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Posts Tagged ‘Southern writing’

My grandson’s favorite Christmas song this year is Holly Jolly Christmas by Burl Ives.  This is really not so astonishing – the first record we ever played for him was a collection of folk songs by Burl Ives.  By the time Saul was two he was requesting him by name: “Play Bur Lives.”

What did astonish me today, though, was realizing that Saul knows all the words to the song.  I was impersonating a fly on the wall with a magazine while he built a little Lego house and had all his Lego men come visit.  The entire time he was working, he sang.  Say Hello to folks you know / and everyone you meet.  Or sometimes just recited.  Hey Ho, the mistletoe, hung where you can see.  With an entire village of different voices, tempos, timbres.  Somebody waits for you / Kiss her once for me!  Sometimes tuneful little boy soprano, sometimes gruff, briefly importuning, and when he noticed me listening quite loud and raucous.  All the Holly Jolly variations.

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A four-year old is a highly evolved little primate.  He knows just how far he can boss Pappy around before he’s crossed the line.  He can ask for ice cream a half hour before supper and convince Pappy the request is not at all unreasonable.  He operates on the rock solid premise that simply wanting a thing fully entitles the person to get it.  Or, and this is much more likely, he knows all the rules full well but also knows from experience that with the one-hundred-and-first request the rule might shatter.

But what happens if I sometimes call the little anthropoid’s bluff and just laugh?  He laughs too, and we go on to the next game.

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I bought Sarah Lindsay’s book Primate Behavior at a reading she gave in Southern Pines this year.  Reading it is like an archeological dig: each poem must be read carefully, brushed with fine bristles, held up to the sky.  No bulldozers, please.  I’m still working my way, layer by layer.  I’m discovering that there is unrevealed depth and complexity to us hominids.  I wonder, how did Lindsay get hold of my family tree?

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Primate Behavior

What was she looking for, the woman two days from
the end of a wasting death
who told her nursing daughter, “Shave my legs”?
Or the hospital-ridden one
who, coming out of ether, could only keep saying she couldn’t
be comfortable
without her panties on.

If one of us slips on ice, he or she
checks first for an audience, second for broken bones.
We are the apes
with mirrors inside our heads.  We pick our noses,
we fart and enjoy it,
but this is rarely mentioned.  We make fun of outdated clothes.
We listen to music.

In a thick place of mountain bamboo the
gorilla mother
croons and cradles her young one in her arm.
With her other large hand
she catches her own dung and eats it.
A hum of insects and green wet rot.
The father beside her sleeps.  Is it eight-thirty Monday?
His lower lip hangs on his chest.
Alone at her golden oak table
the young lady licks her finger, dots at the grains
of spilled sugar,
and licks it again.

Close to the Pole, where daytime stretches
like taffy
and icebergs move in vast and moaning herd, a furry man
scrawls a few notes in Norwegian.  He cannot carry a tune,
but he can make stew.  He has thought of little else but stew
and warming his feet for weeks.  Realizing
how dirty his face is, he tells himself:
I am here for no personal good, but to help make maps.
I am civilized.  See the word Forward is drawn on my heart.
And he throws some dried fish to the dogs.

from Primate Behavior, Sarah Lindsay, Grove Press, © 1997 by Sarah Lindsay

Sarah Lindsay received her M.F.A. in creative writing from the University of North Carolina at Greensboro and currently lives in Greensboro.  Primate Behavior was a National Book Award finalist.  Lindsay’s latest book of poetry, Twigs and Knucklebones (Copper Canyon Press, 2008), was selected as a “Favorite Book of 2008″ by Christian Wiman, editor of Poetry magazine.

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He began life as Blue Mouse, and how apt: pointy nose, bristly whiskers, cupped ears, and of course he’s the color of September sky.  Nowadays, though, when I walk in the kitchen door and Saul careens from across the room, he grabs my hand and says, “Get Blue Rat!  Get Blue Rat!”  Just how has the little creature transformed? Perhaps it’s the prehensile tail (it has wire in it so it can curl and grab things, like little boys’ ears), or the big googly Muppet eyes.  Could be because Blue is three times the size of the life-like field mouse finger puppet that drives the school bus and doesn’t talk much.  Most likely, however, it’s because of Blue Rat’s voice: gravelly, colloquial, with a distinct Bronx accent.

