Lines in response to Ren Powell’s Mercy Island

Mercy Island by Ren PowellThis is the third of four books that Kristin Berkey-Abbott and I are encouraging others to also read and blog about this month. (You can order from the publisher before the end of the month and receive 15% off.) Send me the link to your blog post and I’ll update to include it. Posts so far include:

Rachel Barenblat @ Velveteen Rabbi: “Ren Powell’s Mercy Island”

Carolee Sherwood: “reading mercy island by ren powell”

Writing Our Way Home blog: “An interview with poet Ren Powell”

Kristin Berkey-Abbott: “Holy Week Readings of ‘Mercy Island’ by Ren Powell”

Deb Scott @ Stoney Moss: “Reading Mercy Island”

Dorothee Lang @ Daily s-Press: “Mercy Island – Ren Powell (Phoenicia)”

What follows is most emphatically not a review; some of these lines relate only tangentially to Ren’s poems (which is why I don’t name the poems). But obviously it isn’t every book that so moves me to write and to remember.

(p. 1) The head of state, polished to a high sheen, is not the kind of god to submit to questioning.

(2) I remember $24.95 in saved allowance, dimes & quarters stacked on the counter of the camera store in exchange for that black box, my Instamatic! And taking a photo of my shadow beside the pigs.

(3) Grandma had a slingshot she used on the guinea fowl, those perpetually agitated gray commas.

(4) When Elvis died, I knew it was because he had maligned the innocent hounds.

(6) Going home from the pet store, the goldfish on the back seat beside me vibrated in its plastic bag of water. Three days later, it died of loneliness.

(7) The brutal screwing of Muscovy ducks in a muddy ditch was my introduction to reproduction: The enormous male crushing the female, pushing her head under the water, threading her with a white rope.

(8-9) I hated everything about shooting groundhogs, especially when their big soft bodies slid off the shovel or when, wounded, they escaped a second shot.

(11) Starting to drown in the ocean, that second or two of great silence under the waves — yet another project I didn’t finish.

(12) Out of all the days I’ve lived in blessed doubt, the two when I flirted with certainty were enough to make me burn forever.

(13) Behind the barn, behind the barn! The place where chicken-killing dogs were shot. There alone we could curse to our heart’s content.

(15) I measure my life in generations of 17-year cicadas, Brood X. I was 9 the first time. In a jar at the back of a drawer, I still have one or two of those transparent shells with exit wounds in lieu of wings.

(16) Clowning in the lunch room, he pulled the neck of a turtleneck shirt up over his head & in a matter of moments earned the nickname that would follow him to the grave.

(18) My brother yelled “copperhead!” when my foot was in mid-air & I launched into flight. That evening we found the reason why it couldn’t move, its shed skin.

(20) I once paid a statue to talk. She was loud with rust.

(21) In one well we had what we called a mudpuppy, but it was only a newt.

(22) Whoever invented the kaleidoscope must’ve had a childhood like mine: no TV, no visits to amusement parks, plenty of time to look at each odd thing from every angle.

(23) In the 4th Grade I learned that the body is made up of rooms too small to see. I was a city! And there were whole districts that never slept.

(24) We brought one runner sled, red as a red wagon, down with us from Maine in our red VW bus. In summer, we built mazes of tunnels through the tall grass.

(26) Our sky was narrow but dark then. I used to feel sorry for the light of distant stars that had been traveling so long just to enter my eye.

(27) The only thing about highways I didn’t hate was the shimmering water that wasn’t there, what it taught me about thirst.

(28) We had roosters, so our breakfast eggs were always fertile. I dreamt of chicks hatching in my stomach.

(29) Escaped garden plants have taken over half the forest. A curse is nothing but a blessing turned feral.

(30) If a bachelor dreams hard enough, he can give birth to a migraine.

(32) She left a letter with the stain of a dead centipede & several promises.

(34) Ah, romance. I remember corn silk, the wet trail of a slug.

