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Archive for April, 2011

Last fall I precipitated a lengthy debate when I claimed that all poetry is about death. Well, Richard and Allison, I apologize, but I’ve changed my mind – all poetry is about sex.

Let me rephrase that: all poetry is sensuality. At least I’m convinced that’s true when I re-read Sara Claytor’s Howling on Red Dirt Roads.

Sara’s poems take delight in slipping off their silk blouse and pointing their rosebud nipples at the moon. In a buttery drawl the poems say, “Damn the saturated fat,” and spoon up a steaming platter of cornbread and collards. They are magnolia perfume on a muggy afternoon. Salt and beachsand and waves at night. The stanzas are tactile, gustatory, aromatic – oh hell, let’s just say they drench the senses. Presence and immediacy – the characters rise up from the page and breathe.  And oh my, we are there with them and we are red and we are howling.

You’ve experienced sensory memory – just a hint of the smell of your Grandmother’s talcum and there you are playing on the floor in her living room. [It’s synapses firing in the hippocampus and cingulate gyrus, but forget I said that.] Sara’s poetry is born in memory. Her memories become ours. The smell of July sun on pine needles, squeak of the porch swing, the sound of butter beans falling into a chipped enamel basin . . .

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Dog Hobble

Blue Rocking Chair

She lost her leg,
wanted to return to her tin-roofed cabin
with the blue rocking chair on the porch.
Working daily in a cotton mill, Claudine
spent nights with her. I was in Zimbabwe,
a Peace Corps teacher,
when I received Claudine’s letter
detailing the 2-month-old news of Julia’s death.

Perhaps Julia rolled her wheelchair to the kitchen,
boiling water for coffee, loose sleeves brushed
against a heated stove coil.
By the time the fire department arrived —
the old wooden structure eaten by flames,
tin roof buckled and flattened,
blue rocking chair reduced to blistered sticks.

During the next year, I recovered,
feeling more black than white,
my skin & hair darkened by fierce African sun,
my heart involved with 15 black children
who called me ‘Mama Blanche,’ who learned
to speak English with a Southern accent,
celebrated my 23rd birthday singing Dixie.

In each face, I saw myself on a day
when I sat in the blue porch rocking chair
beside a tin bucket of pink petunias,
helping Julie shell butter beans,
smiling in the sun while she hummed hymns,
dropped the empty hulls
into a brown paper bag.

Sara Claytor, from Howling on Red Dirt Roads, Main Street Rag Editor’s Select Poetry Series, 2008

Sara featured on Katherine Stripling Byer’s blog
http://ncpoetlaureate.blogspot.com/2009/09/poet-of-week-sara-claytor.html

Sample poems at Main Street Rag
http://www.mainstreetrag.com/SClaytor.html

Sara’s web site
http://www.saraclaytor.com/

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The tree which moves some to tears of joy is in the eyes of others only a green thing that stands in the way.  Some see nature all ridicule and deformity, and some scarce see nature at all.  But to the eyes of the man of imagination, nature is imagination itself.    —   William Blake

You can’t write what you don’t notice.    —   Peter Makuck

When I was sixteen I spent ten days backpacking with the Boy Scouts in the southern Rockies.  Twenty-four years later I hiked some of those same trails again with my son’s Scout troop.  This time the climb over Abreu Mesa and up along the Cimarron River was punctuated by green-tailed towhees, Stellar’s jays, the sudden flame of western tanagers.  Where had all those birds come from?  Where were they last time I was there?  The difference was the dog-eared copy of Peterson’s Guide to Western Birds in my pocket.  And looking.  Noticing is intentional.

On April 9 at Barton College Walking into April Peter Makuck read from his new and selected poems, Long Lens.  An apt title.  The poems invite us to accompany the writer during a long career as a poet.  They focus for us the quotidian observations that suddenly blossom into meaning.  And most of all the poems’ images bring things up close — a ladybug that reminds of leaving home; a pelican to release us from bondage; a hawk killing a squirrel on a college campus —  or rather the poems bring us closer so that we can begin to notice.  To notice like the poet notices.

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Wild Ginger

Prey

Coming from the pool
where I’ve just done laps, letting water bring me back,
I’m already elsewhere, thinking
about Tennyson and my two o’clock class
when a squirrel appears
ten feet from the concrete walk, by an oak.

