A sign at the Asian grocery:
White Coconuts $2.95.
As if to reassure you
buy the sweet white flesh
there, intact
beneath the green exocarp,
the dense middle, the hard
woody layer
enclosing the seed—
In that scene from Minari,
there are no actual coconuts
where Jacob persuades the greengrocer
to buy produce from him.
There are most likely packets
of dry noodles, bottles of gochujang
sauce, barley tea, foil-wrapped
snacks. Bok choy
and daikon.
Back on the farm
grandmother walking
sets the shed on fire.
There is no rind or layer
to the hungry flames that lick
at all the fruit stacked
lovingly in crates.
In the morning,
white ashes on the ground
under which the water,
so difficult to woo in this land,
winds its selfish way.
A coconut, and all drupes, have three layers: the exocarp (outer layer), the mesocarp (fleshy middle layer), and the endocarp (hard, woody layer that surrounds the seed).
Poetry Blog Digest 2021, Week 16
A personal selection of posts from the Poetry Blogging Network and beyond. Although I tend to quote my favorite bits, please do click through and read the whole posts.
Earth Day was this past week, and as cynical as I’ve become about that, what with rampant corporate greenwashing, making everything about consumer behavior rather than policy solutions, etc., I was surprised and pleased by the variety of off-beat and genuinely insightful perspectives I encountered in the poetry blogs. As usual with themed editions of the digest, however, there’s also plenty of interesting miscellaneous stuff toward the end. Enjoy.
The hand knows the pen, and greets it the way old friends do when they meet by accident on the street. The paper is there, waiting. The afternoon gets very quiet, and waits with the kind of patience that one sees in the elderly. An anxious excitement hangs in the air. Dust mites are watching as if they know, as if they understand. It is almost time. In a moment, the poem will begin.
James Lee Jobe, Truth? Sometimes. Not always.
The old masters were never wrong—
Christine Klocek-Lim, How to survive in an apocalypse
Auden knew this. Bruegel, too, understood
our worry: that all wars are plagues.
That plagues are endemic to the human condition.
And when the dead rise, there are those
who don’t even notice.
I’m wary of calls for unity. It’s not that I’m cynical (maybe a little), and I’ve certainly been idealistic in my time; but long experience and lots of stories and histories and my father’s background in how people behave in groups have led to feeling circumspect about unity. It works with people, yes, but it also leads to the worst aspects of tribalism. To the fostering of rigid ideologies. To acts against outliers, to the construct of evil Others. […]
For myself, I choose diversity. The earth manages its diversity wonderfully, even when human beings thwart it. Milkweed seeds and thistle find their ways into monoculture cornfields. Plants and insects gradually populate the rubble we make.
When circumstances keep me in a tribe-like bubble, I read books and poems that show me other perspectives, other climes, other social cultures, cities, classes, geographies–other histories than my own. I find ways to explore, in person or virtually, artwork and film work, drama, music, and dances from places I may never visit but without which I would be less attuned to the World. To its wonders, which are many. Insert here, instead of a unified goal all people “should” achieve, Whitman’s “Kosmos” or Hopkins’ “Pied Beauty” with its line “All things counter, original, spare, strange;” or, more contemporary, Vievee Francis’ glorious “Another Antipastoral” that states:
Don’t you see? I am shedding my skins. I am a paper hive, a wolf spider,
Ann E. Michael, Wary of unity
the creeping ivy, the ache of a birch, a heifer, a doc.
Lately I’ve been thinking about foxes. While walking my dog Red through the neighborhood, we saw (or smelled from Red’s point of view) a fox sunning itself in the middle of the street with a carefree attitude. It lifted its hind leg to scratch an ear as we approached. The mail carrier driving by said he sees that fox and others regularly in different parts of the neighborhood.
A large tract of farmland adjacent to our suburban street was sold a few years ago. A sizable woodland was plowed over and turned into another subdivision, so many of the animals that used to live there have had to migrate. In the last week or so I’ve encountered, wild turkeys, coyotes, Canada geese, mallard ducks, and now, this fox.
Christine Swint, Foxes, Archetypes, and Escape
Woodpigeons hunch on the open fence
in the freezing wind and rain
despite you providing shelter.Woodpigeons perch on the gutters
Sue Ibrahim, Woodpigeons
and shit on the windows,
then fly off applauding themselves.
It’s in my next book, this place all fairy mounds and shifting beaver waterways, too apparently small to get lost in, yet every time, unpredictable tiny wild.
It’s the alive nature of risk, how even short and new paths suddenly turn bog, or turn left when the signs point right.
At the crossroads, sorrow to have to choose, again, one wrong over another. There should be a path unobstructed, somewhere.
Lacking that, there is just this that can only be enough for a short while already run too long.
JJS, The tiny wilds
I really like that phrase of Bob Horne’s…‘landscape made language’. It chimes with Macfarlane’s ‘landmarks’. Unconsciously, I hyphenate it. landscape-made-language. And also language-made-landscape. So much of Alison’s poetry is a poetry of place. A topological poetry if you like. Her landscape is particularly that of the watershed lands between the old textile towns of Yorkshire and Lancashire [2]; sour moorland tops, incut valleys full of canals and railway lines, and bridges. Old mills and dyeworks in small valleys, sometimes slightly sinister, gradually falling into dissolution; millponds and leats. Valley sides thick with sycamore and balsam.A layered, imbricated landscape, and one she knows intimately, about which she writes with what is often a textured precision. […]
Four years ago, while walking her dog in a familiar place, she slipped, broke her spine, almost drowned in a millpond, from which she somehow managed to drag herself, until she was found.