Voice?  Voice, you say?  How did a little stuffed plush critter come by a voice?  Well, from his conception Blue Rat has been designated as my ward.  When it’s play time (and it’s always play time) and we pull out the fuzzy animals, plastic figures, Lego men, Saul commands, “You talk Blue, and I’ll talk all of these.”

Because they all have voices.  Mappy the Hamster doesn’t have a mouth – he sort of mumbles.  Pinky Pie (purple kitty with pink nose) is high pitched and squeaky.  Lego pirates and space men are appropriately gruff and swashbuckling.  Saul “talks” all of those.  I get to talk Blue Rat.  He just looks like the kind of guy who’d be most comfortable chomping a Coney Island while he ogles the girl rats on the boardwalk.  So every afternoon when Saul whips him up a sandwich (plastic pancake, tomato, fried egg), he gustos it down and says, “‘Ey, Baby, dat’s deelishus.”

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Voice.  (Prepare for a big leap here.)  Voice.  When you read, don’t the characters speak in your mind?  Pitch, accent, cadence.  When you write, don’t you imagine and invent a persona for each creature?  Their voice?  How they say is as important as what they say.

One of my favorite little books is The Bat-Poet by Randall Jarrell.  The whole week I was at the Zoo last summer I carried copies and gave a couple away.  The Bat Poet discovers the voice of Owl, Chipmunk, Mockingbird, and they are all true.  In the end he discovers his own voice, and we discover how odd and wonderful it is to live in the bat-world.

Here are a few stanzas: I hope you’ll borrow or buy the book yourself.  Is there any end to the voices we may speak?

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from The Bat-Poet, Randall Jarrell, pictures by Maurice Sendak, copyright 1964 by The Macmillan company, copyright renewed 1992 by Mary Jarrell

Owl
. . .
The mouse beside the stone are still as death –
The owl’s air washes them like water.
The owl goes back and forth inside the night,
And the night holds its breath

Chipmunk
. . .
Curled at his breast, he sits there while the sun
Stripes the red west
With its last light: the chipmunk
Dives to his rest.

Mockingbird
. . .
A thrush is singing, then a thrasher, then a jay –
Then, all at once, a cat begins meowing.
A mockingbird can sound like anything.
He imitates the world he drove away
So well that for a minute, in the moonlight,
Which one’s the mockingbird?  which one’s the world?

Bat
. . .
The mother drinks the water of the pond
she skims across.  Her baby hangs on tight.
Her baby drinks the milk she makes him
in moonlight or starlight, in mid-air.
Their single shadow, printed on the moon
Or fluttering across the stars,
Whirls on all night . . .

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New York Times book review of The Bat-Poet from 1964.

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Southern Sentence Poem Revisited

Last week when I reminisced about my Granddaddy, Pee Wee Griffin, Seaboard Airline Engineer for some fifty years, among the many comments I received was Kathryn Stripling Byer’s: The song of a train passing has haunted many a Southern poet’s work.  Haunted, that is indeed what we are.

Yesterday I caught a snippet on public radio by a Civil War historian at Duke.  He describes Governor Graham dragging his heels about secession; as much as a third of North Carolinians opposed war.  The Duke Prof then tells about pulling into a barbecue restaurant in Kinston recently.  During the War, General Pickett encamped at Kinston on his return from a disastrous attempt to recapture New Bern from the Union.  In Kinston Pickett hanged twenty-two North Carolinians he considered deserters, though most of them had never sworn the oath to the Confederate Army.  Pickett was later accused of war crimes and fled to Canada – the historical point being that allegiances, honor, and motivations are a lot more complicated than South vs. North.  When the Professer parks at the restaurant and looks down the row of cars and pickups with Stars and Bars on their bumpers, he just shakes his head and says, “You don’t even know who you are.”

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Who are we, anyway?  That’s why there’s poetry – that we may discover who we are.  I’m pondering again the form an essentially Southern poem might take. Remember in August I suggested such a poem must include Place, Past, and Culture.  Our identity is complex, but a poem’s complexity lies in its brevity.  What sense most perfectly evokes a memory?  The sense of smell – impossible to describe, complex and heavy with nuance, a simple odor may transport you to a time and place you thought you’d departed forever.  I want a poem to do the same, to be vastly more than the sum of its words, to cause the reader to gasp and sigh at the same time.

Therefore, the SOUTHERN SENTENCE POEM MUST BE SEVEN LINES.

