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Archive for February, 2021

[with 2 poems by Beth Copeland]

February 23, 2021

It’s all downhill from here. That’s what someone told me when I retired last September and it didn’t sound much like a benediction. Today though, sitting down to eat lunch half way through my long day’s hike and knowing that this is, indeed, the highest point on the Blue Ridge I’ll reach, all downhill sounds pretty inviting.

Today is my “birthday hike.” Every February I spend one day hiking the 17-mile perimeter trail at Doughton Park on the Blue Ridge Parkway. A few times I’ve had to break trail through fresh snow, once freezing sleet slicked my balaclava into a glass helmet, but today it’s supposed to reach the 40’s up here near 3,000 feet. I might get sunburned. I’m eating lunch at the 8.5 mile mark, a stone NPS shelter at the top of Alligator Back that looks down into Basin Cove, and across the holler I can trace this morning’s elevation profile.

Park at Basin Creek, climb the trail a quick 800 feet or so, then another more gradual 800, then continue following the ridgeline to encircle the cove – up / down \ up / down \ up / up / up, the final ice-encased switchbacks climbing Alligator Back especially gruesome. But here I am half way done and now it’s all downhill! Hmmm, after more than 20 years of hiking this trail I know better. For every moderate descent there’s another knob rising up ahead, down \ up /down until the final mile of narrow white-knuckle hairpins back to the creek.

It’s not how long the trail, it’s the elevation change. Mom turns 93 tomorrow and Dad at 94 is right there with her. She can hear better than he; he can remember better than she. They practice exercises the Therapist is teaching them so they can walk the mild uphills and downhills around their block every afternoon. So far this year they haven’t really had any net elevation change in independence, well, not enough to sweat; we’re all living day to day on pretty level ground. For her birthday Linda and I have given Mom a book of animal photography by Joel Sartore – her face shines as she turns each page. My sister Mary Ellen and her partner Wendy gave her a patio fire pit table and Mom and Dad look happy as Hobbits hunched around it.

From this vantage that we call today we can look across the blue mountains of time and retrace in memory what brought us here. The trail ahead is less clear, or maybe our vision is perfectly clear even if not clearly perfect. Rough paths, slick spots – inevitable. It can get steep. For today let’s share the view together.

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I’m reading Beth Copeland’s Blue Honey for the second time and I know I will be reading it yet again. Most of the poems are set during the years her parents were entering their 90’s and declining as Alzheimer’s Disease progressed. She meets each waypoint of loss, theirs and hers, with tenderness and clarity. From vignettes of memories and intense moments she paints a portrait of their lives and reveals her own.

When we lose a parent to death the moment is etched on our hearts but also the calendar. We recall where we were, what was said; we commemorate the date. With Alzheimer’s we lose our parent in random bits like sparks that fly up from a campfire and extinguish in the night. Eventually the body sitting before us contains nothing of the person except an occasional glimpse as ephemeral as ash. Beth Copeland shows us that this sort of loss will make you cry, will make you pissing angry, and will also sometimes thank God make you laugh! Her poems are intensely personal but I also discover myself in so many of them. These lines are, from their first step along the trail and through all the sweaty climbs and bittersweet descents, perfectly human.

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Sandhills Gold

. . . in the Sandhills of North Carolina,
a few lucky beekeepers strike blue gold.
– Chick Jacobs

The year Daddy died, beekeepers found blue
honey in their hives. How it turns

blue or why it only happens
here no one knows. Some

think bees feed on bruised huckleberries, scuppernongs
or kudzu blossoms. Too far inland, Daddy

never found it in the forty-five years
he kept hives. In the nursing home, I talked

blue honey into blue eyes that
stared back in a blur

of lost memory and sleep. What
was he thinking? I spoke

of his veiled hat and long gloves,
bellowing hives

with smoke so he could pull combs and
honey from inside, and pour sourwood

into old Mason jars in slow motion
like the lengthening summer day

when the sky was so delphinium
it could be music, or the blue

shadow that followed me through the doorway
into the buzzing of bees when I

was thirteen, crying behind the pear tree because
I wasn’t popular enough to be

May Queen. This is what I choose
to keep against forgetting:

You’ll always
be my queen,

he said, bending
to kiss my forehead. I carry

that moment like a bee
in amber on a gold chain

above my heart to ward off wintering
broods and dark swarms, a queen without

a country or hive, standing in slanted light
as bees droned

around my head, weaving a crown of wings
and buzzing with sweetness.

