Were it not for the high winds in February, the snow would be gone now. Instead, foot-deep drifts still rot in the sun.
Otherwise, it’s turning out to be an early spring. Thirty feet from the nearest snowdrift, the first wildflower — a coltsfoot — was out this afternoon, its rays seemingly taking their cues from the sun’s glittering reflection in the adjacent ditch.
Up on the ridgetop, the first butterflies had emerged from wherever they spent the winter — presumably under loose flaps of bark, or in hollow logs — and were sunbathing in the middle of the old woods road. I had the rare pleasure of witnessing a fight between a Compton’s tortoiseshell and a mourning cloak, though I wasn’t quick enough to capture it on film. I’m not sure what they were fighting about. There seemed to be plenty of dead leaves and bare twigs to go around.
I thought of the other insect life that must be stirring all around us, the buds swelling, the seeds beginning to sprout. Tomorrow will bring more arrivals and emergences, I’m sure, and by the end of the week — if the weather predictions are correct — the first spring orgies should be breaking out among the local garter snakes and wood frogs. It all happens so fast. Part of me is still wishing I’d gotten one more sled run in.
Imagine being plankton:
small & adrift, little more
than head & rudder & a single eye,
food for whales.
Then one day the barnacle larva
grows a two-piece carapace
& is consumed by a sudden
sense of purpose.
Now it has working legs
& the power to swim wherever
it wants, but what it wants
is to find a spot where
it will never have to swim again.
Acutely sensitive feelers sample
every hard surface for evidence
of others of its kind, & in so doing,
deposit the same sign.
It tries out each potential anchorage
by standing on its head,
& if satisfied, secretes
from the base of its antennae
one of the hardest cements
known to science. Imagine
making that kind of commitment.
But only now,
attatched by the forehead
to rock or reef or oil tanker hull,
can it embark upon the final stage
of metamorphosis, become an adult
& build its ridged turret.
Two years later, packed among
its companions-for-life,
it reaches sexual maturity.
Though lacking a heart, it wields
in proportion to body size
the world’s largest penis,
which is also disposable
& re-grows every winter for
a new orgy. They enter each other
with the sureness of blind fingers
reading Braille, opercula open,
able to accommodate
as many as six at a time.
The mating season over,
each broods a clutch of fertilized eggs
within its shell until they hatch
& for a little while thereafter,
giving what we can only call live birth.
And all the while, the feathery appendages
that sprouted where legs used to be
keep up a delicate stroking
of the ocean current —
the barnacle’s first & probably
greatest love, inescapable,
full of the taste of distance
& the savory plankton.
(Thanks to Creature Cast for the inspiration)
This entry is part 18 of 18 in the series Banjo Poems
The silent banjo leans against the wall
like a movie gangster, casual, coiled,
ready for some chin music.
The silent banjo may or may not
be in tune — & in what tuning, who knows?
To some, this makes it alluring.
Its neck curves like a mute swan’s,
all question mark.
The silent banjo is silent because
it has seen too much.
The silent banjo is silent because
no one remembers how to listen.
Approach the silent banjo as you would
any other apocryphon:
brandishing the one true book of matches
& saying in your best Hollywood voice,
The jig is up.
The urchin uses its spines as feet; for it rests its weight on these, and then moving shifts from place to place.
Aristotle, The History of Animals
Spines have more uses
than one would think.
Sure, they defend against sea otters
and the voracious stars.
Ball-jointed, they swivel to catch
pieces of floating algae
for the shorter, two-
fingered pedicellines to convey
to the bottom-scraping mouth
& its five sharp pyramids.
They are digging bars.
A purple urchin can excavate
a hollow into solid rock.
If it starts too young, it may become stuck,
entombed. Some never dig at all,
& wander slow as time
through the kelp forest.
The spines sharpen a kind of vision, too,
like squinting eyelids
bringing into focus
the images collected by the pedicellines
& the tube feet, which are furred
with light-sensitive molecules.
The more numerous a sea urchin’s spines,
the sharper its vision — & yet
it has no brain.
It is all brain.
And it lacks eyes because it is all eye,
revolving in its self-made socket
for as long as a century,
risking death from the removal
of a single spine,
unable ever to shut.
Suddenly I am a little ashamed of my ladybug poem. I just read someone else’s poems about the same, invasive species, and they are so, so moving. They came at the end of one of the more gripping books of poetry I’ve ever read — I mean, I couldn’t put it down — and now I see these utterly familiar insects in a new light. But this is what poetry does, isn’t it?
I bought the book this morning at Webster’s Bookstore Café in State College, Pennsylvania (which incidentally now stocks Odes to Tools) and it’s one of 30 poetry books I’ll be blogging about here next month, one a day, for (Inter-)National Poetry Month. Originally I thought I’d focus on chapbooks, but I’ve decided to broaden it to any poetry book, including a few that I’ve read at least once before. But probably no Collected Works, because each book will still need to be short enough to read (or re-read) in an hour or two and then review or write a creative response to.
NaPoWriMo — National Poetry Writing Month — has really caught on among online poets, and that’s great, but I’m already writing at least one poem a day, if you count my brief Morning Porch entries as poems (they’re usually pretty close). What I don’t do enough of is blog about the poetry books I read, so for me it’s going to be NaPoReMo. I’m going to try to keep the selection as varied as possible to increase the chances of including something that will appeal to almost everyone who reads here, not just fellow hardcore poetry fans. I even picked up a book of baseball poetry today.
