as a tree I gather green water
talk of many things
and trust in the light

as a body I raise dust at an office
serve my stomach and become
full of wind

Erasure poem derived from The Diary of Samuel Pepys, Tuesday 7 July 1663.

This week: a few scrappy bones, a murderous sandfly, trills that might remind us of birds, subversive puppets, and much more. Enjoy.

There is a quality to the heat this summer that I have started, against my better judgement, to read as mood. It isn’t the heat of a good July — the kind that dries the hay and fills the orchard with wasps and sends everyone, sensibly, into the shade by two. It is a heavier thing than that. It sits on the fields the way a bird sits on a clutch of eggs: close, patient, unwilling to be moved. My garden is barely a garden yet — a square of new turf laid last autumn, the soil under it still builder’s soil, a blank green canvas I have not begun to make anything of. But it looks out onto fields, and between the lawn and the farmland there is a strip of wildflower meadow, and even in this heat the meadow is doing what the meadow does: oxeye daisies gone slightly papery at the edges, vetch scrambling through the grass, a dozen things I am still learning the names of, all of it loud with something at every hour of the day. Beyond it the ground under the far hedge has gone the colour of ash. The buzzards still work the field margins in the long evenings, but low, and without much conviction, as if even they can feel the thermals have turned against them.

To brood is to sit on eggs and keep them warm until something living comes out of them. It is also what we do with a worry that will not leave — we brood on it, we turn it over, we let it heat. The word carries both, and I have caught myself this summer thinking the two meanings have quietly fused. The planet is brooding. It is warmer than it should be, held at a temperature it did not choose, by us; and what is incubating under all that patient heat is not, any longer, only life. It is something closer to grief.

I am wary of writing sentences like that. The register of the ruined planet is a register I distrust, in myself most of all — it flatters the writer, it makes weather into portent, it borrows a grandeur that belongs to the thing and not to the person describing it. So let me stay with the particular, which is the only ground I trust. The papery daisies. The vetch. A blackbird panting in the shade of the fence with its beak open, doing the only thing it knows to do about a heat it has no name for. These are small facts, and they are true, and they are connected to each other and to a hundred thousand things I cannot see, by a web so fine and so total that we have only lately, and only partially, learned to notice it is there at all.

Adam Cairns, The ground has begun to brood

The roses are in full bloom and I accidentally disturbed a fat bumble bee that I think may have been sleeping in the nectar. It was a bit too windy for the insects to be making spectacles of themselves. But I know the solitary mason wasps are hunting caterpillars in the dark spaces between the flowers, under the leaves.

While I was writing this morning a wasp came in the library and buzzed around my head a while. I took a few deep breaths and told myself that she wasn’t likely to bother me. Me, with my unsweetened tea and fennel seeds. It wasn’t long before she got bored of this little room, with the sound of my tapping on the keys, and she left. No need for anyone to dance around with an insect swatter mumbling expletives. I’ve done that.

I don’t know if there is any truth to the saying familiarity breeds contempt. I think that is only true when we want something from the other; we expect something we don’t get; when we see more than we anticipated, or more than we are comfortable with. Familiarity without expectation… I don’t know. Maybe it leads to curiosity. It puts fears in perspective.

The ocean is terrifying. And the cormorants, ghosts of drowned sailors, always pull my rising joy back to the earth. One hand clutching the roses, and the other grasping for the dark and darker blue of the north sea. There is a depth and a width and an understanding that makes an all-too-pure joy seem thin.

Ren Powell, Summer, after its fullness

Will there be, this year, young housemates warring,
screen doors that whomp, wheels grinding gravel?
In this heat, wake us.

Send us street theater, at three in the morning,
mad lovers battling over jealousies, bills,
the whole grand opera.

Watch now in mercy those others, mum
in the iced quiet of their central air,
their curtained sorrows.

Maryann Corbett, On the power of open windows

Summer has started summering, whether we are fully on board with it or not. I’ve spent the past couple days in 90 degree plus Chicago tucked in front of the window AC unit working on some poetry critiques and my own writing, in addition to a couple upcoming dgp books. In between, there are frosty coconut-heavy drinks whipped in the blender, iced tea, and summer treats like strawberries and watermelon. I always feel like summer gets away from me. Or more that it seems like it takes forever to get here, but then slides very quickly away, especially once you hit the 4th of July.

Kristy Bowen, June Paper Boat

I am grateful to have been blogging for so long, grateful for many reasons.  I often go back to re-read old blog posts–by often, I mean at least two or three times a week.  I go back to see what I was thinking/doing, to find recipes, to find rough draft ideas and inspirations, to spark my brain when I feel I have nothing new to blog about.  This morning I found this blog post about a poem idea I forgot I had for a poem called “The Holy Spirit Takes a Holiday”; I haven’t finished the poem, now, a year later, but I still have the rough draft.

This meandering made me think about a summer project, making a rough draft into a finished draft each week.  And yes, that’s one of my new year’s aspirations that has fallen apart as the year progressed (this January blog post has details about my specific intentions for 2026).  But that’s the joy of early July–there’s still time to adjust my trajectory.

Kristin Berkey-Abbott, Midway Points: Inspirations and Revelations

This week has seen a number of poems flying back to me from various places they had been sent. I am good now at seeing this as a chance to read the poems afresh to work out what needs changing in order to enhance them. One particular poem had a clunky line in the middle where I definitely knew what I meant, but that didn’t necessarily mean other readers would. I enjoyed smoothing that one. I have also started to change my metaphor so I will set poems to sail now rather than fly. This is more in keeping with my desire to do things slightly more slowly and use my time wisely instead of rushing.

I sat in a sold-out lecture theatre this week to hear Ele Fountain speak and to find out who had won the Cheshire Prize for Literature. I love good speeches and was delighted to listen to Ele’s talk. I admire people who can tell their story well and add value to the audience and Ele certainly did that. I then had a quiet revelation when it came to the announcement of the prize winners – I would have loved to have won. That might sound a little obvious as a thing to say, but what I mean is I would have loved to walk down the steps after being announced as a winner. Gone were the feelings of nerves of being on show and here was a feeling of wouldn’t it be purely lovely to win. I used to sit in audiences and want to be invisible and suddenly here I was fully in the moment. I didn’t win, but I did love this new feeling. It felt like an acknowledgement of having grown into myself, and I rather liked that way of looking at it. Here I give a gentle nod to liking my silvered “really surprised hair” and to the difference coaching, and a change of direction have made.

Sue Finch, A BANDSTAND HAT TRICK FOR A SKYLARKER

Quiet days. Not much coming in or going out (the lady at the post office today says she’s missed me, and I’m looking thin). But we had a terrific party for Mike Bradwell’s Axholme at the Bush Theatre in mid-June, and there’s Penelope Curtis’s The Fall to look forward to in September. So this newsletter occupies a holding place.

Humming along in the background is Reznikoff. His major work, Testimony – originally published in sequential books in the 1960s and 70s, following an early version in 1934 – is a masterpiece of 20th-century modernist literature. Fact. It also happens to be a political book. Charles Simic: ‘It should not be surprising that Testimony is rarely assigned at our colleges and universities these days; it causes too much discomfort to those who prefer to know nothing about what goes on in the world.’ Jena Osman: ‘To shine a light from a different angle, to make you think about what’s there in a different way – that’s the best political work that poetry can do.’ August Kleinzahler: ‘J’accuse . . . Crystalline, documental vignettes – dispatches, really, from the front of American capitalism’s assault on the poor, dispossessed and vulnerable.’ Never previously published in the UK, Testimony will be published by CBe early next year – by far its biggest book to date: large format, 608 pages.