Why seven?  When I as a doddering old man kiss my great-grandchild, I will have held or been held by seven generations of my family.  There are seven Southern waters: spring from rock fissure, clear trout stream, green piedmont river, dam & lake, blackwater meandering, sound, shore.  Southerners more than many are subject to the seven deadly sins and seven heavenly virtues.  Don’t forget the seven bridges road in Montgomery, Alabama.  But most of all because I think seven lines is just the right length.

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So here’s another attempt:

When the train whistle blows
through the Yadkin Valley
we lay down our plastic toys,
lean across the porch rail
until the last beckoning
has trailed away, and I become
my grandson, wondering.

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Place – Yadkin Valley; Past – becoming my Grandson; Culture – porch rail and, of course, that lonesome, haunting train whistle.

Leave me your Southern Sentence Poems here or on our new Facebook Page.

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I lived in five different states while I was growing up: different schools, different friends and Scout troops, even different accents when I talked, but there was at least one constant.  No matter how far the drive, we spent one week every summer at Granddaddy and Grandmother’s house in Hamlet, N.C.  Granddaddy was my namesake – Grandmother always called him by our first name,  Eugene – but the men he worked with on the Seaboard Airline Railroad for over fifty years knew him only as Pee Wee.

I believed Granddaddy completely when he told me the reason he was bald was that all his hair had burned off shoveling coal into the fierce throat of those monstrous steam locomotives.  He worked his way from fireman to engineer and ultimately flew massive diesels from Raleigh to Columbia SC, a leg of the Orange Blossom Special and the Silver Star.  We would go downtown to the Hamlet station to see him off, maybe eat ham and grits and biscuits in the Purity Café at 5 a.m. In those days Hamlet was the hub of passenger and freight lines – you could actually call it “downtown.”  Dad and Bob and I would wait along the tracks to wave goodbye while the porters helped people aboard.  I’d always jump about five feet whenever the air brakes released.  Never got used to it.  Then Granddaddy would nudge the throttles, and the diesel growl would rise from basso to baritone.  The brakeman would make one last inspection, jump up and grab a handrail, each car would clang in succession as the couplings took up the slack, and the line would begin to move.

When I turned thirteen Granddaddy figured I was finally man enough to ride with him in the engine.  Seventy miles an hour through the Carolina night, headlight flaring down the rails and gyrating light sweeping alongside to catch a deer as it leapt across, side door open while summer rushed past, I couldn’t even talk it was that intoxicating.  Did I get to sound the horn?  I can’t remember, but I do know Granddaddy let me pee out the side door when there were no crossings ahead.  That was 1966, the year before Granddaddy retired. I’m not sure my little brother ever got to make the trip.

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My Dad (Eugene Wilson Jr.) still goes back to Hamlet for Seaboard Festival every October.  The one year I joined him I bought the Seaboard belt buckle I’m wearing as I write this.  My old HO set is in boxes in the basement.  It’s been years since I last danced along the ties to follow the tracks below our house out to the edge of town.  But every once in a while I take Saul downtown in Elkin when the switcher is swapping out big hopper cars of wood chips for ABT or Weyerhaueser, of corn for Wayne Farms or Perdue.  We listen to the throaty rumble as the big diesels wind up, we hear the whine of the wheels as they lean into a curve and the clunk as they cross the points.  The engineer fires us a short blast of horn when we wave.  Man, there’s just nothing like a train.

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This poem by Scott Owens closes his book, Country Roads: Travels Through Rural North Carolina.  It’s a collaboration with photographer Clayton Joe Young; every poem, every image evokes memories in danger of fading.  As Scott writes in Reading the Weather: These are the simple truths.  Not nostalgia, not a maudlin attempt to memorialize something that never was, this book just shows us who we are and how we got here.  If you’re lucky Scott has still got a few of these books.  Call him today and buy one.

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Rails

Every child should have one, a pair, really,
a matched set, set apart just the right width
so that one foot pressed against each one
leaves you stretched out about as far
as you can go, unable to move, feeling
almost trapped, almost actually in danger.

And every child should walk them as if
that’s what they were intended for,
leading out of town, around the curve,
along the river, revealing the backsides
of people’s homes, clotheslines and refuse,
the yards you weren’t supposed to see.

And every child should learn to balance
atop the railhead without the constant
unsightly tipping from side to side,
should be able to step exactly the distance
between the ties consistently, almost
marching without kicking up ballast.

And every child should have a bridge
they go under to hide and look
at dirty magazines and smoke cigarettes
and place coins on the rails to flatten
and see if this could be the one
to cause the train to leap the tracks.