* * * * *

Grief like honey left too long in the jar,
like the pint we bought last year

from a beekeeper who used to sell pot,
in the pantry all winter flanked by bottles

of blackstrap and Hungry Jack
crystallizing in the dark,

too solid to spoon onto bread unless you melt it
in water on the stove. Impatient,

I spread the gold grains on my toast, remembering
when he was alive and it

poured in slow
measures onto my mother’s home-baked bread. One

summer he visited me in Chicago after robbing
his hive of a quart jar of sourwood, his

ankles so swollen
from stings he slept with his feet propped

on pillows. I want this
grief to dissolve like a lemon

lozenge on my tongue, I want
to taste the sweetness

of mornings
before sorrow, anger, remorse

soured my vision of being
young and oblivious to his

pain, I want my words to flow
like a vein

onto the blue-lined page as holy
honey flowed from his white

hives onto our bread, our tongues, our lives.

from Blue Honey, Beth Copeland, The Broadkill River Press, © 2017

 

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Nothing Blue

When I leave she asks, Are you
going to that cabin with Phil? She can’t

recall our wedding. She wore
a periwinkle dress she bought at Belk’s

so she wouldn’t
embarrass me garbed in something

old as she sipped champagne and nibbled
cake. I live there. We’re

married, remember? She blinks. Oh,
that’s right. Not her fault, but I’m so

tired of wanting
her to hold onto that

one day. When I arrive to chauffeur
her to the doctor, she’s not

dressed but tells the nurse, I could live
on my own if I had a family. What

am I, chopped
liver? She tells her friends I never

visit because she forgets. On the drive
home, I pass a blur of chicory

growing wild around
a crinoline of Queen Anne’s

Lace – something
old, nothing

new, one thing borrowed,
almost blue

from Blue Honey, Beth Copeland, The Broadkill River Press, © 2017

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Blue Honey won the 2017 Dogfish Head Poetry Prize from The Broadkill River Press. Not long after the book’s release Beth, Teresa Price, and I read together at Malaprop’s Bookstore in Asheville. A brilliant day! I still have the Poetrio Author! April 8, 2018 bookmark in my copy of Beth’s book. Zoom is a congenial gathering of sorts but reading beside another author you admire before a phalanx of expectant mostly strangers, well, that’s adrenaline.

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View across Basin Cove from Flat Rock Ridge — see the speck of a tree all by itself in the bald patch on the horizon? Watch for it . . . !

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Poetry Submissions Calendar – UPDATE 02/22/2021

In 2015 I originally posted a table I use to keep track of when and where to submit poems for publication. Here’s the original post with description:

https://griffinpoetry.com/2015/08/31/editors-mercy-part-2/

Here’s how I use the calendar:

It’s arranged by month – look down the column to see what journals and sources are open for submissions right now!

Each row includes the web address – be sure to check before you submit, because requirements may have changed since I last updated!

The row also includes other information such as:

Is this an online publication only?
Should your submission be a single document?
What format files do they accept?

There are more instructions on the table itself. Feel free to print it out. And I would really appreciate it if you notify me of any errors or suggested changes!

If you have journals you’d like me to add to the table please do send me the particulars!

……….. Poetry Submissions Table – PDF file ……….

I will try to post an updated table several times a year and whenever I have made significant additions and corrections to the table.

Enjoy!

And if you find this useful or discover errors please reach me at comments@griffinpoetry.com

BILL GRIFFIN

 

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[with 3 poems by Patricia Hooper]

Great Smoky Mountains Institute at Tremont, February 05-07, 2021

the assurance of things hoped for, the evidence of things not seen . . .