(35) I remember scraping the roosts, nostrils burning with ammonia, and that big black rubber tub bulging with chickenshit.

(36) Feathers falling from the sky are commonplace. What seems incredible now is that Grandpa actually took up arms against a hawk. But Bontas must’ve all been like that once. We drank, we gambled, we owned other human beings, we shot hawks out of the sky.

(41) I was a gardener of little faith. When seedlings came up, I was astonished. I couldn’t bear to thin.

(43) The back of a shy man’s neck is red from scratching. You wouldn’t guess how I know.

(44) We keep calling them mountains, these hills, in the hope they’ll outgrow us.

(46) Birds from the tropics fly here every year to sing. Also to make new birds, yes — & teach them the songs they never sing in the tropics.

(47) Surely the near eradication of lice and fleas on humans has done our species a great disservice. Books & scrolls are a poor substitute for that daily close reading of each other’s primary texts.

(49) I learned early how to hold my breath: at the conference about my unruly behavior, the exophthalmic teacher waiting for me to speak. Strapped in for the orthodontist whose fat fingers tasted like garlic.

(52) Missing for most of my life, I remember being stoned and present for a mother who placed my hand on her child’s bare belly to feel the sickness — blood flukes, perhaps? — like a burl on a tree. I showed her my wallet, already emptied for other mendicants, & said nothing about the belt full of bills against my skin.

(53) We just can’t help stealing each other’s souls.

(54) No sane person looks forward to a trip. I look forward to having traveled.

(55) I miss the two or three male friends I used to open up to, our shared vulnerability over open beers, the layers of blue smoke that wreathed our heads.

(57) You might not believe it, but the part of a woman’s body I most miss touching is the back, below the shoulder blades & above the hips, that flat pastureland with its single ridge.

(58) Tiger beetles anywhere in the world turn my older brother into a predatory beast, one who stiffens, crouches, springs.

(60) That the wind signed its name on our fingertips before we were born — well, I call it wind. Some impersonal force random enough to convey uniqueness.

(63) The idea of the Sahara: not the shadow of civilization but its impact crater.

(64) I used to trace veins of quartz in the local bedrock; now it’s threads of moss that draw my eye. I have left off believing in heaven even as a metaphor. I am homesick for earth.

(65) Night/soil.

(66) Only nonsense can save us now.

(67-68) Garlic & mint, mint & garlic: I would join any church that had that for a catechism.

(69) The trailer where we went one by one for IQ testing at the age of six smelled of new machines & fear. I remember being told I could watch myself on television — a closed-circuit TV, but I didn’t know that. The dim realization that fun was being had at my expense.

(70) The Flavored Nuts sign — conveniently posted at shoulder level — remained a site for teenaged pilgrimage long after the factory closed and cloying smells stopped emanating from its windows.

(75) Like a single Roman letter stretching into a cursive sentence, the great blue heron launched into flight.

(76) Do peaches float? I feel I should know this, I who once publicly embarrassed the author of a book called Stones Don’t Float with a piece of pumice.

(77) A mother grouse doing the injured-wing act led me to the edge of a near-cliff. I wanted to see just what malice she harbored in her speckled breast.

(79) There’s a desert under my floor where rain hasn’t fallen in 150 years — it’s dry as the Atacama. A strange hairy people live there. I hear them thumping rhythmically and moaning now & then.

(80) Grandma was the only person I’ve ever helped bury. She was anti-religious & unsentimental and wanted to be cremated. It still felt awkward to tamp down the soil, hopping on her grave in tight funeral shoes.

(83) Across the gulf of puberty I catch only the faintest echo now of my childhood misery. I wonder though if my frequent, public self-baring wasn’t essential training for the vocation of poet.

(86-87) In a world with lichen in it, nothing is lost. The fungi are farmers, pioneering the most desolate faces of rock.