And every child should know the lonely
distant sound of late night travel
when bad dreams have kept them awake
wondering where they come from, what
they bring or take, and where when it’s all
done they might return and call home.

© 2011 by Scott Owens, from Country Roads: Travels Through Rural North CarolinaA Collaboration Between Photographer Clayton Joe Young & Poet Scott Owens

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Scott Owens has undoubtedly written another poem in the time it took you to read this.  Or else he has taught another workshop, planned another poetry event, posted another online journal.  Does he ever sleep?  If he does, I am certain that he dreams in verse.  Scott’s poetry covers faith and agnosticism, abuse and parenting, alienation and existentialism, loneliness and collaboration, entrapment and liberation, personal relationships and self-sufficiency, the disappearance of a rural American South characterized as both pastoral and violent, and the possibilities of redemption as his characters attempt to make sense of an often seemingly senseless world.  Check out his blog, read the journal he edits, buy his books . . . tell him Bill says “Hi.”

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Dad on tracks

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Crab follows the Twins, then Lion uncurls himself into the midnight sky.  Bill and I uncurl our mummy bags on Bill’s deserted hillside at the edge of Surry County.  The bulky biceps and pectorals of the Blue Ridge have our back.  We are miles from town, close to a mile from the nearest mercury vapor thief of dark adapted vision.  We’ve put on our longjohns and wool hats to recline in November darkness and be amazed by showers of meteors.

The year before I’d spent a moonless night on a grassy knoll in Doughton Park on the Blue Ridge Parkway.  While cold seeped into my backbone and breath frosted my beard, I had watched hundreds of flares and streamers, an utterly silent celestial bombardment without any crash and boom of artillery.  This year, though, Bill and I had an unwelcome guest.  Luna hovered at our shoulders, the sun full gold across her face.  Her glow overpowered all but the brightest meteorite flashes.  We had to trust that the stars were falling, but only at long intervals could we see their spark.

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My friend Bill Blackley is a moon-bright sky.  His poems are the flash of meteorites.  When you meet Bill you will be warmed at once by his bright charm and quirky wit.  You’ll immediately sense that he never met a stranger.  Within the first minute he’ll have you laughing at one of his stories, or he’ll be listening to your own life story with deep compassion.

That’s the illuminated Bill.  In the darkness, artillery crashes.  I first met Bill in July, 1978.  He was Senior Resident, I was a green intern.  In all the years since then, though, I don’t think I would have ever really known him if not for his poems.  Oh, the charm and wit are there; so many of his poems reach out their hands and just welcome you in.  But read on — the crash and conflagration show through on nights when the moon has failed to rise.

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These two poems by Bill sneak up on you and bite.  An Auger Bit may fool you into thinking it’s a simple reminiscence of the good old days, but its key word ends the first line — son.  The speaker is teaching his own son, and the time they share among the tool bins also redeems the speaker, son of an alcoholic who has broken the chains and freed his son.  Freed himself.  The title itself grabs me — what cutting edge and piercing point can we read between the lines?

I love to play with the title of the second poem, too.  Time Piece, it’s a piece about time, not only how we measure time but how we live it, and live through it.  And once again there are hidden teeth here.  The poem counts milestones of regret across the years, the loss of an heirloom, anger over being a victim of theft, feelings we can all identify with, but then there is the soul scorching image of peeling the watch from the arm of the dead soldier. Our measly hours:  this poem struggles, as we all do, to create some meaning from our years and at the end to discover some peace.

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An Auger Bit

Let’s rummage together son
this pawn shop aisle, bins
stacked with monkey
wrenches, pulleys, winches
C-clamps, pliers, bastard files
blue snap-lines and ball-peen
hammers antiquated by electric
drivers and laser levels.  Your granddad

once worked wooden handles, oiled
calipers, turned them on shipyard steel
in Charleston harbor and launched
battle cruisers.  Let’s gather

chisel, plane, hacksaw and slot head
Yankee driver in memory of when
he holstered a yellow folding rule
a blunt pencil in his shirt pocket
before hocking his tools to quench
a thirst for a Four Roses.  Let’s mine
bins until we find a gauge calibrated
to plumb whiskey’s undoing.

