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A couple of years ago my friend Mike and I went backpacking in the Slickrock Wilderness,  near Joyce Kilmer Memorial Forest.  On day one we reached our camp site in mid-afternoon, about half-way up the mountain along Little Santeetlah Creek.  With tent pitched and bear bags hung, I lay down in a patch of sun to listen to the chatter and riffle of cold crystal over moss-draped boulders, laughter over smoothworn gravel.

As I dozed, water voices sang to me.  Urgent conversations, reminding, cajoling, the words critical but somehow never clear.  I half-dreamed of the people that had walked these hills.  Native hunters stalking deer where the clamor masks the sound of their approach.  Homesteaders sledging river stones to turn to cornerstones beneath chestnut timbers.  Foresters marking the next stand they’ll cut, somehow never reaching the old growth poplar and hemlock at Joyce Kilmer.

So many voices lost in the creek’s murmurings, yet also brought to life in that mutter. Aren’t we as poets the keepers of lost voices?  We capture in a phrase a moment that would have been forgotten, an image that would fade.  If we can speak for those who have no words they will “bless us with their bones.”

This poem by Margaret Boothe Baddour, For the Lost Poets, speaks to all who would be keepers of lost voices.  Seeking a mountaintop, discovering a new high place, she revivifies those poets whose voices might have been overcome by the clamorous falling water of years.  Before we can say, “We are lost,” we find ourselves in a new place with new breath.  Be still, listen for meaning within the whisper, the murmur, the water, the earth.  Someone wants to speak to you.

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Star Chickweed

For the Lost Poets
           —            Wildacres, 2008

For every day they die among us,
those who knew it was never enough
but hoped to improve a little by living.
             –   W.H.Auden, “In Memory of Freud”

I.  They Whisper to Us
On this mountain top – so high not even birds
fly here and only small, complcated insects
amid the ox-eye daisies and wild yarrow
worry us with their rush-roar-whir –
we brieve for those poets whose rustling voices
the quiet, the strong, even the raucous ones
are lost.  No, not lost.  Only hushed.
They whisper from just over the next hill.

II.  We Are Lost
We lose our way, looking for Roan Mountain
where, folks say, the pale pink laurel grows.
At the crossroads, an old man stand
like a cigar store Indian.  His white mustache
and brogans, his worn overall speak hillbilly
but before we can say, “We are lost, he smiles
gap-toothed and points like a sign: “Turn left,”
he says.  “Three mile uphill to Roan Mountain.”

III.  They Leave Their Words
At the Continental Divide, we glimpse horses
but the cows up here, the cows so black and sleek
where sun shafts the greensward, the water so pure
at the place where it runs downhill to the east
where bugs whir in the clover!  A white moth
brushes our arms.  Like moths, those lost poets
touch, leave their words hanging, alive in the air.

IV.  We Breathe for Them
Flash of fire – a mountain man, wave of water –
an ocean lover, the stillness of stone,
the roar of wind, all those poet friends
whose wise, strong words provoked this world
have now become the earth and air.  They bless us
with their bones.  Now we must breathe for those
who, when they breathed their last, exhaled in verse.

.     .     .     .     .

from Scheherazade and other poems by Margaret Boothe Baddour, Saint Andrews College Press, 2009.

Margaret teaches Humanities, Creative Writing, and Drama at wayne Community College in Goldsboro, NC, where she holds the Bell Distinguished Chair in Teaching.  Among her many awards and honors is the NC Poet Laureate Prize of the NC Poetry Society.

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How often would I have gathered you as a hen gathers her chicks beneath her wing . . . The Gospel of St. Luke

Bogue Banks.  Thirty-four miles long from Fort Macon in the west to the old ferry station at the eastern end, and in most places so narrow you can see both the sound and the ocean from your deck.  And you’re never very many feet from tarmac.

But there is at least one spot on the Banks where you can’t hear the SUV’s grinding along Rte. 58.  Where the live oaks and loblollies are so thick with greenbrier you wouldn’t even think of taking a shortcut.  Where egrets roost in the trees, osprey snag mullet from the inlet, and if you’re real still you can hear the tick and crinkle of a million fiddler crabs tapping their tiny claws to attract a million little females.

The Teddy Roosevelt Natural Area is site of one of North Carolina’s four aquaria, but the real attraction for me and mom are the trails that wind away from the visitors center back into the pine knolls.  Away from sun worship to slow black water and tidal ponds.  And while I’m slapping mosquitoes, Mom is seeing the merest flash of color from a high branch and exclaiming, ” A Redstart!”

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In the steam of the maritime forest and the glare of the strand, parent birds struggle to protect their young from heat.  In this third section of Leave and Come Home, I wonder if I have protected my son adequately from his struggles or too much.  Does a parent ever finish with worrying whether their child will make it?  Will I ever finish questioning whether I’ve been adequate to the task?

.     .     .     .     .