Reznikoff – born in Brooklyn in 1894 to immigrant parents, died in 1976 – was one of the Objectivist poets who first published in the 1930s; in the 1960s and 70s they were inspirational figures for a number of British poets working outside the mainstream. While his work has been translated into Polish, German, French, Spanish, Portuguese, Italian and Swedish, not a single book by Reznikoff is currently available in the UK.

Around publication time there’ll be a live reading of the whole text of Testimony over three days in a gallery in central London, with anyone who comes through the door welcome to take part. Alongside Testimony, Redstone Press will publish The Sound of the Street, selected poems by Reznikoff presented alongside photographs of early 20th-century New York by Berenice Abbott and others. Much of Reznikoff’s work was not just self-published but printed by himself; both CBe and Redstone are one-person outfits; the publication of these two books is a statement, of sorts.

Charles Boyle, Newsletter July 2026: Reznikoff

I am sick of being enraged. So often I find myself enraged at the way we have fucked ourselves over. After all those years of creative evolution, from the first hand print on a cave wall, all the way up to this brilliant, beautiful ability to share our experiences through art, through literature, and what do we do? We hand it over to people who want to use a set of algorithms dressed up as a robot with a cute name to plagiarise it and spew out something that has the pattern of art, but no human intuition. If it looks like art it’ll do. Pack it, price it, stick it on Amazon, make some content, sell sell sell.

We’ve devalued the act of creativity, we’ve made creativity look too easy. To be creative is to make mistakes, more and more until you grow into it. It is so uniquely human. It is hard wok, hard won.

Alongside the robbing of our own creativity we have created a system in which we spend a great deal of time in pain, and I feel like it’s getting worse. We’ve slowly moved towards a place where the norm of social media – and the media in general – is rage bait and anger and unkindness. The news now isn’t really news, social media isn’t really social.

The incentives all point in the same direction: create conflict, generate anger, feed resentment.

The London Economic

We’ve become so entwined with social media, with subscription plans, with stuff we can’t own, that I feel used. I feel helpless. I feel puppeted by a handful of very rich men with no concept of the actual world, no regard for it, no need for human creation, human beauty. I am sick of the rage bait. I am sick of the grifting and greed.

Yesterday, driving home from taking mum to an emergency GP appointment, I saw a big fat wood pigeon in the road. It was carrying an ambitiously long twig and was struggling with it. A woman driving in the opposite direction didn’t slow down. Perhaps she wasn’t aware that birds at this time of year are still focussed on nesting and aren’t as quick to get out of the way. She sped towards it, glaring at it. Get out of my way, get out of my way I am important, you are insignificant. It felt like all that rage bait and anger and the dreariness of being forced through this awful machine we’ve made for ourselves had condensed down to this point, the point at which a person cannot slow down, can’t bear to add one or two seconds to their journey to allow another being trying to live its life, to get out of the way safely.

I don’t want live like that. I want to live with more kindness, more beauty, more joy. I can only start where I am, look at what I am doing, how I am doing it.

Wendy Pratt, I am sick of being enraged.

I am very serious and ambitious about writing the best poetry and prose I can, by my own standards. Creating appealing posts and the occasional newsletter? My confidence fails and I can’t consistently fake otherwise. When I submit work for publication, that’s a way of saying, “This is worth your attention.” Social media is a version of the same–not a bad message for a writer to put out there–yet ambivalence plagues me. It’s laziness, embarrassment, a preference other kinds of work, a long to-do list, a sense of being undeserving, disliking the necessary selfies and performance of cheer, frustration in advance at the difficulty of attracting eyeballs, and, as I’m occasionally wise enough to realize, avoidance of what fragments attention.

Studying and teaching the poetry of a century ago hasn’t resolved my mixed feelings. Those poets’ success in their own era had everything to do with connections forged in big cities and at prestigious universities–still primary venues to success, obviously. Glamor, charisma, and good looks helped some modernists, too, even without social media to amplify those assets. Having a big readership or critical acclaim has never been entirely rooted in the quality of the work. Time remedies some of that unfairness, but it’s a slow, imperfect process, never mind the unforeseeable ways some writing ages better than others. Modernists taught us how to read their poetry, after all, and exerted a huge influence on literary values for decades after, shaping what people thought was good. It takes heroic effort just to find the strong work that escaped notice in its day, not to mention figuring out how to argue on its behalf.

Popularity influences what gets written in the first place, too. Artists need varying degrees of contemporary encouragement and support to keep making art. One of my favorite Harlem Renaissance poets, Helene Johnson, won some awards but stopped playing the poetry career game before publishing a book, and only produced a slim volume’s worth of verse in her long lifetime–published posthumously. Social media might have helped her sustain literary connections once she left Harlem. I think it’s helped me, living in a small southern town. The internet generally has benefited me, too–what a gift to read literary magazines or samples of them freely online, compared to hunting out print copies in the occasional bookstore that carried them! But it can also demoralize me to insert myself into social media’s comparison machine. Not posting costs me; so does posting.

Lesley Wheeler, Aiming vs. wandering

It is not the process of making the work – that is a labyrinth you must navigate yourself – it is the task of delivering the work, of having it platformed, of getting it before an audience, that I find so unbearably maddening. This is when the exit signs start flashing.

Talent is insignificant. I know a lot of talented ruins. Beyond talent lie all the usual words: discipline, love, luck, but, most of all, endurance.

James Baldwin

If I had advice to offer a young creative it would be: prepare yourself for dead ends, for unhelpful suggestions, for vacuous promises and above all for silence. Expect excruciating, agonising silence. If you do ever receive a reply to a speculative email, a response to an application, a reaction to a submission then get ready for seemingly endless meetings with an infinite number of Steves and Hannahs who will all mostly have their cameras off.

Jan Noble, Nº71 Is it suitable for children?

I searched files of poem drafts for July, and found an underwhelming poem in July 2021. Aha. A basic, I-am-bored-and-nothing-is-happening interstitial self-indulgent poem. […]

It’s been a while since I did homophonic translation. Machine translation is too good and too AI to be useful for adding the chaos factor but I can work more from ear.

So I then subject it to pretending what I’m hearing and transcribing sound by sound is a muffled French. See if I can “overhear” anything vivid. […]

Then I translate back to English and see if I can take this randomness and reassemble towards sense. […]

So now although it is language-as-material-based content, it feels more distinctive and alive than the original. We have multiple people and interactions instead of poet-in-solitude trope. We have particulars and actions. We have relationships to the world and to each other. It is less predictable. You don’t know where the poem is going when you start any given line. It travels. It is more of a wake up exercise but it pleases me now.

Pearl Pirie, Revision

My “Self Portrait as Sandfly” is nowhere near finished. The sandfly in question lives in a particular valley in Lima, and is only active after dark. Its bite is deadly to humans. It took researchers a long time to understand why people could walk through this valley in the day time but not after dark.