Dear season of hesitant but clearing light,

This entry is part 32 of 92 in the series Morning Porch Poems: Spring 2011

 

I see a trace of moon yet, though morning
is fully on its way. What flutters through
the screens of bamboo as if on the strains
of a highland flute? I love those times
when the body has not completely left
what embraced it last; when coming
down the stairs it glances back at the bed
where it lay, reviewing the rousing
and the gathering up of things, the lingering
farewell; unlatching doors, going out
and walking past the jasmine bushes just
starting to put out their little stars.

 

In response to an entry from the Morning Porch.

Prescription

Like a bird swallowing pebbles to add to its bag of teeth, I am taking my dosage, a series of small disasters. The imbricated scales of a woman with the skin of a snake whisper against my fur, my lucky foot. I must save her from the clay-thick blade of the hoe. Her tongue is a verb, her belly is a burial mound, her knuckles are soft as the heads of plush dolls. She sets a trap for the sun, which wants nothing more than an eyelid it can close. Any jar will do and any minced knob of ginger. Rain from the nearest cloud. No honey, or the buds will burst into leaf, and what would you do then, oh walking stick?

Ersatz Anatomy by Steven Sherrill

Ersatz Anatomy cover“I hope you find some poems you like in here,” Steve wrote on the cover letter when he sent me the book last November (he’d read a few of the poems on the Woodrat Podcast the previous March and knew of my interest). I quote this because I fancy it says something about his ambitions for his poetry: not necessarily to please all the people (or at least the small subset of people who read poetry) all the time. It might also be a good strategy in general for poets sending out review copies to lower the expectations of reviewers. It worked for me: for every poem that made me say “Huh?” there were at least two others that found me penciling underlines or exclamation points.

It might be interesting sometime to do a comparative study of bestselling novelists’ poetry. I suspect quite a few would choose, as Sherrill has in many of these poems, to regularly confound readers’ expectations with fractured clichés, inconsistent punctuation, willfully obscure references and abundant blasphemy and absurdism. Who but a novelist would write “Our attempts at omniscience comfort me” (“Real Estate”) or “In the Book of Hours/ this moment is denied” (“Why He Wants to Paint the Gate Red”)?

The ordinary reader wants to know what a book is about. Another reviewer resorted to arithmetic to show that Sherrill’s main subject is desire:

The poems in Steven Sherrill’s Ersatz Anatomy use the words “want,” “need,” “desire,” “longing,” and “yearn” 74 times. Those words appear at least once in 36 of the volume’s 74 poems, clearly suggesting that desire is the primary subject of this poetic inquiry.

I’m not going to count them, but I’ll bet there are almost as many references to faith, religion, or God. Like many professed atheists, Sherrill never seems to get tired of arguing with God. His “Psalm of the Malcontent,” for example, contains these memorable lines:

God of the taut larynx, taught— homonym. God
of all that bids me to speak. My question is this:
is it possible that God on the Seventh Day did not
rest, that God instead broke down— terrified?

Even poems not explicitly about religion seem to have been infiltrated by a certain Biblical consciousness — must be Sherrill’s Southern upbringing. Allow me to quote a favorite poem in its entirety:

Hocus Pocus

Deuteroscopy: a thing seen only
on second glance. Take for instance
the dung beetle charading as his heart.
See how the hard gray shell goes red
and pulses softly for your sake.

Some days he can eat the whole Sunday paper
one letter at a time. Other days
the paper eats him. Here is the secret
he cannot let slip: there is an abacus
where his soul should be.
Put your ear to his belly. The incessant
Tick tick ticking will drive you mad.

Replacing the heart with a gold dung beetle was part of the funerary rites of the ancient Egyptians. I didn’t pick up on the allusion until my second reading, appropriately enough.