Faint tracks – but when has life ever laid it out plain, an open book, page upon page with footnotes? Aren’t I still searching between the lines, faint traces, no clear prints? Lately I dream every night of making diagnoses, explaining treatments, buffing up my charts. Is Jung telling me that this was my only purpose in life and now it’s over?

Deer walk a diagonal gait – each hoof print is really two impressions, the forefoot overlaid with the rear. If the rear hoof strikes a little lateral within each fore print it means the pelvis is wider = you are following a female.

Don’t plan on seeing a bear in the Smokies in February. Mom is asleep in a hollow tree with her cubs and Dad is dozing under a bush somewhere (he snores), though he might rouse up to forage on a warm afternoon. So why are we studying mammals at Tremont in February? In the sere meadows, the leaf-littered groves, under the pale unforgiving sky the book of all their signs is open for us to read. Let’s hike up to that oak tree and see who’s been scratching for acorns, see who has left us some scat. Let’s follow that faint trail through dry brown stalks to check out predator and prey. Who clawed up this white pine? Who stepped in the mud?

Canids: dog paw prints show deep claw marks with claws of outer toes angled outward; coyote claw marks are less distinct but all aligned strait ahead; gray fox claw marks are the least distinct since they save the claws for climbing trees, and the rear pad looks scalloped like a chevron.

But clear prints are maybe 1% of tracking. We’re learning a new vocabulary of chewed nut and compressed grass. Tracking is patterns and connections, habitats and behaviors. Measure the size of the incisors that gnawed this antler. Measure the bits of skull and femur in this dropping.

And can I learn a new language? Maybe all these dreams are about knitting up the years, tying the last knot, laying it away to pull out when I need to reminisce. Or maybe I need to discover something missed. Life is not disjunctive – the end of every moment flows into the beginning of the next. The assurance of past creates future. Tracking in Cades Cove – a metaphor for opening oneself to an unseen message within, to the evidence of human purpose. Connections, convictions. We track a personal ecology that leaves signs for us to discover, to question, to wonder.

To follow.

Tracks have lead us to this place, maybe with a lesson or two that sunk in along the way. Some wisdom. And the tracks that still lead forward?

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Patricia Hooper’s bright clear poetry touches earth with a feather – to bring color and flight. Garden, feeder, wild crag, starry night, in all seasons she observes the particular and discovers its connection to the universal. Nature is her palette but human nature is the canvas she illuminates. The poems of her latest book, Wild Persistence, taken singly seem to open our eyes to brief moments or localities, but as a whole these poems weave a complex narrative of family, longing, grief, redemption. I find joy in her art.

Patricia moved to North Carolina in 2006 and lives in Gastonia. In 2020 she was awarded the Brockman-Campbell Award of the North Carolina Poetry Society for Wild Persistence, awarded for the year’s best book of poetry by a North Carolina author.

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Elegy for a Son-in-Law

1.

A distant figure on the mountainside
seems to be coming closer, then it turns,
a blue, retreating cap, a scarlet jacket.
Without another sign, I know you’re there,
climbing again the way you used to climb
before you were a ghost. I want to call
Don’t go! Come back! I have your two small sons
sleeping behind me in the car, their mother
watching the sky for falcons. But you move
farther away. Or we do. Now you’re gone,
back toward Mount Sterling where she took your ashes.
I hope it’s peaceful there. I hope you know
they’re doing well. I hope you didn’t see us.

2.
These are the mountains where you were a boy,
broad waves of mountains rolling like an ocean
into the distance, no horizon, only
these smoky contours where you knew each rise
and hemlock forest, plunging stream. Your friends
tell how you often left them for a while
after you’d reached the top, to be alone,
then met them at the camp, all tales and laughter.
Today, a red-tailed hawk riding the breeze,
gold leaves, cascading creeks, – your kind of joy:
cold rushing currents, then the ecstatic slide.