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A Time Piece

Two-finger blow a kiss
goodbye to dad’s graduation
watch left for easy
pickings on a beach blanket.   So long
to the self-winding Seiko rolled
in gray sweat pants outside
the handball court where
a thief slipped my treasured piece
into his pocket and beat it
while his lookout grinned.  Bon voyage
to the green-rimmed Swatch
a kid sticky fingered
from my pool locker .  C’est la guerre
to the radium-dotted Bulova I peeled
off a National Guard soldier in Vietnam
and airmailed, along with his scorched
effects, to Altoona.  Adios
to a fourteen-dollar Timex I tossed
to a co-worker when presented a fake Rolex
at my retirement gala.  Gods chuckle
at us mortals caching batteries, winding stems
and punching in our measly hours.

[first appeared in Cave Wall Issue #3, Winter/Spring 2008]

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Bill Blackley is a retired family physician and a full time advocate for the public’s health.  He has saved you and me and a good percentage of our state’s population from cancer and lung disease through his relentless research about and opposition to biomass incinerators.  He has also promoted the literary health of our state’s youth as director since its inception of the Gilbert-Chappell Distinguished Poet Series.  AND . . . ten years ago he made me take over as treasurer of the NC Poetry Society, which has promoted my literary health (although it didn’t quite save me from cancer). Bill, I owe you, old pal!

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There are two kinds of barbecue in the known universe: Wilbur’s Style, and all the rest.  Head east on 70 past Seymour-Johnson Air Force Base and the aroma captures you about the time Goldsboro is fading in the rearview.  Pork shoulders and hams cooked all night over a hardwood fire (at Wilbur’s they favor oak, not hickory); basted with the secret Wilbur’s sauce (I’ve tried to recreate it – boil cider vinegar with salt, black pepper, white pepper, red pepper, nothing else, and you’ll come pretty close); most of the fat trimmed off (but not all), chopped, and heaped on a plate with field peas, turnip greens, and hush puppies.  OK, OK,  I’ve given up eating meat, but I can still savor the memories, can’t I?

When I asked folks a few weeks ago to come up with a name for a new poetry form that embodies the essence of the South, sweet tea and barbecue were mentioned more than once.  I kind of like Arthur Powers’s suggestion –  Sou-Ku – and the one Ruth Moose has come up with sounds more than Japanese – Sentea.  Do they still sell Nestea?  But in the same way that our Southern Sentence Poem is a poetic form all our own, I think its name needs to be wholly ours as well, and not beholdin’ to some 3-line cryptogram.  Especially when you see the examples folks have sent: we are clearly opening ourselves to the Southern Loooong Sentence Poem.

So I’m still hoping to hear from you with a great name.  And keep sending those poems . . . !

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Once again, here are the elements of a Southern Sentence Poem:

1     It is a single SENTENCE.
2     A word or phrase has to PLACE the poem in the American South.
3     It requires a reference to the PAST.
4     It captures something of Southern CULTURE.
5     It ain’t got none of them damn Yankee semicolons.

Here are several that people have sent me:

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Arthur Powers

I stand on Polk Street
looking East over Oakwood cemetery
and watch late afternoon sunlight
sepia the Confederate headstones.

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Diana Pinckney  – The Garden Party

Aunt Blanche’s yard dripped pink
punch and azaleas, offering shrimp

sandwiches, ham biscuits, cucumber
rounds and cheese wafers so yummy,

yet not a crust in sight on the scalloped
linen, daffodils and petit fours abundant

for family and friends so chummy,
invited to honor and bless the newly

engaged couple, the bride
and groom dreamy as budding

dogwoods with no one batting
an eye that the hostess batted hers

from her second story bedroom
window, having sampled more

than her share of the punch,
forcing Uncle Edward to take charge,

his large hand now patting the key
in his seersucker jacket while

Aunt Blanche, bejeweled in her silks,
nodded and waved, greeting and calling

down to all, Have a good time, ya’ll,
then dipped as she sipped

more of her own pink sweetener.

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Jane Theis

On our evening walk, the Crepe Myrtles,
bowing and dripping from that day-long shower,
nodded us down the mossy path
where the ramps came up last spring.

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Ruth Moose   –  Shadow Tag

Run, run

Feet                      freeze

Harwood Street, Woodland

stop

Dew cold grass

In the barefoot nights        hold

Bee stings, wasp stings, hornets,

sweat flies                   stay

Tobacco juice, sweet snuff stuff

Childhood pain of

loss.

[Editor’s note - Ruth’s poem had wonderfully complex formatting which I can only partially reproduce on this verpfluchte WordPress blog.]