John Foggin, Catching up: Alison Lock’s “Lure”
On this Earth Day, I could have written about Iceland, where new earth is being born this very minute. But instead, here is a painting of an elemental landscape in Greece, one that’s probably existed in various forms for as long as human beings have gathered fruit from trees and fish from the sea: stony soil, an olive tree, the sea just beyond. If we listen, maybe we can hear the tinkle of bells on the collars of sheep and goats, herded into a hollow just beyond the picture frame… In Mexico, perhaps the olive would be replaced by some agaves. These are the sorts of natural and agricultural landscapes of basic sustainability that exist all over the world, which are threatened by climate change, and which we must protect.
As I painted and thought about these things, I enjoyed knowing that some of the pigments I was using came directly from the earth too, and that water — the most basic substance of all — was the medium in which they were dissolved. But the connections go far deeper than the food we eat, or the elements we use in our daily lives.
For instance, it’s iron that gives its red color to the earth that was at my feet in this picture, and there’s an iron molecule in the center of each hemoglobin molecule in our blood, which is why it appears red.
Most of the time, we don’t even think about these interconnections. But actually we are creatures of the earth, just as much as the old olive tree with its roots in the rocks: it’s true on the macro level of our interdependency for life itself, and it’s true on the micro level of the smallest cells in our bodies.
Beth Adams, A Greek Landscape for Earth Day
Something about the bird that dropped
Luisa A. Igloria, Epiphora
its feathers so it could remember
what it’s like to be naked in the mouth
of the world—Sometimes it mouthed
the shape of what sounded like love
or a kiss or a call. Even if it didn’t,
we had to forgive it for confusing
salt for sugar, for what dissolves easily
in foam. We stood without moving,
or learned to stop running away.
Still thinking about Earth Day.
I read an interesting blog post – and an interesting comment there about how humans cooperating with one another is the key to the success of our species.
I’ve been thinking. What is the measure of success here? That we’ve overpopulated the earth? Overwhelmed other species? Poisoned our own homes? Occasionally wiped out huge swathes of our fellow humans in the name of “good”?
And what is the time frame here? Will we be as successful as the horseshoe crab? The jellyfish? It longevity a criteria? Is it to literally be the last man standing when we’ve eviscerated the earth entirely to make plastic toys? When the world is quiet but for our own voices?
Ren Powell, The Success of Our Species
seedling of another species :: is the language that i speak
Grant Hackett [no title]
… looking out of the patio windows, the grass pale because it hasn’t rained, and earlier, a goldfinch picking away at the curly branches of the twisted hazel. A cool breeze lulls the pine in the neighbour’s garden, cone-tipped branches, the place where the magpie likes to hop about, serious and concentrating on his next big find – a blackbird’s or a sparrow’s egg – and there’s a house sparrow, dipping and sipping the water from the birdbath, freckling the patio with droplets…
self isolation
Julie Mellor, Self isolation
picking up a dead fly
by its wings
It’s Earth Day, and this morning I spent my early hours rereading Passings, 15 poems about extinct birds—a luminous, heartbreaking, award-winning collection of poems from Holly J. Hughes.
Passings was first published in 2016 by Expedition Press as a limited-edition letterpress chapbook. It garnered national attention in 2017 when it received an American Book Award from The Before Columbus Foundation. As Holly says in her acknowledgments, “fitting that a small letterpress, itself an endangered art form, would be honored.” More than fitting, richly deserved.
It is our great good fortune that in 2019, Passings was reprinted by Jill McCabe Johnson’s Wandering Aengus Press. Although the gratitudes are slightly expanded, it is essentially the same and available from the press, or your independent bookstore.
Bethany Reid, Holly Hughes: PASSINGS
In the meantime, I’m making plans for seminary housing. On campus housing is cheap and furnished. There’s also an option for intentional communal housing, but I’ve decided not to go that route. In my younger years, I’d have gone that route, but these days, I’m in a more monastic cell kind of mindset. This shift intrigues me. I’ve requested a one bedroom apartment.
Kristin Berkey-Abbott, Housing Options
I have a vision of arriving at seminary with my sourdough starter, some musical instruments, and my markers.
Yesterday we transplanted seedlings. We’ve been growing plants from seeds that we’ve collected from plants we’ve been growing. Everything I researched told me that we would not be able to grow milkweed from seeds, but we gave it a try, and now we have 30 seedlings. We did the same thing with peppers, cilantro, and dill. We’ll continue to house them as long as we can.
The future seems murky with possibilities.
Thumbing
Charlotte Hamrick, NaPoWriMo Day 20
through the old photo album I pause at that photo,
remember how my dad dug up the rose before
the old house was sold, replanted it in my
parents’ backyard. A few pages later
there it is, twirling over my parents’
porch, now only a picture in an
album. Gone from this earth,
like my grandparents,
like my mother,
one day,
like
me.
Even in the
Marilyn McCabe, The poet’s game: or, On Waiting
is-ness of all things—
snow doused rut,
bleak skeleton of blackberry—
there is a waiting:
water of what’s next,
small fist of intent.