So I’ve just finished all the book-buying I intend to do in preparation, but I do want to repeat the offer I made a few days ago on Facebook: if you’re the author of a book of poetry and you’d like me to consider it for inclusion as one of the 30, feel free to mail me a review copy. I’ll probably send a copy of Odes to Tools in exchange, so you’ll get something out of it one way or the other.
One other thing I’ll be doing for National Poetry Month is a reading and multimedia presentation in support of Odes to Tools. I’ll have more information about that in another post, but please mark your calendars: it’ll be at 3:30 pm on Saturday, April 10, at the aforementioned Webster’s Bookstore Cafe in downtown State College. Come for the books, stay for the great coffee. I like to think of it as a pilgrimage.
Spring is definitely underway now, even as Old Man Winter is still shuffling slowly toward the exit. I heard tundra swans almost as soon as I went out on the porch this morning, and when the swans stopped flying over around mid-morning, it was time for the “V”s of migrant Canada geese. I even saw a lone seagull.
I walked around the field, checking out the networks of vole burrows emerging from the melting snowpack. Down by the barn, the bluebirds were inspecting a battered old nesting box, and a few hours later, the first song sparrow returned. This was actually the first year in a couple of decades that song sparrows didn’t over-winter, and the mornings have seemed unnaturally silent as a result.
When the temperature hit 60 degrees this afternoon, I felt a sudden compulsion to cut my hair. It had been a year and a half since my last self-administered haircut. It’s nice to be able to do it outside, without a shirt on, leaning over the porch rail.
I documented the results mainly with Facebook in mind, but since I don’t feel up to a real blog post tonight, I thought I might as well inflict it on y’all, too. (Yes, I wear deeply unfashionable glasses and clothes from Wal-Mart.) I was somewhat repulsed by the emergence of my bare scalp from underneath all that graying hair. There were some blood spots and other unsightly blotches of the sort that I tend to identify with — you know — old people. It looked raw, like a patch of ground just liberated from the snow.
This is the weblog of Dave Bonta, a poet, editor, and shutterbug from the eastern edge of western Pennsylvania. For background on the site, see the About page. For more about me, see my Google profile.
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Via Negativa’s first book-spawn!
Order from the publisher or Contact me for a signed copy or to barter for your own book. Central PA residents can buy it at Webster's.
Qarrtsiluni, a literary magazine I co-edit Festival of the Trees, a blog carnival I co-founded Open Micro, a group blog I belong to dedicated to poetry in 140 or fewer characters Moving Poems, my daily compendium of video poems from YouTube, Vimeo, and beyond The Morning Porch, Twitter-length prose-poems based on the view from my porch first thing in the morning Woodrat Photoblog, "a midden of photos from a Pennsylvania mountaintop" Shadow Cabinet, an online collection of my more recent poems Spoil, an online collection of my older poems
"On the whole I concentrated on things and people that I found charming and splendid; my notes are also full of poems and observations on trees and plants, birds and insects."
— Sei Shonagon, 994 A.D.
Smorgasblog
Mark Doty
And then, when they were done, I turned my head and saw, on a video screen, my own heart. It was golden, and pulsing, and resembled a cross between a Georgia O'Keefe flower and a jellyfish.
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Dick Jones' Patteran Pages
The painter washes his hands on the flannel of the sky
Everything is in gouts of colour
And the hats of the passing women are comets
across the evening’s fire.
----
Parmanu
But Hopper didn’t paint any snowy landscapes, did he? I wonder why. The loneliness and solitude of people in his cityscapes would, it seems to me, be accentuated in a street filled with snow. I can almost imagine the effect of streetlamp light bouncing off the snow, and the resulting shadows on nearby objects.
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Mutating the Signature
Don’t bring your tires
stripped of hot rims, or used
condoms, syringes or jumbo sized
needles. Leave the headless
doll in the truck, along with wrappers,
giddy snack vestiges and Keystone
cans.
----
the cassandra pages
Her features rubbed with a wooden spoon,
Fadwa's Damascene face emerges
beneath my hands black with printing ink...
----
Clive Hicks-Jenkins' Artlog
I may yet soften the massed patterning of leaves and branches, but it nevertheless has to be present, carefully arranged to suggest a foliate barricade made by a careful gardener to create a safe oasis from the wilderness beyond. Perhaps I'll put some sheep on the distant hills rising to the upper edge of the painting. And some low mounds of rock plants. The painting evolves and becomes dense with shapes and patterning, shadow and highlight, colour and tone.
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everything feeds process
In stories like Alice in Wonderland, Wizard of Oz or The Little Mermaid, the main character has to make sense of a world that is not her own. In my mind, this is an excellent metaphor for living as a grown-up in modern times.
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slow reads
This cold has eyes, not menacing or even intent ones, but the limpid eyes of the cold dead, the kind of eyes that feel every nape’s tooth marks. This cold moves as slowly as black water, silently as the far side of fish: unpied, canopied — the crosshatch of hawks.
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Coyote Mercury
Somewhere along those dusty Philippine roads my fascination with war turned to recoiling as I realized it was one thing to reenact battles with my friends, but quite another to walk endless miles along a trail of brutality, hopelessness and murder. I think it was then that the idea of war began to move from fantasy to nightmare as we walked through Bataan imagining the sheer horror of the reality our reenactment was meant to remember.
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