3.
This is the world you wanted: brisk fall air,
the valleys hung with haze, that long blue range
half-hidden by the clouds. It’s coming clear.
How far you must have seen from there! And here?
It’s hard to see around so many hills,
so many peaks and gorges, and the curves
are slippery on the parkway, miles of turns.
We’re heading home. The boys are waking now,
their mother’s passing crackers, pointing out
the overlook ahead: blue waterfall,
deep river valley, autumn leaves, the pines
along the ridge, the rising trail – and there,
the summit you’d have shown them. Mist and shine.

from Wild Persistence, Patricia Hooper, University of Tampa Press, 2019

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In Tennessee

The Blue Ridge at sunset – hardly a missed note
in the hemlocks where a mockingbird is singing
while to the west a falcon dips, then glides
over the valley, indistinct from here
except that the bird falls lower than the chair
I’m sitting in, and disappears. The sky
is the color of pomegranate, and the balcony
slips into shadow like the distant hills.
No wonder that the mockingbird is singing
a medley of every song he knows,
no matter whose. No wonder that he sits
in the glow of a single flood lamp high above
the roof, a pool he must mistake for sunlight,
enough to urge him on and on and through
his repertoire that bird by bird is ringing
over the day’s end, over the night’s coming.
Maybe he has to sing to know himself
as part of things – finch, cardinal, wren, and now
that long coarse call that sounded like the crow
or Steller’s jay – whatever voice he’s pulling
out of himself, some sound against the silence,
against the signs of brightness vanishing.
The railing of the porch dissolves in mist,
the sun has set, and now we’re weightless, drifting
as if suspended in the blackening air.
His sphere of light no longer seems as clear.
Maybe he knows the lamplight isn’t sunlight.
Maybe he feels he too is disappearing
into the darkness like this porch and chair.
he has to sing, he has to keep on singing,
to know he’s really there.

from Wild Persistence, Patricia Hooper, University of Tampa Press, 2019

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At the Rifle River

When the eagle unfurled, clearing
the green dome of the forest,
I almost missed it

till somebody cried, “Look up!”

and there it was
in the sky over the river

which I saw it must have owned
the way it spanned the rapids
with a single stroke,

and the sky parted.

I can’t say I believe
in messengers from the clouds,

but I didn’t believe
this was an accident either,

the way its light
tore through the drab morning
I barely lived in, and then

it rose over the steaming
forest, it disappeared.

*
At the time I was only watching
my own path by the river,

but afterward
I knew it must still be there
over the rim of maples

its white helmet, its fire,
and its gold eye turned toward me,

or something enough like it,
something powerful and amazing
which someone else sees.

Imagine my certainty
the moment before it rose
through the world, crossing the water,
that there was nothing anymore to surprise me.

Imagine my emptiness.

Imagine my surprise.

from Separate Flights, Patricia Hooper, University of Tampa Press, 2016

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GSMIT // SANCP

Special thanks to Jeremy Lloyd and John DiDiego directors and instructors at Great Smoky Mountains Institute at Tremont, for the weekend Mammals course, which is part of the Southern Appalachian Naturalist Certification Program, and to Wanda DeWaard, guest instructor for the day and master tracker and naturalist.

The Southern Appalachian Naturalist Certification Program at GSMIT comprises eight weekend courses designed to provide fundamental and specialty skills in Southern Appalachian ecology and interpretive techniques. Each weekend includes 15 hours and more of lecture and hands-on field study. Upon completion the student receives the non-credit Southern Appalachian Naturalist Certificate from the University of Tennessee.

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[with a Possum Poem]

In case you missed it, February 7, 2021 was Smoky Mountains ‘Possum ‘Preciation Day. Not that we blame you for overlooking the date – Joyce, Kimber, and I had just declared it that very morning. As part of our presentation on Didelphis virginiana to the Mammals class at Tremont we were determined to remedy the bad rap opossums get. And since we’re all friends here let’s just call them ‘possums’.

Possums are not big gross rats. Well, yes, when you try to shoo them away from the compost heap they do hiss and show all 50 teeth in their long pointy jaws, but let’s give them credit for having the most teeth of any North American mammal. And a pouch – they’re our one and only marsupial. Plus possums can be positively stylish and glowing when you give them a nice shampoo, blow dry, and brush up, although unfortunately that’s usually done by the taxidermist.