Who can live in the moment
amid all this soon-to-be:
bud of laurel,
aspen’s catkin, thirst
of the dirt road?
Oh, moralizing culture! Since we have so little understanding of where we are, there will be endless pronouncements of where we are. Certainties about what we’ve learned from the pandemic, and prophetic images of our future. The more we don’t know, the more we must say. The more we shouldn’t say, the more we will. No good void goes unfilled. Enter a slogan.
Carpe Diem? It seems obviously capacious, which gives everyone room to pick bones. The dessicated twigs in front of the carved letters in the photo look like they hide a sarcophagus. Latin and Horace and Odes might overwhelm the swinging modern individualist, even if they agree with a misreading of “Seize the Day” as a consumer-ish urge to achieve personal triumph.Ideologues of a different stripe might battle the hedonistic “go for it” message, again misreading the more philosophic horticulturalish reminder to pluck and gather flowers at their moment. To pluck each day in its fullness.
So little can be said. It’s no wonder we keep at it.
Jill Pearlman, The Carpe Diem Dilemma
no one thrives in a factory
we need sun on our faces
& snow underfoota hundred miles
with the crockpot on low
& some beer in the fridgeup the mountain
write your name
down the mountain, cookthe drone circles the summit
Jason Crane, POEM: he lives in a van
captures his tiny image there
one arm raised, smiling
Stupidity fairly oozes from me, these days. Dull ignorance and prejudice. I grow brittle. I roam my little spaces and think my my old stupid thoughts. The sky is a little airless cap over my little airless neighborhood. I count, and count, and count: the number of breaths since I started trying to sleep; the seconds until I take my eggs off the stove, the eighths of inches my waist has grown or shrunk, the number of pull ups done today. Sometimes I count backwards: from thirty to zero, while I wait for the oximeter to stabilize its numbers. For the novelty and piquancy of it. That’s how large the sphere of my mental operations has become.
This is where some extravagant meditation on natural beauty is supposed to come in: some memory of Mt Hood seen over the railyards at sunset, or the glowing fume of a waterfall before it drops into the deep green shadow of the Columbia Gorge. Really? I’m going to address this stupidity with images borrowed from picture postcards? Is anyone disposed to believe in that? Certainly I’m not.
All right. So that’s my state of mind. And my body? My back is totally borked, as it has not been in years. I had thought I was done with that affliction, but here it is again. And it gives the lie to the dreams of immortality I’ve been indulging of late: dreams of becoming so very healthy, so lean and fit, fasted and refitted, that I simply never decay. Such nonsense. 9% life extension in female mice: that is not immortality, Mr Favier. That’s another couple years of being an elderly male primate. If it translates at all.
Dale Favier, Counting Backwards
These are mangoes of desperation,
PF Anderson, Mangoes
mangoes that were given promises
of eternal youth, but promises
were misleading at best, if not lies.
These are mangoes left to marinate
in the faint wishes of another
kind of life, wishes that sucked the life
right out of everything around them.
Still, this will have to be good enough
because these are the mangoes I have
here and now, and they are my dessert.
The disposable
line ask for
nothing.Write something
hard like rock
brought upby winter’s
heave, left
to warmin spring sun,
Tom Montag, THE DISPOSABLE
permanent,
mythic.
The lilacs are out on the island and are beginning to open on my deck. Lilacs make me giddy and stupid. Lilacs make me slather myself with fancy girl perfume and wear my tiara to the grocery store. Lilacs make me dance. Lilacs are the smooth rock hidden in my boot the secret to my creaky hips in the morning. I wanted nothing more than to be the famous Lilac Queen or one of the famous Lilac Princesses of Spokane when I was growing up. Of course I was not. I have grown weirdly nostalgic for the smell of city busses and lilacs in a vase or purloined lilacs in my arms. They grew everywhere when I was a girl. I thought they were wild flowers but they are in fact intentional. When I was a girl my stepfather told me that if I ever saw lilacs growing randomly in the woods or in some deserted old place it meant someone lived there once and loved there enough to plant those gorgeous flowers intentionally.
Rebecca Loudon, Pig and farm report
dry stonewalling
Jim Young [no title]
we move the stone Buddha
a blackbird visits
The man who sells magazines has the largest hands I’ve ever seen.
Keeps licking his fingers, fondling the pages. His tongue darts out,
then back in and my knees ache with spring. With the hinges in my haunches,
the feathers in my lungs. The whipoorwill spins on its weathervane
in every direction. What is desire, but a soft turning of every gear
in the body? The wrought interior, where the prism shatters with sun.
Kristy Bowen, napowrimo day no. 22
I’m fascinated by Fredericton-based poet Mary Germaine’s lyric scenes, displayed through her full-length debut, Congratulations, Rhododendrons (Toronto ON: House of Anansi Press, 2021). Congratulations, Rhododendrons is a collection of poems braided together from odd musings, recollections and observations, and long stretches of lyric that run out and across beyond the patterns of narrative sentence. Consider the title of the poem “The Look on Your Face When You Learn / They Make Antacids Out of Marble,” and its subsequent opening: “Who knows the name of the empire that took your arms, or the earthquake / that left you to drag your way, legless, to the top of the rubble.” Her perspective is delightfully odd and slightly skewed. Uniquely singular and refreshing, Germaine provides new life into the narrative-driven lyric. Consider, too, the title of the poem “Upon Hearing How Long It Takes a Plastic Bag to Break Down,” that includes: “”We built them to make it easy / to carry groceries, gym shoes, / shorelines, treetops, and dog shit. / And they do. And they will, until the end / of time, or the next five hundred years— / whichever comes first. I will be buried / and I’m not sorry some plastic will outstay / my appreciation of sunsets. I suspect even sunsets / will be garbage by then.” Or again, the poem “Every Poem Where I Have to Pee in It Is a Pastoral,” that includes: “This is why everyone hates nature: / nothing to buy out here. / Plenty to smell but nothing good to eat. / Nobody knows that better // than the night-browsers, riding the crooked / wheel of their shopping carts / up and down the laneways, perusing for / who knows, finding wire hangers.” I think it is safe to say that Germaine is writing some of the finest poem-titles I’ve seen in some time. They are remarkable for their evocative wit and slightly twisted humour.