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Beth A. Cagle   –   Story Tellin’ at ‘Possum Trot Diner

Laughter of square-shouldered
uncles erupts
deep in my throat as a
bucking mule jumps
out of me, hoofing his
hopscotch in corn,
braying by grandfather’s
elderly oak,
leaving my youthful dad
caught on the clothesline,
dangling with overalls
rolled to his knees.

[First version published in The Blind Man’s Rainbow, Fall 2003]

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[After you read this post, move on to my revised definition of the
SOUTHERN SENTENCE POEM
at
http://griffinpoetry.com/2012/11/25/when-the-train-whistle-blows/
And send me your offerings at our Facebook page:
https://www.facebook.com/SouthernSentencePoem?ref=hl ]

Last month after a poetry workshop we all went out for lunch.  Someone had been reading a book of Buson and Issa, and we got to complaining about how hard it is to transmigrate haiku from Japanese to English.  Syllable counting aside, Japanese haiku has so many formalities that just don’t translate.  Each word is drenched in a thousand years of cultural nuance; lotus, frog, mountain, they all have layers of meaning very difficult for an outsider to grok.  Why do we even try to write haiku ourselves?

At some point we came up with the idea – note here that no alcohol was involved in these discussions – that we Southern poets need a poetic form we can call our own.  I remember us laughing about what we might call such a thing;  the term “Bubba” seems to have come up a few times, with various prefixes and suffixes.  At the end of the day, though, we hadn’t really developed anything substantial.

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I’ve been thinking about that conversation ever since, and I’m now ready to unleash upon the literary world a new poetic form: the Southern Sentence Poem.  Besides consisting of a single sentence (which actually ain’t too Southern, knowing how we like to tell long-winded stories), each Southern Sentence must include all three of the following:

1 – Place.

A word or phrase has to place the poem in the American South.  It can be the name of a town, a geographic feature, a mention of some typical flora or fauna, even an ACC university.

2 – Past.

We Southerners make fretful Buddhists – we just can’t let go of the past.  The poem can be “in the moment” but it requires a reference to the past: kinfolk, a historical event, a personal experience (inevitably with a bad outcome, of course, but lesson learned).

3 – Culture.

Let the New Englanders and the Californians and the Canadians come up with their own poetic form – this here poem is about the South!  The reference to Southern culture can be food, customs, language/slang, clothing, agriculture or business . . . even anthropologists have a trouble defining the word “culture.”

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And to my mind a really good Southern Sentence would be seasoned with a drop of bittersweet.  Aren’t some of our great themes sin and redemption, hurt and healing, always at least a little hopefulness?  And it is ever appropriate to inject a little humor.  Just one additional rule: no cussed semicolons.  I love semicolons, but they are just too damn Yankee.

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Help me out.  Send me some Southern Sentence Poems.  If I get a whole passle of them I might start a whole new blog, or at least give them their own page.  Any comments and enlargements on my three rules?  Make the form your own.

AND . . . can anyone think of a better name than Southern Sentence Poem?

Finally, here are a couple of examples (it’s only a coincidence that each is 3 lines; that’s not one of the rules):

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Nana said she despised those “jawflies,”
cicadas that filled the oaks around her house,
but every August I think of her.

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In Nana’s preserves each fig
was suspended in gold – the summer sunset
on Bogue Sound.

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It’s been a few years since I saw a patient with their fingers stiffened by black gum, so tarry and mean you just absolutely couldn’t get it off.  For years they were regulars, members of several local families, and by late August I’d usually treated two or three of them.  Oh, they didn’t consult me to take care of the black gum.  That was a fact of life.  They’d come in with a sprained back from first priming (bending over to pull the lowest leaves, the first ones to ripen).  Or one of their kids would be vomiting from green tobacco sickness when the morning dew permitted the nicotine to penetrate her clothing and permeate her skin.  (The older ones all smoked or dipped, and a little extra nicotine didn’t phase them.)

To say tobacco farming has changed is like saying calling to your neighbor has changed.  The wood-fired tobacco barn has gone the way of the rotary dial phone.  The government bought back all the allotments, but you can imagine plenty of other reasons why you see so many fewer acres of tobacco in Surry County now (and so many more acres of grapes).  On top of that, those big steel gas-fired curing barns just ain’t as picturesque.  And I guess the kids have all gone off to college, because I don’t see them with that black gold on their fingers during priming any more.

