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Archive for the ‘Imagery’ Category

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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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 . . .

Keith Peterson is alive for me today.  I’ve just listened to him read one of my favorite poems.  It’s just possible that I sat in the same room with him within the year before his death in 2001 – he was a well-loved member of the NC Poetry Society.  Could he have been present at the first meeting I attended at Weymouth Center around 1999?  That was before I had read this poem or ever heard his name, but since then I’ve re-read it a dozen times and wondered about its author.

I hear Keith’s voice today, his introduction, his intonation of the lines.  I picture him furiously scribbling, as he describes, in a dim cold bedroom. I feel his “4.8 on the Richter Scale,” and I suddenly imagine every writer I know experiencing that same clutch and urgency.

Experiencing that inspiration.  You know you’ve felt it yourself.  To be filled with breath, to be created new, to be made alive. When it strikes, you must write, or draw, or sing, or dance.  To do otherwise and you would cease to live.

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How Long Did It Take?

I wrote a poem once
about something I’d just read
and I recited it to a guy
who liked it a lot but asked me,
How long did it take?  And I shrugged:
Coupl’ hours, I said.

I didn’t tell him, Yeah,
two hours of standing there
freezing in my pyjamas,
leaning over the chest of drawers
in a small circle of lamplight
scribbling almost faster than I could think
before the tremor faded, only 4.8
on the Richter Scale, but strong enough
to drive me out of my house of bedclothes
into the streets to run till it stopped
which it started to do
when the first draft shaped itself,

no, it took the whole night
that began with the reading,
the pages that turned inward,
into the heat of the cauldron,
the pressure of the plates on each other,
the deliberate counting of sheep,
one hundred and twelve, one hundred
and thirteen, the two bright blanks
of the backs of my eyelids,
the wreck of the covers, the roar of the
clock racing toward daylight and,

no, it took forty years.
What the poem was about
were earlier dawns and midnights
the reading had rediscovered,
the rocks it turned over: a job,
a joke, a burial, tears of laughter
at a kitchen table, tears of relief
in a hospital bedroom, a football game
in a downpour, one telephone call
that ate fatigue, the sweet silence
of a sunrise once in the mountains,

like the first morning.  No,
it took forever.

Keith Peterson

[from Pembroke Magazine, 1966.  Collected in Word and Witness, 100 Years of North Carolina Poetry, Sally Buckner, editor.  Carolina Academic Press, 1999.]

Hear Keith read this poem as part of the Community United Church of Christ media series.

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part 1 of 2

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