rob mclennan, Mary Germaine, Congratulations, Rhododendrons
This morning I was looking through the National Trust news and came across the latest Spring initiative, #blossomwatch, in which they are asking people to photograph blossom (I think the official day for it is tomorrow) and flood our social media channels with gorgeous pink and white. I dutifully downloaded the PDF ‘information pack’ and in it found a poem written by Elizabeth-Jane Burnett in response to members of the public who had contributed their thoughts on Spring. I confess I’d not heard of Elizabeth-Jane, and a crowd-sourced poem doesn’t always bode well, but I absolutely loved it and found myself reading it several times and wanting to show people.
I can’t post the whole poem here, and the extracts on the NT site and here on the Guardian website (which tells the whole story of how it was written) don’t do it justice, as the beauty is (for me) how the poem builds and ends. So do download the ‘pack’ and read the full poem.
Robin Houghton, #Blossomwatch poem by Elizabeth-Jane Burnett
It was Earth Day this week. Last Earth Day, I planted an apple tree and cherry tree in my yard, and over the last year, we’ve faithfully watered, fertilized them, and kept the deer from eating them, and this year, we were rewarded with a few leaves and a couple of blossoms on each. This last year we planted a Strawberry Tree and another cherry (this time, a fruiting Rainier cherry) and we are watching them grow in containers on the back deck. The birds love them. All of the tulips are almost done blooming now – remember last weekend, they had just opened? It’s definitely been a week to celebrate that brief burst of bloom as much as possible, and attend to the garden, cutting back, planting, putting coffee grounds on the roses. Sometimes it’s time to plant, and sometimes it’s time to nurture what you’ve already planted. Maybe I should try this on myself!
Jeannine Hall Gailey, National Poetry Month, Lilacs, Apple Blossoms and Melancholy, Earth Day, Zoom Poetry Inspirations, and a Book Giveaway
A cat wants to be a Cadillac. A Cadillac wants to be a garbage truck.
A garbage truck wants to be a wet dream. A wet dream wants to be heaven.
Heaven wants to be a dive bar. A dive bar wants to be diamonds.
Diamonds want to be handfuls of dirt. Handfuls of dirt want to be thrown into graves.
Graves want to be winds. Winds want to be human. And humans forever want to be everything at once.
Rich Ferguson, The Chain of Want
This tool has a smooth handle, satisfying to the hand. There’s a burn mark from some long-ago scorching-hot stove. The iron twists and curls. It’s beautiful; I think in one of my early apartments I hung it on the kitchen wall as an ornament. Today it was the perfect tool for flipping pumpernickel bagels in their simmering bath before putting them in the oven to bake.
Learning to make bagels was one of the projects I planned for myself, imagining the long isolated pandemic winter. I baked loaf after loaf of rye bread, and soft golden challah almost every week. I kept putting off the bagel project. Maybe on a subconscious level I wanted to keep a treat for myself, something to look forward to in this year of solitude and grief.
But the winter is past. The snows are over and gone. Every day more people here become vaccinated. (Though in India, the pandemic is raging worse than ever…) Baking bagels today felt like an act of hope. I don’t need to defer the tiny sweetness of trying a new recipe lest I need that sweetness to get me through some other, worse, day than this.
Rachel Barenblat, Unanswered
Recently I was chatting with two poet friends, and we remarked on how we did enjoy rain in a poem.
Well, I feel the same way – actually, more so – about telephones.
Often, mentions of phones in poems can be immensely lonely and forlorn. There are of course famous examples. Philip Larkin’s ‘Aubade’ draws towards its wonderful close via:
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.Selima Hill’s ‘Cow’ has, in passing,
unscrupulous restaurant-owners
who stumble, pink-eyed, from stale beds
into a world of lobsters and warm telephonesI never seem to forget these insomniac glimpses / images. Both also feature (almost horribly) real, physical telephones – in work spaces left empty and dark at night. Phones ringing in our lonelier lives.
In Sarah Jackson’s poem ‘The Red Telephone’ a small boy’s enormous impulse to get through to his mother almost overcomes the insurmountable obstacle – that he has only a toy phone, ‘red plastic with a curly white cord’, with which to do so.
Charlotte Gann, MEANWHILE TELEPHONES CROUCH
As the book might say, it’s been a while, hasn’t it? As the book also might say, I have been away. Which is to say, right here, shuffling around the same square footage of study for the last eight months, just like everyone else.
What have I been up to? I can’t really say, except that I have been engaging with the process. Except it has been a pleasure to dive into real head space and not have to think about communicating publiclly with anyone. Except that I want to stay here a little longer.