The poem isn’t finished because I don’t really know why I want to speak in the voice of this death-dealing, invisible to the eye insect. What do I have in common with a murderous sandfly, that only lives because of the particular climatic conditions of that valley? I don’t know yet – I’m hoping that is what will become apparent in the drafting/editing process.

Kim Moore or Clare Shaw, Self Portrait As Gold Dust, As Glitter Ball, As Magic Carpet…

I tend to believe passionately in any collection right up to the point when the proofs are sent off to the printers. Then I decide it’s the worst mistake I’ve ever made, want to change or retract everything, contemplate running away to the rhubarb patch at the bottom of the garden where I used to hide as a kid. This gnawing anxiety eats away at me until – come publication day – there are only a few scrappy bones left.

On that note…. happy publication day to my fourth collection with Chatto & Windus, STEPMOTHER!!

For me, the best part of any new literary project is when it exists as concept, unsullied by my attempts to put it into words. I first started thinking about the figure that animates my new book -The Wicked Stepmother – around 2021, and I lived inside the stories I was researching, imagining the lives of real and fictional stepmothers around the world.

When the writing process begins, there’s the daunting thrill of grappling with form and shape and order, trying to structure your ideas in a way that flows. You’re alive and intent, often frustrated but excited too. You’re building something. When I’m at this stage, I feel the kind of absorption I get on a single pitch rock climb.

Then the editing: a mix of doubt and euphoria. There’s always a point in the pruning and reshaping and expanding of a collection where the whole thing feels destined to collapse. That is when the real work starts. When you think the book won’t work, you’re usually closer than you imagine to finding a solution: creating ‘sections’ only to take them out again, revising your starting point, moving towards a different concluding mood.

Helen Mort, ‘Smile’, says the photographer

There are often times that poems occur that might not fit into the current project, and live on their own, however briefly. My book-length projects are so often held within such particular structures or shared tonal elements, anything beyond those boundaries simply can’t be incorporated, and require alternate housing. When my dear spouse headed to Banff Writing Studios in January 2023 to attend a rare writing space beyond the house, I began the sequence of daily poems that became “edgeless : letters.” She was away for two weeks, but I think this sequence took me nearly a month to craft, sharpen, hone. At that point, I was already a couple of weeks into the composition of the poems that became the collection Autobiography, which itself took a little more than a year from start to finish. But here, this particular lyric stretch didn’t fit with those poems, that project, therefore the opening salvo of an entirely different, albeit related, extended lyric structure. With the poems I was building into “Autobiography” I was attempting a further, third, suite of shorter, stand-alone poems, but this sequence required more space, and more time. Much like the title poem of Snow day, this piece required a new manuscript within which to contain it.

The epistolary form has always intrigued, seeing examples over the years by John Newlove and Lea Graham, among so many others, although this sequence was specifically prompted by Robert Kroetsch’s Letters to Salonika (Grand Union Press, 1983), during which Kroetsch wrote daily and dated epistolary offerings around his then-partner, Smaro Kamboureli, visiting her mother in Greece. She journaled her own travels, later published as In the second person (Longspoon Press, 1985), a title I sorely wish could have been followed by more literary writing (however brilliant Kamboureli’s critical prose). Kamboureli wrote about going home, and Kroetsch wrote about her being away. Across those two weeks, Christine cemented what would become her third published book, Toxemia (Book*hug Press, 2024) [see my essay on such here], as I remained home with our young ladies. Every morning I looked west, and wrote to her, there. Otherwise, I let her be, attempting not to distract her from work. It was all I worked on for a month, setting all else aside, akin to those six weeks I spent composing the title sequence of Snow day, a couple of years prior (a sequence also begun during the month of January, which suggests a kind of renewal, I suppose).

Daily missives, but composed not as the prose poem as Kroetsch had worked, but something pulled apart, allowing the visual elements of the lyric to breathe. One step, and then another.

rob mclennan, edgeless

I guess holding down what have been essentially two full-time jobs for the past six and a half years hasn’t left me much time to send out newsletters or even to write poetry. But here I am again.

Just three days ago, I finally handed the mantle of director of the Kachemak Bay Writers’ Conference to the amazing Mercedes O’Leary Harness. She’s going to do such a great job making the conference even better. I really enjoyed my time at the helm, but starting last fall, I began to really feel the weight of being responsible for two large literary community undertakings. I’ll still be holding down the fort at Storyknife Writers Retreat, and I consider it a real privilege to be able to facilitate incredible women writers having the time and space to devote to their work.

I’m hoping that the gap that giving something up has opened will be filled with my own writing. It’s going to take a bit of recovery time, but I feel the generative urge trickling around under the surface these day and that makes me so hopeful.

I’ve always found that teaching has really lit a fire under my own work, so when I had a chance to teach an online class in poetry for Orion Magazine Workshops, I accepted. I’ve subscribed to Orion FOREVER, so it’s a real honor to be part of their family.

Erin Coughlin Hollowell, Hello Again!

One of my goals this year has been to send out my work. (Why does “submit my work to the editorial process” sound like a dodgy thing to do? “Send out” sounds more assertive.)

So I belong to a small send-out group, and when our attempt to meet once a month and report our progress seemed a complete disaster, we decided to meet once a week and for one hour hang out on Zoom together and instead of talking or moaning or whatever, to work on our send-out.

This did the trick. I’ve now managed 21 submissions of poems, reviews, stories, and essays. Not a lot, but it’s something. And I’ve had a few things accepted.

First, the on-line journal Eclectica took my poem, “Windfall Apples,” which you can find here (and which I should have mentioned some months ago).

More recently, Bracken took my poem, “Her Honeyed Mask.” Their new issue is fresh off the presses and available here. (And it’s gorgeous.)

Bethany Reid, Where you’ll find me…

I’ve taken a break from submitting my work, to try to break the cycle of anticipation/dejection, to break the spell of maybe. And I’ve been on vacation, so freer to consider myself from afar, and think, okay, what are you, and let’s do something else with that. Or do the same thing differently. Or do a different thing samely. Or quit all together or start something completely new. Or something. The writing game wearies. Yes, I have that new book out, the “One Poet’s Writing Manual,” which is fun, and people have told me they’ve enjoyed it, and those I know well have said it’s like I’m right there talking to them. And I’ve done some presentations and workshops, and have a couple more scheduled. And it’s my fifth book, if you count the two chapbooks. But. I don’t know. I just thought somehow things would be different. At the same time, I’m utterly astonished at what has transpired, what I’ve stumbled into. And at what I’ve done, conjured up, gave a whirl. It’s all very strange, looking back, looking forward, and just looking around. What the hell, man? What the hell?

Marilyn McCabe, strong, but anxious and discontented amid all that messy beauty

 I’ve been writing a lot, and I’ve also been sending the poems out to various journals. I did that last year, too, and I’ve also got some cool self-pubbed stuff planned this summer. At present, I am 99% sure that these three books will show up before August is out:

• The Other Century: A long-awaited (in my mind) chapbook of poems. This is unlike anything I’ve published before, and I’m excited to share it. It comes close to fiction, but it’s also a kind of collage of found material alongside original poetry.
• A reissue of Travis: A lightly revised but physically redesigned version of my chapbook from last June, marking the 50th anniversary of Taxi Driver (on which the book is based).
• A reissue of Interrogation Days (it’s the last time, I swear!): A revised, reorganized, and physically redesigned book marking the 25th anniversary of 9/11 and the 250th anniversary of the US.

