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After the reading I’m talking to Worthy Evans, admiring his poems.  He says, “I think I have multiple personality disorder.”  I say, “Must come in handy.”  And doesn’t it though.

Worthy’s new book from University of South Carolina Press, Green Revolver, is populated by a neighborhood, an entire quirky village of personalities.  They are on maneuvers waiting on edge for their enemy; staring at incomprehensible instructions on the computer screen in their cubicle; watching an orange-vested family build a sky-scraper; lying in a hospital bed with a puffy head covered with bandages.  Whatever they’re doing, it seems serenely commonplace, like you and I could be doing it, too.  You and I and Rod Serling.

The poems can be dark, disturbing, or simply quizzical, but hearing Worthy read them they develop into a universe warmly personal.  Not just personal in that there’s his own portrait in each, framed by the hole sawed in the wooden barricade at a construction site where passers by can watch the action.  And not just the personal history that filters up through the mundane circumstances: soldier, journalist, cubical drone.  No, more than that the poems become personal because I the listener/reader am invited right into the mild chaos that accompanies everything we do day to day, if we really think about it.  Family life, work, interpersonal politics, it all really is a little strange, isn’t it?  I feel much better now.  I feel better now that Worthy accompanies me on this strange trip.  Hey, we’re all in it together.

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Naked-flowering Tick Trefoil

Pre-Op

Dan Jones is coming to meet with us.
All of us, Monday at 2:30 p.m.  Dan
Jones will meet with all of us two
days from now.  It is all we were
told.  Neil Diggs walked up and gave us
the tip, but he didn’t say why Dan
Jones was going to meet with us,
or who Dan Jones is and what
kinds of business Dan Jones was
after.  Dan Jones could be a barber, and
for all I know that’s what he is.  I looked
down to see what Dan Jones did to me,
the hair on the floor, a drop of blood
smeared onto my pant leg when the clipping
became fierce.  I heard opera music and
saw a delicate white hand cross over
cold steel instruments resting on the soft linen.
Tulips grew in the garden outside
the window where Dan Jones, the faculty
and I were meeting to discuss budget cuts.
All of us topping our shaggy manes until Dan Jones
rides by on his penny-farthing to give us a clip.

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Never visit Asheville without stopping by Malaprop’s, at the corner of Walnut and Haywood.  It is the best independent bookstore on the planet.  The cool stuff, the Smoky Mtn. Roasters, the Ashevillians, oh yeah and the books – I could live there.  Tell Virginia “Bill says Hi.”

Green Revolver at Malaprop’s Books and Cafe

Charleston City Paper Article about Worthy Evans

Green Revolver at USC Press

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Juxtaposition

Jeez, just when you think you sort of know someone.  Picture the engraving by M. C. Escher, Encounter: a placid white man, the negative space around him metamorphosed by degrees into a sinister appearing black man.  They greet. But step back.  At a distance sufficient for you to see the image whole, where does one homunculus end and the next begin?  Like looking into yourself.  Or into the world.

Celisa Steele’s poems in How Language is Lost embody the same perplexity.  Look closely.  Are these images sacred or profane?  (There will never be a more arresting poem title than “Al Considers the Fucking Holy Spirit.”) Now step back.  Read every poem.  Just when you thought you sort of knew someone.

A subtle breath wends from line to line to line, an irresistable inhalation that brings all within – drunk with your face in the mashed potatoes, grieving as ice melts in the cup, alone and lost as a language, as an entire generation.  Or grunting at the jab of an elbow in your ribs that demands you laugh.  There you are.  There I am.  A fractal poetry in which the smallest detail expands to become the universe.  Divine juxtaposition.

If everything is God, the only sin is in denying that God is everything.

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The Jungle on the Back Patio

Today a sparrow, doubtless
a Yeatsian, builds her nest again
where yesterday I beat it down.

Last fall Besson bulldozed
the jungle at Calais.  Hundreds
of undocumented migrants,

Pashtuns hoping to hop
a Dover-bound lorry, flew
before the announced razing.

Some stayed (most minors),
arrested in soft clouds of breath
just visible in the early morning.

This morning’s song – luculent
encomium of labor – lowers
the upturned broom in my hand.

No one wins.  Not the bird,
not the French.  Nothing changes
by an inch or an ounce, and I imagine

I will startle her to flitting frenzy,
send her to a nearby branch
each time I set foot on the patio.

Eggs, cool for too long, will
never hatch – the next generation
lost in a spindrift of pollen.

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Celisa Steele

MC Esher Gallery 

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Surely some revelation is at hand . . .

Now the long freight clears the crossing and traffic grinds again along E. 36th St.  Now the thirty or so find their way into the Gallery, grind and clear through studio work spaces & art on display, find their seats.  Now the poets approach the microphone.

There couldn’t be a better space for poetry.  Green Rice Gallery at the corner of Davidson and E. 36th, reclaimed and resuscitated mill and warehouse, the intensity of artistic creation in all its forms and guises.  There couldn’t be a better crowd.  Jonathan and Scott, the hosts gentle and inciting (you guess which is which).  The writers and listeners not just from Charlotte but as far as Winston-Salem and OMG Lincolnton.  Everyone intent. Everything passion.

I have rarely attended a better open mic.  The woman channeling Ginsberg’s America who cries to discover her place in this nation, in this existence.  The man reciting surrealist imagery until the photo on the wall behind him becomes Salvador Dali.  The quiet brooding lyric that leaves me desperate to know more – what lurks beneath?  The guy of 100 personas whose rant in the character of a postal employee makes me want to duck for cover.

And the woman who read two Irish poets, the first observing the tangled path love may take – didn’t each of us listeners say, “So true.”  And for her second she read Yeats.  Violence, chaos, apocalypse before us. The Second Coming.

Frightening that his poem written in 1919 sounds the very dread we experience in 2011.  The New York Times observed in 2007 that this was becoming the official poem of the Iraq war.  And yet however menaced I may feel as the rough beast, its hour come round at last, / Slouches towards Bethlehem to be born, I am encouraged by the passion of these young poets declaring their intention to create new order from anarchy.  I am convinced that they, the best, lack no conviction in their passionate intensity.

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THE SECOND COMING
William Butler Yeats (1865-1939)

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: a waste of desert sand;
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Wind shadows of the indignant desert birds.

The darkness drops again but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

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A brief analysis of THE SECOND COMING

Green Rice Gallery in Charlotte

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