The Conversation


Video link.

A new poem-like thing gave me an excuse to use some video I’ve been hoarding.

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Don’t forget to bookmark or subscribe to the feed for Moving Poems, where I’m posting other people’s videoetry at the rate of five a week, skipping the weekends. I’m having a blast hunting down poetry videos on the web (95% of it on YouTube, of course), and it looks as if it’ll be many months before I run out of material. Upcoming posts include poems by Paul Celan, Nazim Hikmet, Martin Espada, and Gabriela Mistral.

By the way, if anyone has an interest in helping out, I could definitely use help in finding and translating video poems in languages other than English and Spanish (and sometimes I need help in Spanish, too, but I don’t tend to let that stop me). You would of course get full credit and link-love.

Winter green

March sunlight

It’s been cold, the past few days, and very quiet. The four-lane highway just over the ridge to the west has been virtually inaudible, even at dawn. Every day the sun inches a little higher in the sky; the long low light of winter is coming to an end. The evergreen leaves of the mountain laurel, shot through with sunlight, burn with the fire of an eternal spring — especially when we don’t have a deep snowpack leaching sulfuric and nitric acid into the soil from the coal-burning power plants of the Ohio Valley. In past years, I’ve watched up to half the leaves on some laurel bushes acquire lurid splotches and die within a week of melt-off.

silver barn

I climb to the top of what we call Laurel Ridge — the one my front porch looks out on — but there’s no snow anywhere. The fields to the east are a muted yellow, and the hillsides look as brown as November, with no sign of a blush from swollen buds. I watch a train wind past the village of Ironville a mile away, and except for the fact that it’s not black and white, I might as well be watching a silent movie. A pickup truck moves slowly down the village’s single street. It occurs to me that the only actual human beings I’ve seen from this ridgetop are the Amish farmers, on occasion — tiny figures from here, especially by contrast with their enormous barn.

I go back down into the hollow, zig-zigging through the laurel, careful not to slip on the leaf litter which the snows we did get earlier on have pressed into a flat slick surface, like the pelt of a well-groomed pet. Though it’s only mid-afternoon, the other side of the hollow is already in shadow. Among the hemlocks at the bottom of the gorge, shining in the sun, is a bluish-white snake: Plummer’s Hollow Run gurgles and whispers under scales of ice, all that’s left of winter.

stream ice

I suddenly realize how hungry I am. I look down and spy a pair of pink teaberries a few inches from my right boot. They are dry and half-frozen, but twice as sweet as they would’ve been last fall when they were fresh. One doesn’t often think of winter as a time for ripening, but of course it is. Some things need a cold season to bring out their full character; the rosehips in my front garden are also at their peak of flavor now. I follow the ribbon of ice upstream toward home, my mouth filled with the pleasant fragrance of methyl salicylate — wintergreen.

A few good chaps

chapbooks

At qarrtsiluni, we’re looking for a few good chaps.

Why a chapbook? Regardless of what you call it, the fact is that a pamphlet-sized collection of poetry can be an astonishingly beautiful thing. It’s not just for emerging poets anymore; a poet at any stage of her career might find she has a collection of work too long for a featured section in a journal and too short for a full-length book. And a chapbook designed to be read in a single sitting offers a nourishing alternative to a magazine or newspaper. With roots in the 16th century, it’s the original sleek and sexy mobile device.

I don’t have nearly as many poetry chapbooks as I’d like, but the photo does give some sense of the variety in their production style: the sewn and the stapled, the offset and the xeroxed, the book-shaped and the pamphlet-shaped. This outer variety suggests something of the variety in their contents, as well. I suppose it might be no greater than the variety one encounters among regular books of poetry, but sometimes I do think chapbook publishers are a bit more tolerant of eccentricity, more willing to take risks with content than they’d be if they were publishing a full-length book, which after all is a bigger investment. I’ve found some of the most satisfying short collections of poetry housed in really cheap, copy-shop editions — such as Howie Good’s latest collection of prose poems, Tomorrowland, which has just been very well reviewed at One Night Stanzas. And if your taste runs to sonnets, you can’t do better than Water Signs, Katherine Durham Oldmixon’s thematically unified gathering of three sonnet chains, where the last line of one sonnet forms the first line of the next. This, by contrast, is a beautiful production (aside from a flubbed table of contents) from Finishing Line Press, which specializes in books of poetry up to 26 pages in length.

For qarrtsiluni‘s inaugural poetry chapbook, we’re hoping to marry good design — courtesy of Beth, who’s worked in design for three decades — with great content, courtesy of all y’all. Or some of y’all, at any rate. Everyone who enters the contest gets a copy of the winning chapbook, so if you have a shortish cycle of poems lying around waiting to be spruced up for publication, it should be worth your while. Here are the guidelines.