Somewhere in these 120 pages — I’ve lost the reference — Sherrill (or his narrator) claims not to like nature poetry. If true, I’d say he dislikes it the same way he dislikes religion: the book is chock-full of evocations of nature and landscape. Picking a few almost at random:

Like
the rapture of okra once you succumb
Like the mud dauber’s spastic black dance.
(“Literalist at the Altar”)

Above stratus, above nimbus
Maker and made are the same
Birth, death, and all the other little ecstasies
Occur between wing beats
(“Geese at 9000 Feet”)

I mourn for the alewives
Dead or foundered by the thousands
Scattered in the sand like forgotten parentheses
Rung from the belly of Lake Michigan
Rung by the incessant honesty of Spring
I mourn for their spines at the shore the sun
Climbing nowhere
(“Mosaic”)

Bird delineates its day
with bush, fence line, branch and stone.
How obvious my thick snout
my muddy hooves must appear.
Of your penciled nights’ endless

black acres, I know little.
(“Preamble to the Treatise on Desire”)

The leaves are falling in Pennsylvania
Rothko’s color fields, those luminous
prayers, are fading. My sweet daughter grows.
The bowl is a vessel; fill it or not
Listen. I have nine syllables left
I offer them all to the mountain.
(“Anatomy Lessons”)

Yeah, so I’m finding a lot to like here. Lines that seemed obscure on first reading are revealing a method to their madness. Song-like elements are beginning to emerge from poems I initially read as deranged prose. I don’t personally resonate with Sherrill’s intense and obsessive exploration of sexual desire — not like I did with Diane Lockward’s poems of culinary desire, for example — but I found something to admire on almost every page. I mean, how can you not love a poem titled “Treatise on Desire” that features a grackle flying over a snowy field? It concludes with a seeming aside to the slumming novelist, the storyteller who has done his best to untell stories:

Black

flies the grackle over snowy ground
Tell me a story of the air
between them: glacial, pernicious, buoyant

Le Déjeuner sur l’herbe

This entry is part 31 of 92 in the series Morning Porch Poems: Spring 2011

 

Who ordered rain? Who ordered tea?
Order ham and croissants, bubbly with cheese.
Order sheets of fondant. Practice French.
Say tuileries, say pamplemousse.
Tuck your hair behind your ear, pick up
your fork, don your bib. Pick up the hot
crust with your fingers. Don’t eat like a bird.
Don’t you love ribs? Hand me a plum.
What’s that wrapped in paper?
Who heard? The leaves are buzzing
with news of the world.

 

In response to an entry from the Morning Porch.

Woodrat Podcast 37: Luisa A. Igloria

Luisa A. Igloria and her recent books

Luisa A. Igloria, currently a daily contributor to Via Negativa, joins me and Kristin Berkey-Abbott as our second guest in Via Negativa’s informal Poetry Month book club for a discussion of (among other things) her next-to-most recent volume, Trill & Mordent — see response posts by Kristin, Dale Favier, and Rachel Barenblat, as well as my own.

Luisa’s presence on the web is a little diffuse, but do check out her official website (especially the page, “Why Lizards?” — a topic which Kristin and I tragically forgot to ask about), her Blogspot blog, her photo blog, and her Twitter stream, as well as her Wikipedia page and the page for ODU’s MFA Creative Writing program, which she administers.

Podcast feed | Subscribe in iTunes

Theme music: “Le grand sequoia,” by Innvivo (Creative Commons Attribution-Noncommercial-Share Alike licence).

Territories

This entry is part 30 of 92 in the series Morning Porch Poems: Spring 2011

 

At a Mexican taqueria with my ten-year-old for lunch: the walls are vivid maize and papaya slashed with green. A family of clay lizards slithers cobalt and lime up the walls: What is poetry? I ask them, because a student has just come to me confessing he has discovered, after all, his poet’s heart. For a while, he was unsure about this territory. They don’t say anything, of course; they merely suspend against the stucco, cool in the noonday haze. If a petal from the forsythia in bloom at the edge of the woods drifts into the dog dish on the porch, what is its first country? In Latin, territorium means land of jurisdiction; with roots possibly deriving from terrere, to frighten. Somewhere the forsythia erupts in arches of yellow flame. Somewhere just beyond the border of my hearing, birds spar in the language of trills. Which one is the homely sibling? There is beauty, and there is work. When the sentinels look away, there is the catch in the throat, an opening yielding words that flutter like flags of secret or undiscovered countries.

