a play, not king
for a day, nor me neither, a daughter,
who lives,
a daughter who was allowed, always,
to heave her heart
into her mouth,
a daughter who
looks there, as Lear says, seeking breath
in the stillness.

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I’m sorry. Another Arlington Cemetery poem. And very much a draft–I’ve edited it extensively since first posting. (I’ve probably not made it better either, as this last edit is being done at 4:30 in the morning. But I woke up with a change of heart.)

My father is buried at Arlington. This is a rather odd poem, based upon the last few lines of King Lear in “King Lear” uttered after his daughter, Cordelia, has been killed. A Purple Heart is a U.S. medal awarded to a military service person wounded or killed in service person wounded in combat.

At the suggestion of the wonderful Hedgewitch, I am posting the main quote that I was thinking of in writing this poem. It is Act V, Scene 3, when Lear carries in his daughter, Cordelia, who has been hanged. Cordelia had earlier been estranged from Lear because of her refusal/inability to “heave her heart into her mouth” and declare the specific measure of her love for her father in a who-loves-dad-most competition with her two older sisters, Goneril and Reagan.

Howl, howl, howl, howl! O, you are men of stones:
Had I your tongues and eyes, I’d use them so
That heaven’s vault should crack. She’s gone for ever!
I know when one is dead, and when one lives;
She’s dead as earth. Lend me a looking-glass;
If that her breath will mist or stain the stone,
Why, then she lives.

Throughout the scene, Lear tries to see if Cordelia is breathing (which would mean that he is mistaken and that she lives.) He repeats as his last words, “look there,” seeming to find her breath.

The line about the players strutting is (kind of) from Macbeth.

Vignette

May 5, 2014

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Vignette

I ask you to make sure
that I’m not buried
where I can hear cars.
This, walking to the edge
of Arlington Cemetery where the lawns,
still empty, are separated from a parkway
by a fence, motors roaring
through what was, a few steps back,
only birdsong flickering
through the scores
of small white stones.

“Or muzak either,” you say, squinting,
because we had to leave
a Sunglass Hut earlier–me nutty
about all-around sound–

“Even if I’m only, you know, ash,” I add.

It takes us a moment
to see that the fence is filled
with niches;
a woman sits cross-legged
on the sidewalk facing one, the only movement
the shimmer of her gold blouse.

Just then, a motorcycle fires,
rata-tat-tat, someone peeling away
too fast–ripping–so it feels, with the green stillness behind,
the woman’s stillness ahead–
the immense sky–Washington not
a tall city–

I try to find the bike,
but my eye is caught, instead,
in the light of the woman’s blouse, the unchanging rays
of each bent sleeve.

“So maybe it was good he died when he did.” I try a laugh.

You smile.

“I mean,” I say, “I know I won’t be able to hear anything,
but I’d just go bananas.”

You take my hand.

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And here’s one for Kerry O’ Connor’s prompt on with real toads to write a vignette.  I do not know if this qualifies for Kerry’s wonderful prompt, but what I came up with.

As a process note, Arlington Cemetery is the Arlington National Cemetery, the US national military cemetery. It is an incredibly beautiful place, just on the other side of the Potomac River from the Lincoln Memorial and the Mall. In my photo, you can see the Washington Monument and the Capitol in the distance. The place we walked was beyond that single stone, which is quite unusual, as most of them are in lines and rows (and the grass is better tended.) My sense is that this one may actually be a marker for the beginning of the next grave area rather than an actually headstone.

Editing and uploading on iPhone from train where internet connection keeps giving out! Agh!!!! So posted before ready, and now in my office, and still uncertain–but, it’s a vignette, right? So, maybe I’ve even said too much—)

The Brain (how it performs sometimes)

May 4, 2014

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The Brain (how it performs sometimes)

It wants to be petted,
wants to be stroked,
doesn’t like
to be vetted/poked.
Don’t make it jump
repeated hoops
unless they are
high-fired loops–
Then the brain, hard-wired as moth to flame,
dons tiger stripes and lion’s mane,
describes arcs gold as melted butter,
all to hear the clapping after
of another brain.

 

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Here’s 55 (excluding the title) from a brain that likes to perform when the challenge/audience is there, but that is right now exhausted from a lot of traveling and socializing–not great for poeticizing.  I am linking it to With Real Toad’s 55 challenge, taking over from the G-Man. 

The drawing is mine–lion/tiger jumping through a fiery hoop?