How to put it? William Stafford once said that a writer is someone who ‘is not so much someone who has something to say as she is someone who has found a process that will bring about new things she would not have thought of if she had not started to say them.’ I love that. It’s long been a touchstone for me.
So the one thing I thought I was working on has turned out to be other things, or rather more things, and those things are requiring of me that I spend more time with them and by the same token less with you, here.
Anthony Wilson, Head. Space.
It’s been hard. Excellent visiting nurses came in daily for extremely painful and elaborate wound care, but meanwhile I was learning to keep a mostly-incapacitated elderly woman safe, clean, fed, hydrated, and as content as possible. She was very grateful to get home. From her bed or the nearby recliner, she was following the Chauvin trial and news of violence across the country; she was also interested in the “helicopter” on Mars and in Prince Phillip’s funeral procession. When a phlebotomist couldn’t find a vein, my mother slyly said, “It’s Prince Phillip’s fault,” although I don’t think anyone understood she was joking but me. When she slept, I read some news, a bit of a mystery novel, and a bit of social media. I’ve been able to do maybe an hour a day of my own work, but it’s hard to concentrate. Logistically and emotionally, there’s a lot going on. I started writing a poem a few days ago involving the strange in-betweenness of illness, the haunted noises my mother’s refrigerator makes during the middle of the night, and her repeated statement that someone was trying to get in the front door–maybe those three weirdnesses could hang together? Anyway, I was interrupted.
Lesley Wheeler, Diagnosis / verdict
Anecdotal Poetry. What does this term mean to you? In my experience, it’soften invoked disparagingly and dismissively by certain critics, reviewers and editors to describe work that seems to take a rooted place or experience as a point of departure. It’s used to imply the poems under scrutiny are somehow lacking in imagination and of less consequent artistic value than pieces that have been written via other approaches.
In fact, this perspective isn’t just a slight on the poetry in question, but also a misinterpretation of the very essence of the genre’s transformational powers. In summary, it encapsulates a wilful confusion of the nature of poetic truth, as if such poems were a simple relaying and portrayal of fact.
What term might be used in its place? Realist Poetry is useless, as it also imposes similar pigeonholing limits that are equally and intrinsically absurd. For example, surrealism is simmering away just under the surface in any decent so-called realist poem. On second thoughts, I’ll leave this last question to people who are obliged to answer it by academic demands and constraints…
Matthew Stewart, Anecdotal Poetry…?
The police often have a rather bombastic way of expressing themselves which is based upon demonstrating power via vocabulary and particularly via polysyllabic and longwinded effusions. However, if this is the means by which linguistic prestige and authority is gained, it’s misguided.
The poetry world isn’t that different. Both fields seem to have this general assumption that intelligence is gauged via grandiloquence. Something isn’t ‘stolen’, it’s ‘purloined’. The suspect didn’t just run away, no, they ‘absquatulated from the purlieus of the malfeasance’.
This is extreme, and of course, made-up, but it does show you that the places where elite language once were, are now the preserve of goons and florid language isn’t clever, at all. Poetry should really be trying to be accessible, not trying to exhibit and strut, and I suspect that people (poets) who use inkhorn language are actually trying to disguise a deeper deficiency in their work…
Richie McCaffery, Poetic licence REVOKED
I have cried at three video games in my entire life: “Syberia”, when Kate finally finds the woolly mammoths, “Gone Home” at the end when the big secret is revealed, and this one, called “Lost Words: Beyond the Page.” I’ve never experienced anything like it. It was written by Rhianna Pratchett, who is the daughter of Sir Terry Pratchett, the famed fantasy and sci-fi writer best known for the Discworld series. Terry Pratchett died after a battle with Alzheimer’s, and this game revolves around the main character Izzy’s struggle with her beloved grandma’s mental deterioration after a stroke. The game toggles between two alternating sequences—one is the young girl’s journal, where the words light up on the page and you reveal new pictures and words as you move through the written sentences, and one is a side-scroller that enacts the fantasy story that the girl is writing to help her cope with her grief and the chaos in her family. In one journal scene, Izzy recalls a trip to the beach with her grandmother, who was a marine biologist, and is introduced to the concept of bioluminescence. It’s one of the most beautiful, jaw-dropping scenes I’ve ever seen in a video game, and I feel like if I try to explain it I’m going to botch it.
I think at the core of what I want to get across here, and what I’ve been trying for years to explain, is that some of the very best literature out there now lives in the realm of video games. I know that this is anathema for academics and others who have outmoded ideas about gaming and gamers, but it’s the truth. It’s partly why I have been so drawn to certain games over the years and talk so much about games on this blog. I feel that there is a huge world of literary excellence that writers are missing out on by eschewing games. “Lost Words: Beyond the Page” is a perfect example. I’m so glad that I found it, and I feel compelled to share it with you, dear readers. If you don’t game at all, it’s a gentle introduction to gaming—it’s not twitchy; it’s very intuitive and forgiving, and it will be easy to learn. I would urge you to branch out and give it a try. I don’t know how far into the game I am or much more I have to go, but I find myself not wanting it to end.