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I moved to Elkin over thirty years ago to join Jonesville Family Medical Center right where rural nirvana blooms, the juncture of Wilkes, Yadkin, and Surry Counties.  Some days over lunch, one of my nurses shared stories of her farming childhood.  When priming was finished and the barn was full the whole family would join in the curing – cousins, uncles, the tribe.  The men had to tend the fire all night long to keep the heat just right.  The women would bring baskets of supper; the kids would play until way after dark; someone would break out a fiddle or a guitar.  There was probably a Mason jar of something potent being passed around in the shadows beyond the firelight, but my nurse wouldn’t want to make any accusations.  She and the other youngsters would bed down in quilts and blankets around midnight, and when the sun came up across the fields, there Mama would be with cold milk and biscuits.

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Who’s going to keep these stories alive for us?  Thank goodness for Shelby Stephenson.  I wonder if Mrs. Stephenson, watching her little boy helping with the priming, could have imagined he would go off to college and come back home a professor.  Could she have imagined him turning the black gum into poetry?  As English Prof at UNC Pembroke, as editor of Pembroke magazine, as author of numerous volumes, and as picker of a mean guitar, Shelby has given the old stories new voice, new breath, new life.

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Tobacco Days

The rows almost ridge themselves, shaping the year again
towards seasons that let the dust of sandlugs
fall into yesterdays lost in failed crops, quick dreams.

*   *   *   *   *

I lay on the warm ground of the Mayo barn at four in the morning
hoping Brother would oversleep.
The flatbed trailer bounded across the ditch,
the Farmall Cub droned.
“Morning, boys.”  I climbed the tierpoles.
Taking the top, I handed down four sticks at a time to Lee to
Paul who packed the trailer.  From my perch I
stirred the sun through airholes uner the eaves.
The barn emptied, we walked through dew to breakfast.
Dreams drifted awkwardly, Brother’s Big Man chew
rolling over in sand-dust.

*   *   *   *   *

The tobacco greens for the farmer who dives into the dirt,
renewed in the smell of warehouses,
golden leaves in the lightholes bringing the legged sunlight in.
Dew in dust, a musk in  mist,
the tobacco tips one more time on the prime,

a sea of blooms
bobbing in ninetyfive degree wisps of heat,
adhesive tape slipping over blisters.

My bare feet burn on the ground and I shuffle
toes into dirt for moisture, inching stalk by stalk
down endless rows in the ten-acre field where short rows
fade into plumbushes and shade.

The mules on the drags relax through the hot, climbing
July days, the frying dust, and you wonder if you’ll ever
get the gum off your hands.

Shelby Stephenson
from Finch’s Mash © 1990 by Shelby Stephenson

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In three weeks my cousin Pat is going to take a small step into the vast unknown.  Pat Riviere-Seel is going to spend a week at the NC Zoological Park in Asheboro as its first Poet-in-Residence.  She and I have been whispering and tittering (in the email sense) about her preparations almost daily because just a few weeks after her sojourn ends I am going to follow her in the same role.  And yes, before you ask, the curators have promised fresh straw in our cages.

How does one  qualify to become a Zoo Poet?  The decision process of the artistic committee that established this new program remains obscure to us, the selected, but I can tell you a little about Pat’s qualifications as a poet.  She has the ability to imagine herself into unimaginable personalities.   She can speak in the voices of the voiceless . . . so many voices.  To read her poetry is to be touched, mind and heart, by people you could never otherwise have known.

Perhaps some of this creative skill has grown from her affliction, as she describes it, of ”recovering journalist.”  In the thousands of interviews and articles over the years, how many personalities consumed her?  How many epiphanies when she suddenly saw with another person’s eyes and felt the whole of their motivations?  In her book The Serial Killer’s Daughter, Pat has completed the astonishing transition from journalist to poet.  Through the poems speak not only the daughter and mother, but other family members, victims, onlookers.  The story as it unfolds, and as the daughter begins to suspect, gives me a chill every time I read it.  It can’t be easy to weave together fear and desperation with calculating cruelty and still leave the reader with a sense of compassion, but my cousin Pat is someone ever willing to take a step into the vast unknown.

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.      .     .     .     .

My Brother’s Keeper

My brother doesn’t believe me
when I tell him it’s no accident
everyone close to Mama dies.

Always Mama’s favorite, he’s
the smart one, college degree,
office job.  He can’t afford

a stain of doubt ringing
the collar of his starched
life.  How could he forget

what happened when
he enlisted:  Mama declared
the Army wouldn’t take him,

a widow’s only son.  Two weeks
she railed like a street preacher
calling to the lost.  My brother claimed

Mama’s grief soured his stomach.
It’s nothing, he told me.  Just the stress
from seeing Mama so upset.