These will be priced very cheaply and will be bundled with cool bonuses (miniature collages, bookmarks, free pamphlets, etc.). The books will come out on my Ko-Fi page, which seems a better way of doing this than trying to fashion a “bookstore” page here on substack. 

RM Haines, Summer of Salvage (no. 1)

I’ve spent time recently typesetting my own, next poetry book – having decided to go rogue and try this out for myself. 

I realised how blank and bleak I was feeling, facing the prospect of submitting my emerging manuscript into the current poetry publishing landscape. Not that I have anything against any of it, it was just flattening my spirits contemplating the long waits and inevitable rejections. And quite spontaneously, as is often the way with me, I found I’d decided to try something different and (not uncharacteristically!) go it alone.

I’ve anyway always been employed – when I’ve been employed – as an editor. Not of books, of magazines. But typesetting is a familiar and loved process for me. And I found that part of this endeavour delicious. 

I set myself up in one of my sons’ currently vacant rooms, and turned up there for a week, each morning, to work. I felt happy, sitting in that sunshiny window at his desk and large monitor and familiarising myself with my chosen publishing software, Atticus. I also designed a simple cover in Canva. And, eventually, pulled both together into a proof book printed by Bookvault. 

I’m delighted with this experiment, and though have nervousness about shunting the book out into the world, it’s no more so than I’ve had with all my other (published by others) poetry publications. 

Charlotte Gann, A new era?

Mark Melnick offers an insightful essay on book cover design and marketing as the July contributor to Marsh Hawk’s “Chapter One” series. You can see his entire article HERE, but I present this excerpt because his experienced insight can be helpful to many authors:

“It is also important for authors to understand that ‘graphic design’ is very different from ‘art.’ I have worked with many authors — especially poets — who suggest a painting for their book’s cover. Often, that painting is very dense and complex (think Hieronymus Bosch), and the author will send me a lengthy explanation of their reasoning for using it, the meanings and resonances they see embedded in it, and how it reflects the text. Yet this misunderstands the purpose of a cover. A cover is not meant to be an analog to the text. A cover is not art, which is meant to invite introspection and contemplation, slowly over time. A cover is graphic design, which needs to do its job almost instantly — literally in one second. It is emotional, not intellectual.”

To illustrate his points, Mark comments on my and Daniel Morris’ recent and forthcoming Marsh Hawk books. My COLLATERAL DAMAGE BLUES is forthcoming in 2027.

Eileen Tabios, MARK MELNICK ON BRILLIANT AND EFFECTIVE BOOK COVERS

Rajani Radhakrishnan’s moving, intense No Way Home tells us what to expect from its opening ‘Prologue’ poem, sub-titled ‘the poet as storyteller’: It is supposed to be a story, a journal/ a confession, a tirade –/ but I will start/ with a poem instead.// There’s something about weaving/ through shadow and light.

Later in the poem she writes that the story or series of poems over more than 100 pages will be About a time that wasn’t supposed/ to mean anything, but did./ About big things remembered,/ about tiny details that remain/ in an empty frame/like disconnected parts.

What follows is an examination of disconnection, of a restless journey, both physical and psychological that has drawn me into it, allowed me to absorb the sense of the struggle, poem by poem. Unusually for me, but perhaps appropriately, I read it in order from first to last. It didn’t feel like a book that would give up its elusive secrets if I just dipped into it, reading a poem here and there. She tells us repeatedly that this is an ordinary story but of course it is anything but. It’s filled with the anxiety and doubt, energy and curiosity that we inherit or develop as our lives take their course. It is a courageous exploration, a mapping of where and how we travel as human beings, and in this case why we sometimes have an urge to return, to relive parts of our lives that a piece of us is saying ‘Don’t go there, don’t look back, it’s too dangerous’.

Bob Mee, NO WAY HOME – RAJANI RADHAKRISHNAN

If all goes well, Contubernales Press will soon bring forth my new book, Shield of Mnemosyne : a poem-sequence, a daybook reply to the Trumpist attack on the Constitutional order of our democracy. I began writing it in May 2024, and the first three chapters were published by Contubernales in my book Parmenides in Minneapolis. (Irish poet-critic Billy Mills reviewed Parmenides here.) The Shield volume assembles the concluding nine chapters; the whole poem was finished in February of 2026.

This work did not emerge from a vacuum. My focus on making large-scale poetic sequences began many years ago. And this 4th of July, the 250th anniversary of US nationhood, got me thinking back to an earlier long poem – a trilogy, finished on May 28, 2000 – called Forth of July.

The book’s title is a bit of a double pun. “Forth”, here, means not just “the 4th”, but the “coming-forth”. And “July”, here means (to me) not just the month, but alludes to my cousin Juliet, Julie – who jumped off the Golden Gate Bridge at the age of 19, in the fall of 1971. On one weirdly playful level, the plot of this humongous poem enacts a kind of Orphic search for my vanished Julie (we were born a few days apart, in 1952). But is it also a kind of spiritual emblem : the “coming-forth of Julie” pushes back against the global spirit of Caesarism and militarism (“Julius” vs. Julie), as the sing-along poet sheds his skin, in the American interior, to commune with William Blackstone, “the man who went to live with Indians” (per the Consul, Geoffrey Firmin – protagonist of Malcolm Lowry’s Under the Volcano) – and with Black Elk, and with MLK (Martin Luther King).

Henry Gould, On the Forth of July

The next pamphlet from Headless Poet is in the works and indeed really quite imminent. I’m away next week, but I’ll be typesetting it the week after, at which point it gets a series of thorough proofs before going to the printers. The urgency is entirely self-imposed, and has felt a little perverse at times (life is busy), but it’s good to have a schedule if you’re going to get things done, just as it’s always slightly alarming, to someone of my temperament, just how effective a ‘to-do’ list is.

In Snow Bees, Jeremy Noel-Tod re-introduces the poetry of Lilian Bowes Lyon (1895-1949). Jeremy has been making the case for a re-evaluation of Bowes Lyon’s poetry for some time and it’s been both a pleasure and a privilege to help bring this selection into print: the first to draw on the full range of her work since the Collected Poems (1948).1 The more time I spend with these twenty poems, the more that fact amazes me.

To give you a sense of what I mean, and in lieu of something more considered to come, here is “Starlings: 1938”, from Bowes Lyon’s third collection Morning is a Revealing (1941). One of the striking things about Bowes Lyon’s work is the way in which she brings the same “concentrated skilfulness” to isolated, rural Northumberland and wartime London. In “Starlings”, these two worlds begin to come together. It is a remarkable, densely-packed poem, moving in an unsettling (and, I think, entirely convincing) fashion between the flock of birds and images of destruction without flattening the one into the other. And it does this precisely through a series of unlikely combinations: “glib roar”, “tinsel garrison”, “rose-crazed debate”.

Jeremy Wikeley, Dark news on the breeze

I’ve spent three days working on my LINKS page. When I began blogging (22 years ago) we all had extensive links to other blogs, and to various sites of interest. That seems less common now, but I’m still in the old mindset. This is a problem. 

There are a variety of components to this problem. The main one is that I can be interested in too many things. Being online can be like being on YouTube (Hank Green). So many topics! So many interesting topics! I think I want to see / watch / learn more about … all of them. I want more of this writer, this journalist, this presenter. Lately, this physicist (Carlo Rovelli). 

