Thanksgiving porch

2007 (November 22)
Something approaches at a slow shuffle, gray in the gray light: porcupine. He threads the thistle patch, squeezes under the porch.

2008 (November 27)
That drum so low it sounds as if it’s in your head? A ruffed grouse, beating the air with its wings like one hand clapping. Or so they say.

2009 (November 26)
As if giving thanks, the thin, wavering call of a white-throated sparrow. The dawn sky half-cloud, half-clear. A distant owl.

2010 (November 25)
Steady rain, and the temperature just two degrees above freezing. In the herb bed, the pale blue wheel of a blossom on the invasive myrtle.

Postprandial

The feast: more than a meal, it’s flesh at its most opulent surrounded by a nimbus of starches and sweets, by anticipation and ceremony, by cacophony and prayer. If fast is a holding firm, feast is a letting go — but no less a ritual for that. Certain foods must be served in a set order. Belts must be loosened along with inhibitions. First the table must groan under the weight of the food, then the eaters must groan as they attempt to rise. The boundary between pleasure and pain must be breached — especially on a feast of thanksgiving. You can say grace before any meal, but Thanksgiving’s mandatory excess imparts a visceral understanding of the cost of consumption: something has to die that we may live.

Walking it off
through the night & fog
the dazzle of home

Woodrat Podcast 29: Hannah Stephenson on blogging, fashion and poetry

Burden, by Samantha Hahn, and Hannah Stephenson portrait by Marcos Armstrong
'Burden' by Samantha Hahn, and Hannah Stephenson portrait by Marcos Armstrong

Hannah Stephenson has been blogging a new poem every weekday since July 2008, recently posting her 600th poem at The Storialist. She’s also active on Facebook and Twitter, records and uploads songs to SoundCloud, reads and comments widely on other blogs, and has just completed a full-length manuscript of poetry called Guided Tours, in addition to her work as a college writing instructor and freelance editorial consultant. Bascially, I wanted to know how the hell she does it. I also wanted to learn more about the connection between poetry and fashion photography, her original inspiration at The Storialist.

In the course of the conversation, I got her to read a few poems, too. Here are the links if you’d like to follow along:

Podcast feed | Subscribe in iTunes

Thanks to Samantha Hahn (see larger version of “Burden”) and Marcos Armstrong for the images. Theme music: “Le grand sequoia,” by Innvivo (Creative Commons Attribution-Noncommercial-Share Alike licence)

Silly

On my kitchen counter, I had a jar of dark honey and a jar of light honey. The dark was wildflower, and the light, I believe, came from the beekeeper’s yard full of blueberries, or perhaps from some basswood trees on the mountain behind him. For unlike clover honey, which is also light but generic in taste, this honey was delicious — far superior to the wildflower. When it diminished to the point where my spoon couldn’t reach it, I heated and poured it into the smaller jar of dark honey. Earth, meet sky, I thought. But by the next morning, they had switched places: the light was on the bottom and the dark on top, with only a slight blurring where they met.

Without bees, how would we ever learn what flowers taste like? Without children, how would we remember the way the world looked before it grew tangled and thick? Yesterday, my five-year-old niece was flopping around on her back on the kitchen floor, trying to trip me as I plodded back and forth between stove and counter. Out of the blue, she said, “You know what, Uncle Dave? You’ll never get married to anybody because you’re too silly!” It almost made me laugh, but being a grownup, I was careful to keep my smile safely hidden behind my beard. Stepping high to avoid her, I carried a hot saucepan over to the sink, thinking of John Cleese’s most famous skit and the occasional, absolute necessity of silly walks.

The Starlings

This entry is part 24 of 37 in the series Bridge to Nowhere: poems at mid-life

Today was no longer fall, but fly,
with high winds & a fast
traffic of clouds. Now that
it’s almost still, the birds are making
strange noises in their sleep,
like fragments of car alarms,
& I remember the forest floor startling up
on iridescent wings & streaming
through the branches, a rush
hour crowd, & the dark road
they unfurled across the sky.

Voice Alpha

I’ve been roped into invited to become a contributing author at Nic S.’s new companion site to Whale Sound called Voice Alpha, “a repository for thoughts, theories, suggestions, likes and dislikes and anything else related to the art and science of reading poetry aloud for an audience.”