 

In response to an entry from the Morning Porch.

An Eye Fluent in Gray by Gabriel Welsch

An Eye Fluent in Gray coverThe power went out this morning and stayed out most of the day, giving me an enforced Sabbath. I went for a walk, shot some video footage of goldfinches in the budding crabapple tree, and at one point this afternoon actually wrote a poem with pen and paper, using my old clipboard. And I extended my poetry-book-a-day pattern a little by reading long sections of a couple of other books before settling on this one. For whatever reason, Welsch’s somber, resonant voice was a perfect match for my mood today, reading in my strangely quiet living room with none of the usual electronic hums or furnace rumblings.

I first read An Eye Fluent in Gray last November, which was maybe a little too much of a good thing since a number of the poems in the book are set in November in Central Pennsylvania (Gabe lives not too far away from me). In general, I share his fondness both for the color gray and the month of November — the latter especially from half a year away. The title of the chap comes from the third poem, “Life in the Northeast, on a Line from Stevens,” which begins:

One must have a mind of winter
and an eye fluent in gray,
ears conversant in the sting
of slowed blood, in the many ways
to hear snow fall.

Welsch has an eye for the run-down, the worn-out, the spare, the harsh and the barren — kind of the Japanese wabi-sabi aesthetic translated into rural Pennsylvanian. This is evident even in the two more summery poems that begin the book, the first focusing on “The Oldest Roller Coaster in the World”—

the whole structure lurched
and groaned, as boards popped out
of their joints and snapped back, as metal
whined with strained age…

—and the second, “Black Raspberry Picking by Route 26, Centre County, Pennsylvania,” musing on the recent discovery of a murdered girl not far from the berry patch.

We wanted enough for a pie. Near dark,
fireflies haunted the woods’ edge by the ponds—
scummy effluvium of the water treatment plant,
the backwash of town edged in raspberries.

Welsch writes feelingly both of deer and of deer hunters, and he rarely seems to lose track of our basic mammalian identity. I was struck by this description of a Christmas caroler from “Ave Maria Outside a Small-Town Diner”:

The power of her throat, the creamy
length her voice implies, the purity
of her sound and its prayer:
everything sacred is of the body—

spirit moves muscle, shapes the eyes,
faith lives in the spark of a brain fed
on the lush fat of the blood
and a body’s cache of longing.

But in “Lovely, Dark and Deep,” the narrator expresses skepticism about his felt connection with white-tailed deer:

To meet their gaze, or to think

we’ve met their gaze, to stare back
as they question a windshield,
all that runs through a mind
seduced by the thought of connection.
As if, because we are both born in blood
and both wear hair, because we both
have time behind us watching woods
stir and darken, we invent
what we see.

Welsch places the poems referencing Stevens and Frost on facing pages, then follows with “What the Deaf Boy Heard” (text available on the publisher’s page; audio at Whale Sound) — one of several poems where listening plays a central role.

These are tough poems, all the more so because of their accessibility. The image I can’t get out of my head comes from “Route 422, Cambria County, Pennsylvania”: the state historical marker for the birthplace of another Pennsylvania poet, Malcolm Cowley, turned into a target for passing motorists:

you hear men
throw bottles at the sign, and the skitter of glass,
dainty as a chime.

Yeah, that sounds about right. As the poem says a few stanzas earlier, “This place … reinvents darkness every night.”

Seven Kitchens Press is offering free shipping on all titles this month. Click on the book cover image above to order this one.

*

I’m reading a book a day for Poetry Month, but I’m also hoping some folks will join me and fellow poet-blogger Kristin Berkey-Abbott to read just four of those books. Details here.