I want to read all the blogs, especially the poetry blogs. Especially the blogs I used to read. I want to find, again, the friends I discovered online years ago. Now I discover Substack, with all its controversies and all those excellent writers I want to follow. This seems to be close to what the blogging community used to be, with comment threads and interconnections. 

There are lots of blog-like “publications” on Substack. There, you subscribe, not follow. Reasonably enough, some writers request payment for their work. Even some poets! Mostly, though, I find more than enough to read without straining my budget. I can also read about philosophy and politics and artificial intelligence and physics and consciousness till I become . .. unconscious. 

Sharon Brogan, LINKS & reading

Pretty sure I’ve mentioned before that I am now aware of three poets at work. I think it was Andrew Neilson that put us in touch (and I\m annoyed I couldn’t make it to Andrew’s do in town a couple of weeks ago. Blame the silly running thing).

Over the course of a few internal messages I’ve been speaking to Adrian Masters. Adrian’s day job is as Political Editor for ITV Cymru, but it was pleasing to discover that he’s also a fine poet. His latest poem in Bad Lillies *is well worth checking out (as are the previous other two). I’ve already told him how much I like the lines

at the sandpaper sound
of a cockerel crowing from an allotment,

at the synthesiser pulse
of fledgling jackdaws.

I especially like the “synthesiser pulse / of fledgling jackdaws”.

And it feels even more relevant as I type, having not long come back from our first go at taming our new allotment space. There is much to dig, much more to do, but I’m glad to have broken some ground on it, and to have not broken ourselves in the process. […]

We nearly didn’t go today. It’s been a long week for both R and me, and I had an attack of the insomnias last night between 12 and about 3am. Why, oh why couldn’t it have been tonight so I would be up when the England game starts?? Oh well. Anyhoo, the point of this is that we did go and we pushed on, but it also makes the poem that follows make more sense to me. I’d asked Adrian for permission to publish a poem form his pamphlet, Accretion, and he said to pick any, so I don’t feel bad about choosing one I don’t think I asked about originally. […]

The whole pamphlet is quite focused on time and gathering perspective. There is very much a long view at play in Adrian’s work that I like and admire. I know and recognise most of what is being described above, the disorinetation of darkness and the early hours, but the clinchers here are the last line of stanza 3 and the final stanza. The way they turn the very human experience into something that adds perspective, provides distance and if nothing else, it adds context

We can’t rail at the night when we’re amongst it in an unintended way. We just named time’s parts, but we didn’t invent it, we don’t own it. I like that. It reminds me that I need to go back to Samantha Harvey’s excellent work of non-fiction (with some fiction in it too), A Shapeless Unease: My Year In Search of Sleep

And on that note, I think I need a nap if I’m going to make it to the football later.

Mat Riches, Nightwithstanding

An attractive quality of these poems is the outsider’s constant searching for self and form. “Mirror” is not only the title of one of Zhang Zao’s most famous poems but also a recurring trope in his oeuvre. Thoroughly grounded in both Chinese and European literature, he seeks “a new tension and melting point,” as Bei Dao wrote in his personal recollection of the author, included in this book. How successful are his sonnet sequences, “Kafka to Felice” and “Dialogue with Tsvetaeva”? The Chinese originals strike as too full of words and ideas, and so lack the pressure cooker of the sonnet form. The free-verse experiments are more interesting, often ranging and strange. One has the great title “Song a Wall Driller and the Ultimate Ear,” but the poem, in fact, pages 179 to 186, are missing from my edition. 

The poem I like best is called “Fly.” It has something of John Donne’s playful eroticism, but also the concision I associate with Chinese verse.

Jee Leong Koh, Zhang Zao’s MIRROR

chaun webster is a poet and graphic designer whose work contends with the spatial, temporal, and interpretive limitations of writing and of the English language with its incapacity to represent blackness outside of regimes of death and dying. He is the author of the hybrid creative nonfiction collection Without Terminus: untraining an archive (2026), and the poetry collections Wail Song: wading in the water at the end of the world (2023) and Gentry!fication: or the scene of the crime (2018), both of which received the Minnesota Book Award for Poetry. Webster’s work has also appeared in numerous journals, including Obsidian, Brink Literary Journal,  LitHub, The Academy of American Poets’ Poem-a-Day, The Rumpus, Angel City Review, Tilted House, and Social Text. He lives in Minneapolis, Minnesota.

1 – How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?
I don’t know that I would say that my first book changed my life.  It was a book of poetry that was thinking about black place and black placelessness, the organized dispossession of material and memory.  I think my perspective changed as and after writing it, specifically, I think I became more critical of the limits of the discursive as a response to material force.  My most recent work definitely has the mark of that first book and the strategies I was using, I’d just say that almost a decade later I am now more sure of myself and methods, especially my use of ambiguity, and abstraction.

2 – How did you come to poetry first, as opposed to, say, fiction or non-fiction?
I came to poetry by way of the black pentecostal church.  The passionate oratory of the sermons, the repetition within the music, the hum and moan all moved me deeply and marked me in the way I consider sound and breath and return in my own writing.

3 – How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?
The length of a project depends, oftentimes I am not always even sure of if what I am doing IS a project.  I am just trying to be present and attentive with the questions that vibrate for me, I’m trying to stay with them, I’m trying to see how they bloom.  Sometimes this becomes a project, sometimes that takes years as it did with Without Terminus.  I’d definitely say that writing is a slow process for me, but the gathering by way of note taking is very much a part of that writing process. […]

6 – Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?
There are definitely theoretical concerns behind my writing.  How, as Frank B. Wilderson III asks, “does one narrate the loss of loss?” He asks this with regard to black people, the way our loss exceeds a linear teleology, does not have a resolution as might be conceived in narrative.  So how do I approach this problem as a writer? when many times the impulse is to make something known or visible through language, to bring it into coherence.  This also ties to questions I have about the archive, about how we make claims about the past, what we understand to be evidence.  I don’t have many answers, much of my process is just being attentive to the questions.  

7 – What do you see the current role of the writer being in larger culture? Do they even have one? What do you think the role of the writer should be?
I’m not sure what the role of the writer is in larger culture.  I think the way we may have looked at the public intellectual a generation ago has shifted, and I’m less interested in what it might mean for my work to ascend and speak to truth to power, than to echo horizontally from below.  

rob mclennan, 12 or 20 (second series) questions with chaun webster

Yvette Nicole Kolodji is a poet, artist, and former scientist from the greater Los Angeles area. She has published over 100 poems (including haiga) in various journals and anthologies since her debut in 2014 and exhibited artwork in many locations since 2019. Her poetry has won and been recognized by poetry competitions and organizations such as the Haiku Society of America, Haiku Poets of Northern California, and The Haiku Foundation. […]

Your mother, Deborah P Kolodji, was a brilliant poet and editor. Did your mother introduce you to poetry and haiku? How did your relationship with your mother inform and inspire your life and creative work as a child and as an adult?

Shel Silverstein was my introduction to poetry. To this day, I can remember how sad I was in kindergarten when I smeared my peanut butter sandwich on my favorite book, The Giving Tree. Most of my early experiences with poetry were through Silverstein’s books or school. My first experience with haiku was a lesson about syllable counting in second grade. I don’t recall them mentioning seasons or a cut (kireji). It was a lesson to learn syllable counting with a rigid 5-7-5 structure. Unfortunately, this view of haiku overshadowed my view of this form for years.