Back to those teeth – one of Ms. Possum’s super-powers is time travel. Her jawbone and dentition haven’t changed much at all from those little early mammals who lived side by side with Cretaceous dinosaurs. From Ms. Possum, mammalogists can figure out how those prehistoric critters chewed and what they most likely ate. Which by the way for our current day possums is basically anything and everything. (If we refer here to Ms. Possum it’s because Mr. is totally out of the picture after the mating is finished. Like, two minutes. And he doesn’t have a pouch – boring.)

At this point you’ll certainly be ready to agree it’s no coincidence that Possum rhymes with Awesome. Joyce, Kimber, and I were very happy to enlighten our classmates about the admirable features of this little pouched prehensile-tailed omnivorous non-endangered darling. And hey, we could have drawn the assignment that one of the other teams got stuck with: Appalachian Wood Rat.

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Requiem

I won’t walk back this way tonight
to not-see in the darkness the damp splay of fur,
the jawful of Pliocene needles, the blind worm
of a tail. And not only for fear that I’ll tread
on the red-brown seep or the pitiful snout;
no, I also don’t wish to meet its little ghost
ranging, anxious to cross the road,
baffled by its body’s long play of possum,
denied its marsupial rest.

But perhaps in mercy I should return
and pronounce, O pouched spirit,
linger only until the crows have said grace
and the sun awakens your baking humors, then flee
with the blessing of one who has swerved
to avoid your brothers. Go now and find peace
on the other side.

© Bill Griffin; first appeared in North Carolina Literary Review Number 12, 2003

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One of the numerous hands-on nature experiences offered by Great Smoky Mountains Institute at Tremont is the Southern Appalachian Naturalist Certification Program. Eight weekend courses (which may be completed over a span of years) are designed to provide fundamental and specialty skills in Southern Appalachian ecology, biodiversity, and interpretive techniques. Most of the time is spent outdoors; for the winter Mammals course we spent Saturday in Cades Cove discovering tracks, scrapes, signs, and scat that testify of the denizens and their activities. Each course also involves keeping a nature journal and practicing interpretation skills – sharing Nature with others. Upon completion the student receives the non-credit Southern Appalachian Naturalist Certificate from the University of Tennessee.

Joyce, Kimber, and I were Team Possum. We did not discover any possum tracks during the weekend and we reprimand Tremont for not providing us with a possum skull to play with among all the other skulls, bones, and pelts in their collection. We are DEEPLY grateful, however, to master tracker and instructor Wanda DeWaard, who brought with her a little jar of possum scat. Treasure!

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2014-07-13 Doughton Park Tree

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POSTSCRIPT

My birthday is February 11. Here’s the card I opened from Mike and Nancy that day. Mike is the guy who first invited me to come backpacking in the Southern Appalachians 25 years ago and talked me into enrolling for my first SANCP course at Tremont. And he did not know I’d pulled Virginia Opossum for my small group presentation — he’s just prescient.

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[with 3 poems by Val Nieman]

Great Smoky Mountains Institute at Tremont – February 5-7, 2021

Winter on the mountain gavels its sentence, no appeal: wrestle the cold to keep it at bay; eat, feed the inner fire; light the darkness or fall and break. I pull my hood closer and hide myself. In the tent at night I bind my neck against cold fingers. I watch my feet.

The day is short. Nevertheless we fill it and discover it filling us. Small signs begin to reveal their stories – an incisored nut, scratches in the bark, one single hair. At first we hesitate, we thirteen who’ve journeyed here to explore, but in the light we gather as closely as prudence permits. Muddy track, scrabbled duff, compressed leaf, scat: where did Bear sleep? what did Coyote eat?

Winter on the mountain: what crouches here for us to notice?

The night is long. In this valley darkness is complete. The rush and growl of Middle Prong fill the cove as well as empty it. Are we alone? In the gap of sleep a brush and skitter, a brief chittered voice – I imagine dark eyes and gliding flight. The spirit is released from the prison of his tree. In the morning we will seek signs of his passing.

Winter on the mountain – I release myself to see, to question, to wonder.