Kristen McHenry, Baby Mystery, Game Rave, Literary Anathema
On those days, not infrequent, when I feel diminished as a poet, I still have a sense of confidence in my ability to write a really good book review. It’s become my writing practice and my connection with other poets. I like to think of the practice as my own personal MFA program. Writing poetry book reviews has deeply enriched my reading and writing experience– it’s taught me how to read “closely” and shown me how to recognize the craft of syntax, tone, meter, musicality. I believe it’s made me a better poet. It’s given me opportunities to connect with other poets and within the larger community of poetry.
Two years ago, in March 2019, I launched The Poetry Cafe Online: a Meeting Place Where Poetry Chapbooks are Celebrated and Reviewed with my review of Lauren Davis’s Each Wild Things Consent.
The goal of The Poetry Cafe is to create a comfortable, inviting home where interested poetry lovers can enter, feel welcomed, and read reviews of poetry chapbooks. As curator of The Poetry Café, I’ve received chapbooks from more than 100 poets. I’ve written many reviews myself, but more amazingly, I have published reviews by 27 guest reviewers and as of today, a total of 54 Reviews! I’ve also added Interviews to the site.
The project has grown far beyond my expectations. If you are not following it, please click over and add your email address to follow Cafe postings, usually once a week. I’m always looking for new reviewers or interviewers, and I could sure use some help with managing the site.
Risa Denenberg, A Writing Practice: Book Reviews
Last year I planned to take a break from #NaPoWriMo because I thought I’d be busy promoting “The Significance of a Dress” (still available as a print or ebook from Arachne Press). However, the pandemic led to cancellations so I ended up doing #NaPoWriMo, finding art an inspiration to compensate for the lack of planning. This year, I thought I’d take the break I’d planned last year but I found myself writing a poem on 1 April. Call it habit or discipline, but April seems to be a month for drafting poems.
It’s also a good month to start new habits. The drear, winter mornings have gone, clocks have gone forward an hour on to British Summer Time so the evenings are staying lighter for longer and the outdoors is looking greener with plants coming back to life. For me it’s also the month before hayfever really starts, a breathing space before outdoors becomes hellish. There’s a plus to having to wear a mask. I rarely bother with new year’s resolutions, but when I do I usually see January and February as planning, thinking months and get resolutions underway in March/April as the season turns. January’s a horrible month to start anything: there’s that post-holiday lull, the weather’s discouraging and it’s still dark at beginning and end of the day.
During the pandemic, I have been relatively privileged: classed as a keyworker but able to work from home with enough space to set up an office-at-home that’s not in my living area. Since my writing has always happened in the gaps around everything else, it still happens in the gaps around everything else. I don’t have a routine: a poem wants to be written, it gets written, a short story haunts me, it gets written and I’ve always got something to review. I think my breathing would have to stop before the writing does.
Emma Lee, NaPoWriMo 2021 and the Value of Writing Communities
Oral traditionalist
(Lord’s day). Up, and I to Church, where I have not been these many weeks before, and there did first find a strange Reader, who could not find in the Service-book the place for churching women, but was fain to change books with the clerke: and then a stranger preached, a seeming able man; but said in his pulpit that God did a greater work in raising of an oake-tree from an akehorne, than a man’s body raising it, at the last day, from his dust (shewing the possibility of the Resurrection): which was, methought, a strange saying. At home to dinner, whither comes and dines with me W. Howe, and by invitation Mr. Harris and Mr. Banister, most extraordinary company both, the latter for musique of all sorts, the former for everything: here we sang, and Banister played on the theorbo, and afterwards Banister played on his flageolet, and I had very good discourse with him about musique, so confirming some of my new notions about musique that it puts me upon a resolution to go on and make a scheme and theory of musique not yet ever made in the world. Harris do so commend my wife’s picture of Mr. Hales’s, that I shall have him draw Harris’s head; and he hath also persuaded me to have Cooper draw my wife’s, which, though it cost 30l., yet I will have done. Thus spent the afternoon most deliciously, and then broke up and walked with them as far as the Temple, and there parted, and I took coach to Westminster, but there did nothing, meeting nobody that I had a mind to speak with, and so home, and there find Mr. Pelling, and then also comes Mrs. Turner, and supped and talked with us, and so to bed. I do hear by several that Sir W. Pen’s going to sea do dislike the Parliament mightily, and that they have revived the Committee of Miscarriages to find something to prevent it; and that he being the other day with the Duke of Albemarle to ask his opinion touching his going to sea, the Duchess overheard and come in to him, and asks W. Pen how he durst have the confidence to offer to go to sea again, to the endangering the nation, when he knew himself such a coward as he was, which, if true, is very severe.
I have been a reader
who could not find a book
but God did a greater work
raising an oak from an acorn
than a man’s body from dust
or any sort of new theory
in the world that I have raw
yet done deliciously
Erasure poem derived from The Diary of Samuel Pepys, Sunday 29 March 1668
The Unresolved
So many stories of unfinished business— A deadline or curfew always looms at midnight. The young gallants must return their dance partners to the dock before they're discovered missing, before their boats sink or dissolve in sunlight. To break a spell, the girl's flashing fingers must fling the woven garments on the flock as it rushes into the air at dusk. Don't ask why one has an arm that drags like a broken wing though the rest of his limbs are whole. Don't ask why the sole of the shoe wears thin night after night and why no leather can withstand the chafing of desire. Ask instead why no one opened the door to let the orphan in, instead of allowing her to crouch outside in the cold; she struck match after match against a flimsy book until not one stick remained, not one red flame making promises.