Of course, I learned to write and analyze poetry in school, but my creativity towards poetry started with an audition. In high school, I reimagined Shakespeare’s Sonnet 116 as a marriage counselor discussing what love is to her patients. This was the first time I deeply analyzed and dissected a poem. In high school, I was focused on various theater productions, bands (I played clarinet), and a robotics team. I loved working with the metalworking machinery. Perhaps this was a precursor hint of my fondness towards sculpture. I also sketched often in my notebooks. After my high school art history teacher introduced me to scratchboard, I was hooked. I was mainly focused on theatre, sciences, and dabbling with my visual art in high school and college.

However, in high school, I was introduced to non-5-7-5 haiku by my mother, Deborah P Kolodji, whose interest in haiku began around that time. We would often play a back-and-forth haiku game. Although I enjoyed playing those haiku games and writing collaborative haiku forms with her and haiku friends, I didn’t take my haiku seriously back then. I would often mention how wonderful haiku was at perfecting long form poetry, since it showed me the weight of each word. One day, I came across this haiku by Kaisanjin, which had a profound impact on me:

one umbrella—
the person more in love
gets wet

Kaisanjin

Until this day, this poem is my favorite haiku. In college, I went to a Haiku Poets of Northern California (HPNC) Two Autumn’s reading and stopped by the Yuki Teikei Society’s Asilomar conference. It was not until after college when I started going to the Southern California Haiku Study Group meetings, readings, and assisted in the bookfair at the 2013 Haiku North America conference. I knew I was hooked on haiku when I started dreaming haiku. It began percolating into everyday life. I composed haiku as I drove. I composed haiku when I walked. It would keep me up at night. Haiku seeped into my essence. After I created a haibun for my sculptural floats, I began to create more haiga. Around this time, I started seriously focusing on my visual arts. I began working with more unconventional materials and created sculptures. I expanded my artistic practice to many different mediums and my writing practice to other haiku-related forms and styles of poetry.

Jacob D. Salzer, Yvette Nicole Kolodji

If the conclusion doesn’t seem to provide us with an epiphany — “I pass,” as a last line, feels at first glance obvious and unsurprising; was “the sentinel of space” really going to stop him? — still, the way the poem gets there is full of interest. Its form, abab quatrains of three pentameter lines that drop to dimeter (and to monometer in that final line), enacts a sonic drama, in which momentum juxtaposes itself with stillness. Everything about the poem’s atmosphere is like the image of those ships in the first stanza: riding at anchor, yet somehow, even in their stasis, “Home-bound.”

The progression of images throughout the poem, in fact, makes its own level of drama. Every particular manages to be simultaneously impressionistic, if not actually self-contradicting, and precise. It’s the reflection of the moon in the water, not the literal moon itself, that wavers and contains the slipping fish. Via metonymy, the thing and its image become imaginatively conjoined, providing a setup for the imagistic paradox that follows, in which the water “makes a quietness of sound.”

“Quietness” and “sound” are seeming opposites, yet we know the true thing the phrase implies. What we know as quiet is not the same as silence, which connotes emptiness and absence or, as in those spider webs on which the second stanza ends, entrapment. A quiet night may be full of small sounds and movements — “strange tunnelers in the dark and whirs / Of wings” — that don’t disrupt the quiet, but are part of its enormous, mysterious fabric. A silent night, by contrast, is the night of your padded cell, the night of the grave.

This imagistic progression, then, after all, earns the poem’s abrupt and initially unsatisfying ending.

Sally Thomas, Today’s Poem: Home-Bound

The error that Richard Dawkins made in The Selfish Gene and has continued to make over the 50 years since it was first published, is an error of poetry.  

It’s a poetic error in the sense that poetry is the art form of the metaphor and the mistake that Dawkins makes is one of metaphorical choice. 

The problem is with the book’s central metaphor of humans as survival machines. The idea that we are nothing but automaton shells, vessels for our genes, who are the real survivors. […]

As I said earlier, this error of metaphor has been made by a multitude of scientists and philosophers (from Hobbes and de la Mettrie to Skinner and Turing, and more recently Daniel Dennett and Dawkins himself). But to my knowledge it has not been made by any whose field of expertise the use of metaphor is: poets. 

They, by contrast, have tended over the years to emphasise the dissimilarities between humans and machines, and warned of the dehumanising effects of an over-mechanistic world.  

And in the famous case of John Keats, his argument – taken on in full throat by Dawkins in Unweaving the Rainbow, was against the rationalist, scientific explorations that came with the Enlightenment, and the way they deadened, as he saw it, the joy to be found in the mysteries of the universe. 

His conception of negative capability was a profoundly wise expression of why trying to pin everything down (to box it in) cuts off at the root a sense of wonder in the unknown and the mysterious. And in some cases, the truths hidden but inherent in the illusory. 

His most famous poetic expression of this comes towards the end of Lamia, when the cold, rational, surface-truth of Old Apollonius, reveals Lamia’s identity and thereby destroys both her and her lover Lycias: 

                                               Do not all charms fly 
At the mere touch of cold philosophy? 
There was an awful rainbow once in heaven: 
We know her woof, her texture; she is given 
In the dull catalogue of common things. 
Philosophy will clip an Angel’s wings, 
Conquer all mysteries by rule and line, 
Empty the haunted air, and gnomed mine— 
Unweave a rainbow, as it erewhile made 
The tender-person’d Lamia melt into a shade. 

Dawkins was able to argue against this view very successfully in Unweaving the Rainbow because he focused on the wonder that is engendered by scientific discoveries in the natural world. But in making this argument, he was missing a central point of negative capability: that there are truths which science is not capable of getting at. There is no reason not to feel a sense of wonder at the truths science can reveal (my view, Keats may have disagreed) and Dawkins’s description of what is happening in the realm of physics and biology when an individual sees a rainbow is a point well made. He considered Keats to be advocating for self-deception when bewailing the gaze of science on natural beauty, but he ignored the possibility that there are truths in the human experience of natural beauty that science can impede. Keats was receptive, and unusually sensitive perhaps, to such truths, and he found the strict rationality of a scientific worldview restricting in his search for them. Poetry, which allows language to dance around its own limitations, enables rather than restricts this search.

Chris Edgoose, Richard Dawkins’s Big Poetic Mistake

Rhetorical
question: why do I find the foods of my first
colonizer delicious? Ordinary fare: steamed
swamp spinach, fried scad, rice. Delicious,
especially eaten without silverware, but not
served to guests or at parties. Our tongues,
taught to swerve from the language of our
origins. Taught to soften the trills
that might remind us of birds.

Luisa A. Igloria, Tapas

Written in the late 11^th or early 12th century, Le Chanson de Roland (‘The Song of Roland’) is the story of an 8th-century Frankish knight, nephew of Charlemagne, who died in 778 C.E. while leading the army’s rear-guard through a narrow pass in the Pyrenees on the way home to France, following a military campaign on the Iberian peninsula.

Considered the oldest known surviving work of French literature, the poem is a chanson de geste (‘song of deeds’), a legendary account of the ‘heroic’ actions and martyrdom of Charlemagne’s knights. The form emerged around the time of the first Crusade, when Christians sought to retake control of the Holy Land, and it continued to flourish throughout the 16^th century.