Letter to Fortune

This entry is part 29 of 92 in the series Morning Porch Poems: Spring 2011

 

Dear hand that shakes the cup
and rolls the dice out on the table,
what is the luck of the draw today?
The trees stir their bagfuls of newly-
minted green. Somewhere, water tinkles
like silver. Even the hairs on your chest
are brushed with copper. Put on your crisp
white shirt, snap on your black bow tie, do
up your cummerbund and tails; and deal.
I never said I’d stopped playing. High winds
rearrange the clouds, having learned too
about this game of chance: your turn now
to guess which one is hiding the sun.

 

In response to an entry from the Morning Porch.

Forever Will End on Thursday by Nic S.

Forever Will End On ThursdayReading a book of poetry a day gets easier the longer I do it. It’s writing about it that’s a challenge — like dancing about architecture, as somebody or another said about the closely related task of reviewing music. This is especially true of poetry as musical, enigmatic and utterly captivating as Nic S.’s. It doesn’t help that my lit-crit vocabulary is woefully impoverished. And it’s especially embarrassing to be reduced to near-incoherence in my admiration for the poetry of someone I actually know pretty well online. Surely I owe it to Nic, who’s given so much to the online poetry community over the past few years, to write something. Especially since I can’t dance.

Reading the book was an absorbing experience. I listened to the audio-book version read by Nic and followed along in the print version, which worked pretty well, except for the fact that Nic went too fast — I had to pause the recording after almost every poem for five to ten seconds to let it sink in. Perhaps I would’ve done better just to read the poems one by one on the website and click the individual audio players for each, but I find light text on a dark background too much of an eye-strain.

So why do I like these poems so much? For one thing, because I don’t understand them fully, in the same way I don’t expect to understand a folktale from another culture, but can appreciate its authenticity and utter originality. Nic’s poems are every bit as spacious and surreal as Howie Good’s, but are less dark — or at least their darknesses are more Rilkean. And whereas yesterday’s book — The Doors of the Body by Mary Alexandra Agner — re-worked traditional and sacred tales from a modern perspective, Nic’s project here is almost the opposite: making new myths in the ancient mold, or the beginnings of myths. There’s a soil maiden, a charcoal man, a baobab girl, and a man who marries a great cat. There are “places of happiness” on five continents where the land acts as matchmaker. Naming plays a central role in many of the poems; words have genuine power here, whether to invoke, bless or curse, which is what makes the absence of obvious interpretations for many of the poems so tolerable, at least for me. I am of course aware that for many readers of a more postmodern bent, poems of enchantment are automatically suspect, and Nic seems to anticipate that reaction, too, in poems such as “we have no need of prophets” and “poem for mother’s day“:

you ask why
I write of budding
spring and rising

sap would you rather I wrote
of razor wire and cold
scrubland

mother
the chiseled ivory of your sleeping
face your paper eyelids gliding

shut like
bricks in the wall
of your sleeping

face mother the deep miles
of night sky with no moon

One poem seems to describe some sort of political activist. As with most of the poems in the book, the language keeps luring me back to re-read it until I think I have a pretty firm idea of what it’s about, but who’d want to be sure? See what you think:

underlie

what is it like living with your body
splayed your whole body
spread tense up to the thin wires
of your brown hair the all of you threaded
through the squirming loam
the itching seas of this
planet

a stick figure with pigtails and
squeaky voice runs back and forth
across your muscle across all your pitched
nerve calling in from Zinguinchor from
Dili blogging from Cali from
Baghdad exploding in chipmunk
outrage in small burning
agony

and you
keep the position taken swaying
like the first like the only
hammock

A thoroughly modern subject there, perhaps, but what I find especially attractive are the animistic elements: that squirming loam, those itching seas, even the thin wires and animated stick figure in which I recognize a bit of myself. This is the kind of book that makes me want to seek deeper and more meaningful connections to the earth. It may seem strange to say about a book whose availability in multiple electronic formats is one of its selling points, but after reading Forever Will End on Thursday, I wanted nothing more than to leave the computer and go for a walk in the rain-drenched woods. And so I did.

I’m reading a book a day for Poetry Month, but I’m also hoping some folks will join me and fellow poet-blogger Kristin Berkey-Abbott to read just four of those books. Details here.