Devotee
Up, and to the office, where all the morning busy, and at noon home to dinner with my clerks; and though my head full of business, yet I had a desire to end this holyday week with a play; and so, with my wife and Deb., to the King’s house, and there saw “The Indian Emperour,” a very good play indeed, and thence directly home, and to my writing of my letters, and so home to supper and to bed for fearing my eyes. Our greatest business at the office to-day is our want of money for the setting forth of these ships that are to go out, and my people at dinner tell me that they do verily doubt that the want of men will be so great, as we must press; and if we press, there will be mutinies in the town; for the seamen are said already to have threatened the pulling down of the Treasury Office; and if they do once come to that, it will not be long before they come to ours.
a head full of desire
is holy with play
my eyes want to go out
and my doubt mutinies
amen said
I own the treasury
Erasure poem derived from The Diary of Samuel Pepys, Saturday 28 March 1668
Theory and Praxis
(a cento) You, you are a factory above the waves, those lost years I drifted Let me explain how nothing ever changes—the scenery, sure More and more now I do things alone— I keep a spur under my pillow to ward off nightmares. You will find me, God furnace child, goblin child, pulse god of multiple tongues all sacred lick me In some prisons, you can't have a last cigarette, but Valium is permitted. There was a gate and we walked through there's no unenduring it. [Source texts: Sally Wen Mao, Rachel Eliza Griffiths, Hieu Minh Nguyễn, Richard Jones, Eduardo Corral, Ilya Kaminsky, Ilyse Kusnetz, Kazim Ali, C.D. Wright, Rachel Eliza Griffiths, Catherine Barnett]
Growth
Up, and walked to the waterside, and thence to White Hall to the Duke of York’s chamber, where he being ready he went to a Committee of Tangier, where I first understand that my Lord Sandwich is, in his coming back from Spayne, to step over thither, to see in what condition the place is, which I am glad of, hoping that he will be able to do some good there, for the good of the place, which is so much out of order. Thence to walk a little in Westminster Hall, where the Parliament I find sitting, but spoke with nobody to let me know what they are doing, nor did I enquire. Thence to the Swan and drank, and did baiser Frank, and so down by water back again, and to the Exchange a turn or two, only to show myself, and then home to dinner, where my wife and I had a small squabble, but I first this day tried the effect of my silence and not provoking her when she is in an ill humour, and do find it very good, for it prevents its coming to that height on both sides which used to exceed what was fit between us. So she become calm by and by and fond, and so took coach, and she to the mercer’s to buy some lace, while I to White Hall, but did nothing, but then to Westminster Hall and took a turn, and so to Mrs. Martin’s, and there did sit a little and talk and drink, and did hazer con her, and so took coach and called my wife at Unthanke’s, and so up and down to the Nursery, where they did not act, then to the New Cockpit, and there missed, and then to Hide Parke, where many coaches, but the dust so great, that it was troublesome, and so by night home, where to my chamber and finished my pricking out of my song for Mr. Harris (“It is decreed”), and so a little supper, being very sleepy and weary since last night, and so by 10 o’clock to bed and slept well all night.
This day, at noon, comes Mr. Pelling to me, and shews me the stone cut lately out of Sir Thomas Adams’ (the old comely Alderman’s) body, which is very large indeed, bigger I think than my fist, and weighs above twenty-five ounces and, which is very miraculous, he never in all his life had any fit of it, but lived to a great age without pain, and died at last of something else, without any sense of this in all his life.
This day Creed at White Hall in discourse told me what information he hath had, from very good hands, of the cowardice and ill-government of Sir Jer. Smith and Sir Thomas Allen, and the repute they have both of them abroad in the Streights, from their deportment when they did at several times command there; and that, above all Englishmen that ever were there, there never was any man that behaved himself like poor Charles Wager, whom the very Moores do mention, with teares sometimes.
the Lord and I walk a little
and squabble in my sleep
night is a stone cut out
of a man’s body
bigger than my fist
which is in good hands
Erasure poem derived from The Diary of Samuel Pepys, Friday 27 March 1668
Night from the inside (4)
Moonlight in the kitchen is a sign of God.
Anne Carson
Does the moon ever shine in my kitchen with its northeast window? Maybe only in January, on the full moon known as Wolf, or Popping Trees, or Absence of Bears.
*
night train
and the rattling wind
in one bed
*
2:00 a.m. road
without cars the tarmac’s
own carcass
*
smeared
into mere roadkill
so many stars
*
future fossil
all these travels written
in my teeth
*
One set of keys for the day and one for the night. But if the locks fill with rain they will drown and our souls will devolve like cetaceans, returning to the deep and its sunless music, now with microplastic.
*
Nautical twilight. A distant, non-human wail from one of the farms in the valley. Microdrops of rain on my face.
The pleasure of watching headlights move through a forest ten miles away.
*
Through the bottom of my mug, my other hand shrinks into an insect: seat of my soul, dung beetle. Scarab sacred only to a little world of shit.
When you sit or lie1 on the forest floor, in a strong wind you may feel slight movements beneath you: tree roots working the night shift.
*
It’s too cold for the bat. Now the moon is recalling all shadows.
Do trees feel the moonlight? If so, it must be the lightest caress.
*
Gazing directly at the moon for too long feels disrespectful, especially when it’s just beginning the monthly molt.
*
A voice off in the forest calls You and after several seconds the response: Yah.