In contrast with actual events, the poem describes an epic battle against paien (pagans) and ‘Saracens,’ a broad term used by medieval Christians to refer to Muslims. In reality, the Battle at Roncevaux Pass involved an ambush by the Basques, a people indigenous to the Pyrenees, who were retaliating after Charlemagne’s army ransacked their villages and destroyed their capital at Pamplona.

According to the poem, however, the ambush was part of a plot against Roland, orchestrated by his stepfather in league with the enemy. Roland is slain, but his pious devotion to god and king, and his willingness to martyr himself in battle, earns him a place among the angels.

Adam Miyashiro, Professor of Medieval Literature at Stockton University, has described Le Chanson de Roland as “a product of both European nationalist and colonial aspirations.” In his translation, Roland’s war-cry during the battle is full of religious zeal and alarming certitude:

“Paien unt tort, e chrestiens unt dreit!”
(‘Pagans are wrong, Christians are in the right!’)

Roland the crusading evangelist may have been proud to die a martyr for his faith and for his king, but was he merely a pawn in the game? A paladin, or a puppet?

In the 19^th century, Sicilian Opera de Pupi began reinventing these medieval epic poems to explore powerful themes of honor, justice, loyalty, oppression, and resistance, as shaped by Sicily’s own struggle against invasions by foreign armies and imperial powers. Their version of the stories reflected a blend of linguistic and cultural influences, including Byzantine, Norman-French, Spanish, Arabic, and Italian.

Opera de Pupi transformed and subverted the old epic poems into stories of everyday heroes and unexpected victories, in which women could be knights, noble bandits prevailed, and clever peasants became advisors to kings. ‘Pagans’ and ‘Saracens’ were no longer the enemy, and Christians and Muslims both faced obstacles to overcome. Just as the handcrafted puppets reflected a distinctive Sicilian identity, the puppeteers also became artisans of their craft of storytelling and performance.

Jenevieve Carlyn, In the House of Puppets

What makes Marston Moor the best of [Payne] Fisher’s poems […] is its unresolved ambiguity. Fisher fought himself at Marston Moor, on the losing royalist side, and was imprisoned afterwards. The earliest drafts of the poem are straightforwardly royalist laments for the horror of the siege and the disaster of the defeat, in which Oliver Cromwell, who was Manchester’s second-in-command, takes the role of the devil. The revised and massively expanded poem published in 1650, which won such success with Cromwell that it secured Fisher a paid job as his poet for the next eight years, shifted momentum to acknowledge the glory and power of the Parliamentarian success, but Fisher by no means forgot about the suffering of the other side. Long passages describe the miserable conditions of the besieged people in York, their joy at being relieved, and the terrible royalist losses on the battlefield.

It is interesting that Cromwell was so impressed by a poem that is essentially so even-handed.

Victoria Moul, Like a patient Angler e’re he strook

I recently wrote a review of the book Convergence: Poetry on the Environmental Impacts of War.

Here’s a short excerpt:

It’s significant that as I began writing this review about Convergence: Poetry on the Environmental Impacts of War, a collection of poems reacting to the devastating ecological consequence of war, that our nation was again engaged in a new one. Rockets and drones were taking thousands of human lives, but also leaving lasting damage to land, water, and atmosphere. It will likely be decades until we understand the full extent of this war’s human, political, and environmental cost on our world.

You can read the whole review at Consequence Forum Substack here.

Grant Clauser, Review of Ecopoetics War Anthology: Convergence

Thinking of John Berger and his thoughts on the male gaze (I’m sure he thought we’d be well past bringing him up on this subject by now), I took And Our Faces, My Heart, Brief as Photos, off the shelf. What a lovely thoughtful book that has been. Poems are nearer to prayers, he says. And, “Poems, regardless of any outcome, cross the battlefields, tending the wounded, listening to the wild monologues of the triumphant or the fearful. They bring a kind of peace. Not by anaesthesia or easy reassurance, but by recognition and the promise that what has been experienced cannot disappear as if it had never been.” He says, “The promise is that language has acknowledged, has given shelter, to the experience which demanded, which cried out.”

Shawna Lemay, Art’s Power to Change You

Stars curl
and spiral

this night

O the sight
of all that

blue
and red
and white

all that
bursting

all that
fire

all that
might

Maureen Doallas, The Flag on the Fourth of July

A couple of weeks ago I encountered this poem by “Alabama-born, Appalachian and Palestinian” poet Mandy Shunnarah thanks to a Facebook group called Read A Little Poetry. The poem has stayed with me, and I’ve been thinking about why that is and why it speaks to me. […]

“It’s not Palestine / like old buddy, old pal” is a great line. The choice to end two lines with “Palestine” and “Falastin” — almost the same word but not, which is the point. I’ve had Mo Husseini’s extraordinary essay A letter from the margins on my mind since I read it, so I’ve been thinking a lot about the name Palestine and the diaspora experience he describes.

The second stanza is where the poem really tugs at my heart. My grandparents were immigrants too, and I remember my grandfather’s struggle with certain English words that never emerged the way he wanted. (“Sheet” was a particular bugbear.) My grandfather spoke seven languages, which was amazing! but he knew his English was accented.

I think of how my mother, a naturalized American citizen who was born in Prague in 1936, chose short, simple, all-American names for her kids, especially for the three sons who were born to her first. I think about the tensions between assimilation and remembrance, about the old-fashioned or “foreign” Jewish names that I see now mostly in cemeteries.

The poem asserts that “only an American” would choose an aspirational name, one they themselves can’t easily say. I recognize that sense of leaning toward the future even at the cost of generational disconnect. My family’s immigrant story is different than this one, but they rhyme, as it were. There’s something tender for me about that. […]

Against all of these backdrops this week I encountered this beautiful essay by Jennifer Elise Foerester, a member of the Mvskoke people, shared on FB via the University of Arizona Poetry Center.

She begins:

What if we listened to each other in the language of poetry?
Poetry is a language of deep listening.
Listening to each other in this way would be a listening that does not demand an answer, a translation, or defense; it would be a listening that acknowledges not knowing, that does not preclude the possibility of new perspectives.

Jennifer Elise Foerester, Beyond The Obvious

I love the idea that when we listen to each other as to a poem, we cultivate a spirit of radical welcome. I love the idea of poetry as a language of deep listening — an increasingly lost art in these polarized and angry times. The FB conversation I saw about Shunnarah’s poem was pretty polarized and angry. I didn’t experience much readiness to listen there.

I get the anger. (I really do. I’ve shared a few very angry poems of my own, of late.) But I want us to be able to listen in a way that both upholds our own truths and keeps us open to the truths of others. I don’t want to respond to poems with defensiveness; I want to cultivate openness. In poetry, as in spiritual life, multiple things can be true at the same time.

Rachel Barenblat, Two poems and a dream of America

You wouldn’t have bet on it, the frail famous poet teaching at Harvard as a visiting professor and the athletic secretary of the campus residence half her age. But every great love exists against probability, belongs to that region of the universe where the wildest bet may be the winning bet.

When she met Alice Methfessel, Elizabeth Bishop had served as Poet Laureate of the United States, had won the National Book Award and the Pulitzer Prize, had spent the better part of her youth in solitude and the better part of her middle age in South America with the woman she loved for seventeen years, who had taken her own life three years earlier.