The idea came out of our conversation last week, though I didn’t expect Nic to jump on it right away! But jump she has, and I am only the first of what I hope will be a whole posse of regular contributors. Check out in particular “Why don’t they teach us to read & What makes a poetry reading fail?” and “On looking (or not) at your audience when you read poetry.” If you have any reflections on the art of reading poetry, either as reader or as audience, we’d love to hear from you.

Sniper

I want what we all want: the past in its own house & enough trees to hold up the sky. But in my dreams, going out only means going farther in. One night I’m a sniper. My target appears to be a normal, middle-aged woman, but my instructions say that she is a danger to us all. I pull the trigger on my noiseless gun & a small red hole appears in her forehead. She continues talking as if nothing happened, so I enlarge the hole with a second bullet. As her body crumples, I feel more and more certain that I did the right thing. Soon I am feverish with rectitude.

Not all bad dreams are nightmares; this one stays with me for hours after I wake. It plays over & over in my imagination like a video game with only one outcome: sight target, aim, fire, see a red eye blaze open. Turn to ash.

How I stopped smoking

I realized the other day it’s been ten years since I stopped smoking. Notice I didn’t say quit. I never quit; I just stopped. I can have another cigarette anytime I want! I just don’t want to at the moment.

Quitting smoking: even now the thought fills me dread. Never again to open a can of loose tobacco, take a deep breath of the fragrant leaf, and lay a pencil-thick plug of it in the rolling paper! Never to roll it back and forth to pack it, then twist it up tight and seal it with a fast lick, like the peck on the cheek that devoted husbands used to give their wives on the way out the door! Never to strike a match in the dark and touch it to the paper and listen to the crackle as it catches! Never to take that first delicious lungful of smoke and blow it out through the nostrils like a dragon! Never to watch the ash grow like gray finger, pull the glowing ember close to my lips and stub it out just before contact! How utterly desolate I’d feel to think I could never again indulge in these beloved rituals. That’s the kind of desolation, my friends, that only a cigarette can heal. So it’s best never to quit, simply to stop. Besides, what kind of lily-livered coward quits something just because it might kill you?

So why did I stop? Mostly, just to see if I could. Oh sure, there were lots of other reasons, my personal finances chief among them. I liked to walk, and it bothered me how out-of-breath I’d become. I hated to make my parents worry. I didn’t like thinking of myself as a kind of slave. All of these made dandy rationalizations after the fact, and provided all the ingredients I’d have needed to shape the narrative of my smoking cessation into a morality tale to prove my superiority over those who still smoked, if I’d chosen to follow the typical quitter’s path.

But the fact is, I’d been smoking for 14 years, to the point where it had become deeply integrated with my lifestyle and self-image, and I was curious to see what life without it might be like. Always an idealist, I loved how smoking could create a semi-sacred space within the most quotidian stretches of time, how it both symbolized and enacted not merely relaxation but escape. No matter how bleak your circumstances — say, sleepless, cold and miserable on the third day of a backpacking trip gone wrong — hey, you could always have a smoke.

I loved that, and I’m glad it’s still an option. Once in a rare while, maybe once or twice a year, I do have a smoke, but in recent years the experience hasn’t borne much resemblance to the way I remember it. It doesn’t taste very good, for one thing, and I’m ready for it to be over before the cigarette is even half gone. Also, factory cigarettes were never very good in the first place, but that’s almost always what’s on offer. Sometimes I position myself downwind of smokers, and it smells good to me in the same way that wood smoke smells good, but other times I catch a whiff of second-hand smoke and am repelled. It depends on my mood, I guess.

I remember the dysphoria that accompanied my physical weaning from nicotine, and how — being a bit of a masochist — I managed to fool myself into thinking that it was almost like a kind of trip. I was house-sitting for my parents for two weeks while they vacationed in New Mexico, nobody was around, so I have no idea whether I would’ve been short-tempered or not. I just remember shuffling around the fields and woods looking at things through a haze and going “wow.” And since it was the latter half of October and my refrigerator was full of apples, I didn’t have to look far to find something else to put in my mouth.

I remember being curious about what I would do to punctuate those long, empty stretches — or rather, the one long empty stretch I imagined my life would become if I stopped smoking. It took two or three years for the feeling that something was missing to go away. Now I have the opposite problem: chronic contentment. This is a dangerous condition for a poet or artist, or really anyone who would like to, you know, accomplish things. But at least it’s not life-threatening.