He forced himself to eat with us
the day before he left.  No cake,
he said to me.  But Mama insisted.

Clumsy, she screeched
as I slipped
and the cake shattered.

© Pat Riviere-Seel, The Serial-Killer’s Daughter, 2009, Main Street Rag Publishing Company.  Additional sample poems at Pat’s homepage.

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Yes, Pat and I are really cousins.  Her great-grandfather, the Reverend J.N.S. Daub, is also my mother’s great-grandfather.  That makes us second cousins one generation removed.  (Your attention please:  due to the vagaries of genealogical arithmetic, this does not mean that Pat is old enough to be my mother.)  We discovered this connection only about ten years ago when we met at an NCPS meeting and she mentioned that she’d just attended a family reunion in Lewisville.  I said, “Hey, that’s where my great-great-grandfather is buried,” then later mailed her a photo I’d taken of the headstone.  Cosmic!

And as far as her being selected as Zoo Poet, I also happen to know that Pat has written a number of poems about bears.

The Poets-in-Residence will be offering adult and youth workshops during our weeks with the animals.  For more information about Pat, me, and the third Zoo Poet Michael Beadle follow these links!

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Suddenly a sound like the blowing of a violent wind came from heaven and filled the whole house where they were sitting, and they saw what seemed to be tongues of fire . . .

Loud rush of wind.  Tongues of fire.  We have to resort to metaphor because inspiration is an experience that transcends language.  A tremor of the soul.  The evidence of our senses no longer holds.  We don’t know why or how, but we know it is true.

I deal in truth.  Come on, so do you.  Well, OK, a lot of the time the depth of truth I’m dealing in is which item on the Thai menu is best or whether it’s time for a new computer.  But most days I’m also looking for truth that makes a difference: selecting the ideal diagnostic test or best treatment course for a patient; figuring out how to respond to my Grandson’s shenanigans; choosing just the right words in time of crisis.  Different truths seem to beg for different methods:

The Consumer Reports Method: You look at various tests and evaluations, you compare the different options, weigh the characteristics of each, and you decide which suits you best.

The Angie’s List Method: You trust other people to give you an honest opinion, you take their word for it and follow their recommendations.

The Scientific Method: You start with a null hypothesis, you formulate an alternative hypothesis, you perform experiments that can prove or disprove your hypothesis, AND other researchers performing the same experiments get the same results, so that your truth is reproducible.

The Spiritual Method: You get touched, breathed into, shaken and blown away by God.  In other words, inspired.

So how did I get here?  Part of the answer is in Keith Peterson’s poem How Long Did It Take?  When he tries to identify the inspiration for a poem the search connects him to something he read a few hours ago, then to memories and events of the past 40 years.  To his whole life.  To forever.  That is literary inspiration.

I would say literary inspiration is just a subset of all creative inspiration, which is a subset of everything that inspires us to awareness.  Inspiration is what connects us to this universe we inhabit.  I call it God.  You probably know some other names.  It may transcend language, but what I do know is that sometimes I have suddenly become speechless in the presence of an overwhelming sense of love and presence.  A sense in that moment that everything is right.  I imagine God, being everything – inside, outside, all – and being in essence and totality love, is continually in the act of wooing each complex molecule and synapse and electodynamic of my person to enter more perfectly into that love.

How did I get here?  Inspiration. The breath of spirit that enters and makes alive.  Ongoing, continual, never beginning nor ending. Not some sudden apocalyptic storm of electrons in gray matter, not some mystical visitation of otherness. Just that perfect enticement, subtle and often unnoticed.  Just forever.

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little mouse
(evidence)

Listen, it’s there again,
bone tremor like a footfall
on deep moss after midnight,
not my ears that hear, my heart
feels it.  Not my eyes,

they’re closed, but light enters
like sun filtered through miles of leaves
to find earth’s one white
petal.  You want to see
a footprint, count the round toes, claws

flexed or full extension.  You would sniff
the imprint, scribble genus . . . species,
publish your theories and turn up
your nose at mine.  Can you write me
an equation for hope?  A hand

hovers above my shoulder lightly (un-)
touching.  In the domain of mice
all large things are death.  Why
am I convinced my life depends
on the one thing I can’t prove?

© 2011 Bill Griffin, little mouse, Main Street Rag Publishing

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part 2 of 2
(part 1 posted 5/26/2012)

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