Across their stations, across their age difference, across the abyss of possibility between their era’s parameters of permission, Elizabeth and Alice fell deeply and enduringly in love — a love that comes abloom on the pages of Megan Marshall’s delicious biography Elizabeth Bishop: A Miracle for Breakfast (public library).

Soon, they were beginning each day with a ritual refrain: “Good-morning I love you.” The “blue blue blue” of Alice’s eyes became the sky of a new world shimmering with new life. More poems poured out in a spring than had in a decade. They swam together in the Galápagos, admiring the flamboyance of flamingos, and in the Greek Isles, admiring the poppies and their thousand shades of red. Whenever they were separated by Elizabeth’s itinerant life as a public poet, she sent Alice “love — housefulls, churchfulls, airportsfull” and carried her photograph in her breast pocket. She revised her will to leave everything except her books to Alice.

After five years together — years of extraordinary creative vitality for the poet, but also years of savage struggle with alcohol — Alice, exhausted by Elizabeth’s increasingly out-of-control drinking to the point of collapse, met a young man who soon proposed.

“I want you to be happy and good and loved,” Elizabeth told her in a touching reminder that the deepest measure of love is wanting the best possible life for the other person. But she was heartbroken.

She coped the way all artists do.

What began as mostly prose became, seventeen drafts and several titles later — “How to Lose Things,” “The Gift of Losing Things,” “The Art of Losing Things” — one of the greatest poems ever written […]

When she learned that Alice had decided to accept the proposal, Elizabeth was devastated. With the helpless vulnerability of love laid bare, which neither pride nor prejudice can touch, she wrote to her:

I DO want you to be free, darling — that wouldn’t ever make me stop loving you… You can always have me back if ever you should want me… truly.

And then she sent her the poem.

Nobody knows what beckoned Alice back — the poem, the way a badly sprained ankle signaled Elizabeth’s fragility and made Alice shudder at the thought of losing her, or simply the inexplicable gravitational pull of love that eludes, always eludes, theory.

“I like being with you more than anyone else in the world,” Alice wrote to Elizabeth that summer.

They remained together until death did them part — one awful October evening, a cerebral aneurysm left Elizabeth’s body for Alice to find on their bedroom floor.

Maria Popova, The Art of Losing and the Art of Beckoning Love Back: The Story Behind One of the Greatest Poems Ever Written

Whatever else we might do in our lives, death is the thing we all will do. Most of us would rather not think about that. Here, then, is where the poets step in. Our readers may recall, for example, Tennyson’s “Ulysses,” which takes death’s inevitability as its subject. Tennyson, the laureate, speaking for a country and a culture, asks the very question nobody wants to ask: “How will we die?” For her own part, Emily Dickinson takes the question closer to the bone. She considers not how a culture, a generalized entity, might think about mortality, but instead, how she herself, an unrepeatable human I, will die. What, she repeatedly wonders, will that actually be like? […]

In sequence she describes the “Funeral in my Brain” as an entirely auditory experience, nightmarish perhaps particularly for the claustrophobic among us whose recurring bad dream of live burial the poem encapsulates. The speaker, confined in her viewless coffin but entirely awake, hears the tramping feet of mourners, the monotone drumroll of the church service, the creaking of boots as her coffin is lifted and carried to some solitary place, where she finds herself abandoned — “Wrecked, solitary, here” — for eternity. “Here” all sound stops; here ends the poem, presumably.

But at this point we should stop and remind ourselves that the public-domain version of the poem we’re reading is the one that appears in Poems: Third Series, edited by Mabel Loomis Todd and Thomas Wentworth Higginson and published in 1896, ten years after Dickinson’s death. Todd and Higginson clearly agreed that dear Emily could not possibly have meant all those em-dashes, but also that she could not possibly have meant the poem as it appears in her manuscripts, with a final stanza beyond the one given here — a stanza that changes everything:

And then a Plank in Reason, broke,
And I dropped down, and down —
And hit a World, at every plunge,
And Finished knowing — then —

In this original and necessary final stanza, the speaker, like a person being hanged, feels the “Plank in Reason” break beneath her. As the poem ends, on an inconclusive em-dash, its thoughts cut short, its speaker drops utterly out of “knowing” into the unimaginable, timeless, silent mystery beyond. It’s a terrifying prospect, that moment when “knowing” ends: the moment when the self stops being the self, or at least stops being sure of being the self, or of anything at all.

Yet as a restoration of the poem in its wholeness, this true ending offers a corrective to the nightmarish sense of being buried alive, on which the expurgated version of the poem ends. Death in Dickinson’s vision is not a desert island, a solitary shipwrecking, but something far stranger, outside the bounds of human knowing. If it’s a terror, it’s also a liberation and a darker, wilder hope, for which human language, in all its knowing, has no word.

Sally Thomas, Today’s Poem: I Felt a Funeral in My Brain

if you whisper your truths,

they’ll disappear, he’d say, so he never whispers them –
and when he does speak, his voice is the wild thud
of trees falling oceans from here in cool shimmers

of rain, in the hot curl of asphalt, in all the time needed
though there’s so little now to do, and he’s prayed deep
into the hole of his aching, but that’s not how it ends –

Sam Rasnake, Some Last Things

up early writing
out of pleasure

how the words find
a design in my thought

and the way to a morning’s
dark music

Erasure poem derived from The Diary of Samuel Pepys, Monday 6 July 1663.

night calls me to myself
a game coming to a stop

as two gloves marry
purely for convenience

and turn into one another
in my pocket

an old ache and I together
know something of prayer

Erasure poem derived from The Diary of Samuel Pepys, Sunday 5 July 1663.

clock looking over us
road like a held tongue

full of loss who can have
the patience to sit

like firemen ready to burn
yet without a light

who is for the dead
I am here to be born

Erasure poem derived from The Diary of Samuel Pepys, Saturday 4 July 1663.

a castle gives
no reason to grow

in the fields are monuments
of great antiquity

and another office
entered in a contract
comes to stay

Erasure poem derived from The Diary of Samuel Pepys, Friday 3 July 1663.

I change my mind
walking in the evening

like a stage-player
of a private war

it matters as a man
to have some power

over the gun
all angers driven out

to be part of an old music
now and together

Erasure poem derived from The Diary of Samuel Pepys, Thursday 2 July 1663.

rain raised me right
to disburse all I am

into the void
into a mad harangue

enlarging the true
kingdom of words

and my body knows
it is never not naked

acting all the postures
imagined in the glass

such as being old
or not being gone

my new flight
is like falling

and my falling is simple
as a state of mind

Erasure poem derived from The Diary of Samuel Pepys, Wednesday 1 July 1663.

sun on water becomes
a white garden of reeds

with the smallest distance
between myself and a root

in this weather
in the only air we have

I will not take to talk
of God’s blessing

up above the light
like a lost swallow

beyond belief
in an ordinary heaven

I learn what I can of all
things spent and cast off

Erasure poem derived from The Diary of Samuel Pepys, Tuesday 30 June 1663.

business is a prison for the holy
a monstrous dalliance

you kiss the flung stone
no zing to the rough question

should war be performed
only at a distance

enough to make a man swear
greed is a great god

Erasure poem derived from The Diary of Samuel Pepys, Monday 29 June 1663.