 

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Valerie Nieman journeys landscapes of memory, family, heartache to reveal stories in the signs unearthed along the way. A path may seem clear but its meanings fissure and deepen into many layers. A bud, a leaf, a branch – are they simply of themselves wholly themselves? Look deeper: there are mysteries unfolding.

Val teaches creative writing at North Carolina A&T State University but she is preparing to retire this summer and replace syllabus revisions with fly selection for a day on the trout stream. Her poetry has appeared widely and has been published in numerous anthologies, including Eyes Glowing at the Edge of the Woods and Ghost Fishing: An Eco-Justice Poetry Anthology. Her fifth novel, Backwater, will be published in 2021.

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Becoming Ariel
for Gerald Stern

Groundhog in a tree, behaving like a bird, like a squirrel,
nibbling tender green buds at branch end, high-wiring
above a bog. Any burrow dug here would be swamped,

front door to back stoop – how did he come to cross water
and ascend, diggers curved deep in the bark as a lineman’s spikes?
A crow would think twice about lighting on a branch so frail.

Soil-shoveling wedge of a face, a fat tail that never could balance
his loose bulk: this creature was not meant for such heights.
His round belly was destined to bloat in a ditch beside the road.

Still, he sways against the sky, close to the sun, Caliban
joyously drunk on spring sap drawn up from the mud
and darkness he was born to, tiny feet dancing and dancing.

from The Georgia Review, University of Georgia

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Captures

I sprayed for tiny ants
late last night, killing the spider
doing its best to corral them.

Between the sheets I struggled
hand to hand with old lovers
and other aliens

descending cosmic ladders
to pincer my heart,
boiling them in the ichor

my bare claws released
from their flesh.
But this morning,

I catch a humpback cricket
in the sink, cup it
between my hands

and toss it out
the back door
to take its chances.

This morning, I’m
mild as a painted virgin,
my hands empty of slaughter.

from Change 7

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Approach

Arms stretched wise,
right hand to the dawn,
left toward eventual night,
I face north.

As latitude rises,
life flattens:
forest to taiga,
to tundra, to permanent ice.

Everything will have
a name of cold:
polar bear, arctic fox,
glacier flea, snowy owl.

~ ~ ~

A compass is known to stray
from true north, lured
by the earth’s magnetic heart.
Now the needle swings

at the approach
of a frost spirit
from those barrens
I’ll have to cross

without advice,
without a companion,
or a harness of wolf-dogs,
or good boots.

from Hotel Worthy, Press 53, Winston-Salem, © 2015

Becoming ArielCapturesApproach  © Valerie Nieman

 

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The Southern Appalachian Naturalist Certification Program at Great Smoky Mountains Institute at Tremont comprises eight weekend courses designed to provide fundamental and specialty skills in Southern Appalachian ecology and interpretive techniques. Each weekend includes 15 hours and more of lecture and hands-on field study. Upon completion the student receives the non-credit Southern Appalachian Naturalist Certificate from the University of Tennessee.

Ariel, the spirit in Shakespeare’s The Tempest, is released from his prison in the split pine by the magician Prospero.

 

 

 

 

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[with 4 poems by Ruth Moose]

I’m driving from Elkin up to Dobson, our county seat, smack in the center of Surry. About half way there, as Mountain Park Road peels off to the left, Poplar Springs Road completes its transformation to Zephyr Road. I love that – Zephyr Road. There are farms and rolling hills and plenty of zephyrs, though some of them are perfumed with a whiff of chicken house or skunk. Soon winter wheat will green the fields, then Spring will raise corn, soybeans, finally tobacco. Off to the south you can see vineyards pruned and expectant.

While the pastures are still winter brown, pay attention. Look, there’s one – close to that big oak in the middle of an empty field, a little patch of green. Come March you’ll spy the yellow nod of daffodils. Why out there of all places?

Those daffodil plots, slowly spreading, most likely once knelt at the front stoop of a farm cabin. A century ago, even longer? No sign of it from the road but if I walked around the oak I might scuff up a few squared off stones that were its foundation or that hoisted a step up to the porch. The daffodils remember. And maybe it was the same man and the woman who hoed the corn, milked the cow, every winter killed the hog, two together across the years who some quiet evenings found an hour to sit on that porch, maybe they’re the ones who named the wagon track below the field Zephyr Road. I love that.