Leave and Come Home
Theodore Roosevelt Natural Area, Pine Knoll Shores, North Carolina

It’s been a long time since anything
surprised me.  By their mere voices I name each bird
that speaks from the rippled heat of jack pine
and yaupon, but I couldn’t tell you a single word
my son would wish to say.  No, that’s wrong.  The problem is
I don’t speak a single word I wish
he’d hear.  Here the birds cover their eggs
not to keep them warm but cool.  They hatch
altricial, blind, but in two weeks they fledge
and fly.  All as it should be.  I feel I have to lay my arm
on Josh’s shoulder not to push him forward
but to hold him up.

This trail crosses black water and climbs a sand knoll
knee deep in mosquitos; I smack
and squirm, but Mom always looks up.  She points
to sunlight coalesced into the shape
of Warbler, Prothonotary, perched at his cleric’s chamber
of commandeered woodpecker hole.
And in your ecclesiastical garments can you accept
confession, the hardest one a father
could admit?  That from reticence, confusion,
or hopes never uncovered like a wing not lifted
from the nestling’s eyes, I haven’t held him up
but held him back.

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[Leave and Come Home won the 2009 Poet Laureate Award of the NC Poetry Society.  In four sections, it reflects some fifty years of being a son and father to a son. Each section covers a different geography, the sighting of a different warbler, and a new phase in our relationship as a family.  I posted section 1 on 5/8, section 2 on 5/15, and I will post section 4 on 5/29.]

Many Native American cultures – Iroquois, Oneida, others – express the sacredness of earth and family in this guiding principle: make your decisions according to how they will affect the seventh generation. The idea of planning for seven generations has been adopted by ecologically minded groups from California to Vermont. Engineers, builders, civic planners – “7 generations” appears in their name or their mission statement.

Why seven? Besides being a number with plenty of mystical portent, there’s a practical matter to it. With a good memory, reasonable longevity, and a little luck you yourself have a good chance of knowing personally seven generations of your family. Linda had a long and close relationship with her great-grandmother, who lived into her nineties. In fact I met Great-Grandma White several times when Linda and I were dating (along with a houseful of about fifty cousins, aunts, uncles, and greats, all of whose names I had been carefully coached to memorize – and folks, this wasn’t the rural South, this was the Rust Belt). And if Linda and I live to ninety our grandson Saul will be 35, surely old enough to have had a couple of great-grandkids for us. Add it up – seven generations.

Extended family. Reaaaally extended. It does make you want to think a little more critically about where you place your priorities. Saul, I’ve already planned to bequeath you my best binoculars, solid enough to stand the test of generations, a legacy I hope. May you see things with them that I’ve only imagined.

Imagining. Seeing. It happens when I read this poem Conversations on the Leaving by Marty Silverthorne. I find myself smack dab in the middle of the generations. It’s one thing to experience a poetic image that brings a vivid scene to your mind, but it’s quite another to find yourself in the room, in the conversation, stammering to add your own voice to the dialogue. So poignant, so immediate – I wish I were kin to Marty. Maybe after reading his poetry I sort of am.

The poem is from his book No Welfare, No Pension Plan (2006, Rank Stranger Press, Mt. Olive, NC). The entire collection is exquisitely personal – much of it is an elegy for grandmother, grandfather, father. The language embodies the rough life of the farm and the pride despite poverty of Eastern NC; the language rises with gut-felt power like a revival preacher; the language sings mournful like nightbird and swamp. Great Granddaddy Fred was water, / fluid and free. / In his palms, seeds sprouted; / sap seeped from his pores. (from Water Walker). There are smells and sounds and dog-tired feelings here that we don’t want to lose. We can’t stand to lose them. We can’t afford to. They need to be recalled to the seventh generation.

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Conversation on the Leaving

He was speaking of the leavings;
his voice broke in a rhyme,
poverty, poems he had witnessed.

They didn’t leave much – trinkets
mainly trinkets – nothing of value;
you knew their poverty, son.

So I didn’t get much.

Did you get the green elephant?

Yeah, I got the elephant.

Wasn’t it a stencil to draw by,
with a thumb tack for an eye,
wasn’t it a stencil?

No, it was a napkin holder,
a broken napkin holder
she pinned above the plate rack
with a white thumb tack.

Oh a napkin holder! I never knew.

They didn’t leave much – trinkets
just trinkets – old odd things –
that mean nothing to no one, son.

Did you get the horse heads,
the wooden horse heads,
brown, wooden horse heads
nailed above the headboard in the bedroom?

They were dogs.

They were dogs?
I never knew they were dogs.

Yeah, they were dogs.
Cut’m in woodshop
with a coping saw
I’ve still got.

Like I said, I didn’t get much —
trinkets I saved
they were going to throw away.

Your brothers won’t want much;
they don’t remember the oak floors
covered with linoleum
or the day we framed the new cabinets.

Dad, did you remember the church
how about the church;
not the Eiffel Tower but the church?
remember the church? It was broken;
the children broke the church.

Son, I didn’t get much;
they didn’t have a lot to leave
but the church, I got the church,
the family was forged in the church.

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Four Poems by Marty Silverthorne

Feature at NC Arts Council

Asheville Poetry Review

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