Then a loud ruffle at my shoulder,
like an umbrella unfurled, before a flash glide
makes the Redtail seem to emerge from me

and nail the squirrel with a clatter of wings —
a long scream that strips varnish from my heart
before the sound goes limp.

She presides with mantling wings
over the last twitches of gray as I
edge closer to her golden eye.
She hackles her head freathers, tightens her talons,

holds me prey to what I see, watches me
as she lifts off , rowing hard for height, the squirrel
drooped in her clutch.

Now skimming a lake
of cartops in the south lot, making for the break
between Wendy’s and Kinko’s, she swerves up

sharply to land on the roofpeak of a frat house
over on Tenth.

Some noise from the world snaps me back.
I look about, but nobody has stopped
to look at me or where she stood by the tree,
only ten feet away.  Slowly released,
I move ahead with the passing student crowd,
holding fast to what I have seen.

Prey, Peter Makuck, from Long Lens: New & Selected Poems, BOA Editions Ltd., 2010

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Peter Makuck
http://www.makuck.com/

Featured at Kathryn Stripling Byer’s NC Poet Laureate Site:
http://ncpoetlaureate.blogspot.com/2009/10/poet-of-week-peter-makuck.html

Some persons seem to have opened more eyes than others, they see with such force and distinctness; their vision penetrates the tangle and obscurity where that of others fails . . . How many eyes did Thoreau open?  How many did Audubon?  Not outward eyes, but inward.  We open another eye whenever we see beyond the first general features or outlines of things — whenever we grasp the special details and characteristic markings that this mask covers.  Science confers new powers of vision.  Whenever you have learned to discriminate the birds, or the plants, or the geological features of a country, it is as if new and keener eyes were added.  John Burroughs

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“. . . I think / of the artist’s needle, how it broke the skin.”
 
A short story may wander, but it knows there’s a way through these woods and dammit it’s going to find it, even if it’s nothing but a deer path and briars.

A poem is a story on open water with a busted keel. It may try to tack, but when the wind blows it skitters sideways. It has to go where it has to go.

John Hoppenthaler read his poem Buffeted at Walking into April last Saturday. Within its lines how many stories swirl and beat against each other like storm surf?  Hints of a rocky past; the lovers with their secrets. And in dead center a Gordian knot of a line that’s worth repeating slowly out loud: how much like the book / you said you could read me like this is of me:

Damaged everything and matching dragonfly tattoos – will they take flight, or will they only remind us of blood? Even the atmosphere – faux Tiki bar, clams and tequila – is a character in this story. And the title. Did one word ever have more meanings?

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BUFFETED

Stoned in the canned jangle of steel
drum tunes in the faux Tiki bar, I sit below
dusty plastic frond and nurse my drink. A few stools
down, too precious for words, a tongue-studded, nose-ringed
lesbian couple, heads bowed close, whisper secrets and softly laugh.
I want their love to last.

I order a plate of clams oreganato
with crusty French bread on the side for dipping
into the buttery broth that strongly hints at salty brine.
Ted slides another frozen margarita down the lacquered
surface of the bar top while come raw, tequilaed-up synapse fires,
and I remember the Paul Simon

song that mentions two fragile ex-lovers
speculating over who’s been damaged the most.
Guess what?: I think of you: how much like the book
you said you could read me like this is of me: to flounder
still in our marred way of being together in the world. I love the dead
dumb clack of emptied shells

as I assemble them into a stylized pile, as if
building an already weathered monument to sailors
the night sea took away and never gave back. Damaged
dreamboat. Damaged land. Damaged ocean. Damaged man.
Damaged woman. Damaged tide. Damaged moon. Damaged pride.
Damaged angel. Damaged wing.

Damaged Jesus. Damaged everything. I don’t think
it will last, though the adorable lovers have not gathered
tightly in each other’s arms and seem, in this heartbeat, defiantly
inextricable, their matching dragonfly tattoos now visible, poised as if
for trans-Atlantic flight on each girls right shoulder blade. I think
of the artist’s needle, how it broke the skin.

(c) John Hoppenthaler, from Anticipate the Coming Reservoir, Carnegie Mellon University Press, 2008; reprinted by permission of the author.

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Walking into April, Barton College
http://www2.barton.edu/news/collegenews/?p=1405

John Hoppenthaler profile
http://www.ecu.edu/cs-cas/engl/profiles/hoppenthaler.cfm

Four poems by John Hoppenthaler
http://www.authormark.com/article_716.shtml

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