 

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Ruth Moose’s poems reflect the North Carolina icon she is. She draws on generations of memory to weave her stories and sketch her vivid images of locality and personality. Her sly wit, cloaked but never hidden by gentility, brings out the quirky individuality of the denizens of her world, real and imagined. And she reveals the deep, deep heart of longing, loss and yearning, our fragile mortality.

These poems are from three of her collections spanning decades. Ruth has also published novels, many short stories including two collections, and has won many awards and fellowships. Charles Edward Eaton said of her: Few writers can handle both prose and poetry, but Ruth Moose does them equally well, and with this double grasp has become one of North Carolina’s best writers. Ruth taught creative writing at the University of North Carolina until her retirement and she continues to support the creative life our home state.

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Smith Grove

There is a heaven
for farmhouses.
Acres of them
lit by cloud hills
that plunge and wind
past creeks
where cows crowd on hot days.
A million windows watch
where farm wives waited,
minded those who came,
those who left,
counted the colors
of morning, evenings,
the sky at noon.
From back door stoops
they marked storm clouds,
summers rent with heat lightning,
saying both aloud and under
their tongues the chant
of superstitions, old tales,
familiar talk until the dark
dissolved.

In the museum
of porch swings and farm tools,
kitchen work is rusted,
thick with the oven of meals,
baked enamel, porcelain polished
like plates.

from Smith Grove, Sow’s Ear Press, Abingdon, Virginia, 1997
Illustrations are by Ruth’s husband the late Talmadge Moose, widely published and displayed artist and illustrator; read more at Life As He Saw It in Our State Magazine, April, 2011, by Ruth Moose.

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Making the Bed

No matter how well
or worse the sleep
someone must take
the four cornered world
and set it straight.
Two can do it better,
take turns with edges,
coverlet, shams,
blanket and bolster,
wait in turn.

You can do it in the dark,
by feel, familiarity,
plumping feathers or foam.
You know your own scent,
shallow spots your knees
seek, the place you
fall into, dark and faraway,
taking you back or forward
like a train, all scenes
lighted cars you can look into,
out again. You hear the engine
that goes nowhere, the solitary
shriek as daybreak unrolls,
all wrappings out like flowers.

We go on with our lives.

from Making the Bed, Pure Heart Press / Main Street Rag Publishing, 1995

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Almost a Pantoum on Being

A script is not needed; our place is already there.
We come into the world naked, unafraid.
Helpless we learn as we go, if somebody cares.
From water we swim, kicking into blue air.

We come into the world naked, unafraid.
The spell is everywhere, something the soul knows.
From water we swim, kicking into blue air.
Alive as the earth is alive and newly green.

The spell is everywhere, something the soul knows.
No angels hover over us, sit on our shoulders.
We are alive as the earth is alive and newly green.
Taking the flight one wing at a time.

No angels hover over us, sit on our shoulders.
Celebration waits in the arms of others.
We learn the dance one step at a time.
Moving to tunes heard in our heads.
No script is needed. Our place is already there.

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How I Think It Will Be

My mother never talked about that winter
she had a husband in the VA hospital
not knowing how or if or when
he’d recover, three children sick
with the big red measles and twelve
inches of show on the ground
for over a week. She mentioned
it once, that’s all I remember
and the sound of her sewing
machine late, late into the night.
What did she sew? Her sanity?
Her soul? I only know I woke
suddenly, had gone from hot to cool,
my fever broken, my pillow wet.
I felt her hand on my forehead,
her touch, her voice as I left
that darkness and came into light.

I imagine it will be as she said then,
“Oh, here you are.”

both selections from The Librarian and Other Poems, Main Street Rag Publishing 2009
dedicated to HWLWG – HE WHO LEFT WITHOUT GOODBYE

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Chatham Arts Council bio of Ruth Moose
Poetry Foundation listing

 

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