*
That lone window still lit at 4:00 in the morning. The patch of dim light it inflicts on the edge of the forest.
*
nocturne
every hidden hammer
hitting its string
nocturne
the pianist’s fingers
not her own
nocturne
I can’t stop fantasizing
about soup
*
With their frog mouths and weird nocturnal calls, the nightjars wouldn’t seem out of place in one of Hieronymous Bosch’s teeming tableaux.2 One North American species, the common poorwill, is the only bird known to go into a prolonged state of torpor very like hibernation.
every time
I go out to take a leak
whip-poor-will
*
lunar
landscapes of my childhood
aglow with bleakness
*
cedar tree
knocking at my house
must be sleepless too
*
The first hint of dawn in the sky and in the forest the first hint of gray. It begins its daily dwindling into mere woods.
1 Due to the threat of Lyme disease, this is of course best done in a tent.
2 I do a web search and sure enough, Bosch gave Lucifer the head of a nightjar:
World enough and time
Up betimes to the office, where by and by my Lord Brouncker and I met and made an end of our business betimes. So I away with him to Mrs. Williams’s, and there dined, and thence I alone to the Duke of York’s house, to see the new play, called “The Man is the Master,” where the house was, it being not above one o’clock, very full. But my wife and Deb. being there before, with Mrs. Pierce and Corbet and Betty Turner, whom my wife carried with her, they made me room; and there I sat, it costing me 8s. upon them in oranges, at 6d. a-piece. By and by the King come; and we sat just under him, so that I durst not turn my back all the play. The play is a translation out of French, and the plot Spanish, but not anything extraordinary at all in it, though translated by Sir W. Davenant, and so I found the King and his company did think meanly of it, though there was here and there something pretty: but the most of the mirth was sorry, poor stuffe, of eating of sack posset and slabbering themselves, and mirth fit for clownes; the prologue but poor, and the epilogue little in it but the extraordinariness of it, it being sung by Harris and another in the form of a ballet. Thence, by agreement, we all of us to the Blue Balls, hard by, whither Mr. Pierce also goes with us, who met us at the play, and anon comes Manuel, and his wife, and Knepp, and Harris, who brings with him Mr. Banister, the great master of musique; and after much difficulty in getting of musique, we to dancing, and then to a supper of some French dishes, which yet did not please me, and then to dance and sing; and mighty merry we were till about eleven or twelve at night, with mighty great content in all my company, and I did, as I love to do, enjoy myself in my pleasure as being the height of what we take pains for and can hope for in this world, and therefore to be enjoyed while we are young and capable of these joys. My wife extraordinary fine to-day, in her flower tabby suit, bought a year and more ago, before my mother’s death put her into mourning, and so not worn till this day: and every body in love with it; and indeed she is very fine and handsome in it. I having paid the reckoning, which come to almost 4l., we parted: my company and William Batelier, who was also with us, home in a coach, round by the Wall, where we met so many stops by the Watches, that it cost us much time and some trouble, and more money, to every Watch, to them to drink; this being encreased by the trouble the ’prentices did lately give the City, so that the Militia and Watches are very strict at this time; and we had like to have met with a stop for all night at the Constable’s watch, at Mooregate, by a pragmatical Constable; but we come well home at about two in the morning, and so to bed.
This noon, from Mrs. Williams’s, my Lord Brouncker sent to Somersett House to hear how the Duchess of Richmond do; and word was brought him that she is pretty well, but mighty full of the smallpox, by which all do conclude she will be wholly spoiled, which is the greatest instance of the uncertainty of beauty that could be in this age; but then she hath had the benefit of it to be first married, and to have kept it so long, under the greatest temptations in the world from a King, and yet without the least imputation.
This afternoon, at the play, Sir Fr. Hollis spoke to me as a secret, and matter of confidence in me, and friendship to Sir W. Pen, who is now out of town, that it were well he were made acquainted that he finds in the House of Commons, which met this day, several motions made for the calling strictly again upon the Miscarriages, and particularly in the business of the Prises, and the not prosecuting of the first victory, only to give an affront to Sir W. Pen, whose going to sea this year do give them matter of great dislike. So though I do not much trouble myself for him, yet I am sorry that he should have this fall so unhappily without any fault, but rather merit of his own that made him fitter for this command than any body else, and the more for that this business of his may haply occasion their more eager pursuit against the whole body of the office.
I am alone as the clock
or an orange in translation
mean as a little sun
blue at the difficulty of love
do I take this world to be my wife
today in her flower suit
a body in love is so much
well-oiled uncertainty
its secret motions calling up
a sea of my own
Erasure poem derived from The Diary of Samuel Pepys, Thursday 26 March 1668
World Underneath the World
- after Adam Zagajewski I'm trying to do what the poet instructed us to do: praise the brokenness in the world —its annals written in a script that looks like concertina wire, its manifests crowded with passengers that have forgotten their destination from the length of time they've spent in this barge floating on choppy water. Ahead, a wand of white whisks the air once every few minutes, briefly illuminating a landscape of rocks and cogon grass. I think I can see where I began this journey: there's a park there too, and horses cantering around an oval. Inside the house that has fallen into ruin, light sifts at certain times of day to make a lace like crocheted curtains: along borders of mercerized cotton thread, the outspread fans of peacocks; an embarrassment of yellowing swans and roses and hearts.