Tree of Life

A foreign bird sang
in a foreign accent
too thick for anything but the sound
of spitting: puh puhpuh puh puh.
A new mouth had blossomed
in my chest, round and wet
with astonishment, & I wanted
nothing more than to lie back in
the sturdy arms of my captain & have
a heart-to-heart talk with the sun.
Where was I? What did I need
this stick for, so far from any ground?
I let it fall. I would be an epiphyte now —
my fancy boots & spiked helmet
already dangled well enough for roots.
I let out the breath I’d been holding
for so long, thinking its true owner
would return to claim it. Above me
in ragged ranks the whole village
turned out again
to wave & wave.

Photo link (public domain)

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Don’t forget to visit Festival of the Trees 33. I hate to play favorites, but I do think this is one of the most varied and interesting editions to date. Highlights for me included a gallery of silo trees, an illustrated essay on tree asters, and a detailed account of one couple’s adventures learning to climb trees with ropes just like the people in Richard Preston’s book, The Wild Trees.

Tree of Knowledge

This is what happens
when you start making up
your own mind:

the tree drops its tantalizing fruit,
sheds its leaves, & the woodlot
shrinks around it

until it stands alone in a line
of fence posts & telephone poles,
trembling neurons sifting the wind for sparrows.

You become as gods,
endlessly bifurcating,
simple as stinkhorns.

In place of paradise
there’s a field, a pasture,
a dishy blankness of sky.

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In response to an image prompt at Read Write Poem. Other responses are linked here.

Photo by camila tulcan, licenced under a Creative Commons license.

Privilege

rock oak and beeches b&w

I am not ready to let the colors back in. The sky in black & white retains a pleasing uniformity: it’s either a wall of light or the nightly well. Shadows have authority, making a man appear as solid as a tree and a tree as stolid as a gnomon. I am not ready for brown & green & blue & the grievances of noon. I am not ready to stop being white & seeing white as blankness, the default setting. The kind of self-effacement that ennables is still so comfortable. The old ways might have been wrong but it was a wrongness that required careful attention, like the shape & set of a fine felt hat. It was ugly, yes, but it fit. Now we have such a crowd of proud misfits, loud in their ain’ts & their complaints, shrill as the shills who killed their appetite for books. I watch their hands shaping the air & think, what if someday we all switched to sign language & to Braille? What would that do the hard cell of self? Then perhaps we could free ourselves from the shame of misbegotten speech: the N-word, the F-word, the C-word, the S-word. Then we could all luxuriate in a world of scent & soft outlines — a touchy-feely city on the hill. Then only those without any hands would still stand on the wrong side of the wall, their unbranched shadows inching across the snow.

Buzz

The furnace stops and I hear the refrigerator. The refrigerator cycles off and I hear the computer. I power down the computer, turn off the lights, and now I hear nothing but the buzz in my head…

This evening’s buzz was all about the Obamas. I didn’t watch. I was busy making something new: a blogsite devoted to videoetry called Moving Poems. Nothing fancy — just a place to put my growing collection of cool poetry videos from YouTube and other video-sharing sites, with minimal commentary. The very first video I posted was a clay-on-glass animation of the Emily Dickinson poem that begins,

I heard a Fly buzz – when I died –
The Stillness in the Room
Was like the Stillness in the Air –
Between the Heaves of Storm –

It’s only my 43rd birthday, though. I’m not dead yet! Not as long as I still hear that buzz…

Psalm for the Rapture: the movie

I’ve just been reminded that it’s Oscars night. I was very pleased to discover this afternoon that the Internet Archive has a movies and film section, which includes some classic films (I just re-watched my all-time favorite comedy, His Girl Friday) and a lot of Creative Commons-licensed stock footage. I lost no time downloading some of the latter to illustrate an old poem — which I see I illustrated with snapshots the first time around. (For a straight-text version, see here.)

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Brent Goodman has just dipped a toe into the videoetry waters as well. Check out Meat to Carry Our Minds.

Book Arts

inspired by the work of Luz Marina Ruiz (hat tip: Natalie d’Arbeloff)

I entered a book tall as a clock tower.
Its pages all had timers set to self-construct:
bird, leaf, crescent, an orogeny of stairs.
The seasons were orderly as line dancers.

You can make a book from anything that folds.
Waves & breakers, for example, with
the ocean for a text: the reader bobs
like a boat with a shark’s-fin sail.

Books can be small as wallets bulging with bills,
those go-betweens everyone thumbs through
but nobody reads. (This, by the way,
is why money always smells of sadness.)

Books can be rooms completely taken over
by feral wallpaper, patterns unavailable
in any store. Some books can’t be opened
without changing all their contents.

That’s how it is with dreams, too: they change
in the telling. Night falls, & the words
merge with the black paper. You need
the moon’s red monocle to make out the stitching.