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[with poems from The Ecopoetry Anthology]

Ethnobotanists recognize that the difference between a poison, a medicine, and a narcotic is often just a matter of dosage. This pungent observation is found in my favorite wildflower guide under the entry for Golden Alexanders (Zizia aurea), which is in the wild carrot or parsley family, Apiaceae. Members of the family include vegetables – carrot, celery, parsnip – and ubiquitous seasonings – cumin, coriander, fennel, dill, and many more. They also include the most toxic plant in North America, Water Hemlock; a small nibble of the root will be fatal. Deliciousness and poison, nurture and death, they surround us.

My father was recently released from inpatient rehab after suffering a series of strokes at age 96. My sister and I took turns living at their home for two weeks, first to watch over Mom and drive her to visit Dad, then to get him resettled. Now it’s down to me to carry him to his various appointments, field questions from home health, pay the bills. All that stuff. Meanwhile, Dad’s neighbors call him the bionic man. His speech has fully returned, his appetite’s robust, he can creep around the block upheld by his Lexus of all walkers. He is surrounded by a glow of resilience.

Dad’s glow is enhanced by one apparent deficit left by the stroke – any awareness of his mortality. Perhaps it’s simply the great good fortune of being upright and breathing, but he seems to have discarded many of his former worries, including not even seeming to worry that he’ll have another stroke. Be happy, Dad – I’ll take over the worrying. It’s my job to worry, and to remind you that it’s not safe to stand up without your walker. I’ll be the one who checks your pill cartons and makes sure you’re taking everything correctly. I’m keeping the refrigerator full; you just decide what to tell the caregiver to fix for your supper. Simply let this moment surround you and Mom. Enjoy.

Last year I gave my backpacking buddy Mike a t-shirt I see him wearing often: What Doesn’t Kill You Makes You Stronger . . . Except Bears, Bears Will Kill You. What really cracks us up is that on all those hikes we took, we wanted to see a bear! From a responsible distance, of course, not licking our face in the middle of the night. I can honestly say that this stroke which didn’t kill Dad has not made him physically stronger (until you compare him to the median 96-year old). Or mentally stronger – he’s pretty fuzzy some days and wouldn’t be able to put into words this transformation. He can’t express verbally just where he resides on the plane of mindful acceptance, but he is looking forward to the next good dinner.

May there yet be dinners aplenty. Within the flickering shadows of destruction, my Father, may you be surrounded by joy.

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Eagle Poem

To pray you open your whole self
To sky, to earth, to sun, to moon
To one whole voice that is you.
And know there is more
That you can’t see, can’t hear;
Can’t know except in moments
Steadily growing, and in languages
That aren’t always sound but other
Circles of motion.
Like eagle that Sunday morning
Over Salt River. Circled in blue sky
In wind, swept our hearts clean
With sacred wings.
We see you, see ourselves and know
That we must take the utmost care
And kindness in all things.
Breathe in, knowing we are made of
All this, and Breathe, knowing
We are truly blessed because we
Were born, and die soon within a
True circle of motion,
Like eagle rounding out the morning
Inside us.
We pray that it will be done
In beauty.
In beauty.

Joy Harjo
from The Ecopoetry Anthology (Trinity University Press, San Antonio, Texas, © 2020)

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Leading us into Earth Day on April 22, these poems are from The Ecopoetry Anthology, edited by Ann Fisher-Wirth and Laura-Gray Street, with an excellent introduction by Robert Hass (Trinity University Press, San Antonio, Texas, © 2020).
Joy Harjo is an internationally renowned performer and writer of the Muscogee (Creek) Nation. She served three terms as the 23rd Poet Laureate of the United States from 2019-2022 and is winner of Yale’s 2023 Bollingen Prize for American Poetry.
Donald Hall has served as Poet Laureate of the United States and Poet Laureate of New Hampshire. His many honors include the Robert Frost Silver medal and the Ruth Lilly Poetry Prize.
Lola Haskins serves on the Board of Florida Defenders of the Environment and has won the Florida Book Awards Silver Medal for Poetry.

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Digging

One midnight, after a day when lilies
lift themselves out of the ground while you watch them,
and you come into the house at dark
your fingers grubby with digging, your eyes
vague with the pleasure of digging,

let a wind raised from the South
climb through your bedroom window, lift you in its arms
– you have become as small as a seed –
and carry you out of the house, over the black garden,
spinning and fluttering,

and drop you in cracked ground.
The dirt will be cool, rough to your clasped skin
like a man you have never known.
You will die into the ground
in a dead sleep, surrendered to water.

You will wake suffering
a widening pain in your side, a breach
gapped in your tight ribs
where a green shoot struggles to lift itself upwards
through the tomb of your dead flesh

to the sun, to the air of your garden
where you will blossom
in the shape of your own self, thoughtless
with flowers, speaking
to bees, in the language of green and yellow, white and red.

Donald Hall
from The Ecopoetry Anthology (Trinity University Press, San Antonio, Texas, © 2020)

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Prayer for the Everglades

A gumbo-limbo swoons in the arms of an oak.
A royal palm, smooth as sunless skin, rises
against blue. In this whole untouched world
there seems only wind, the grass, and us.
Now silent lines of wood storks appear,
their white wings edged black. Here is
a mathematical question for your evening.
How many moments like this make a life?

But if it were not true? What if the glades
were a dream, ancient, written on the walls
of caves, so anthropologists peering into
the darkness could say only, it must have
been lovely then, when grass flowed under
the sun like a young woman’s falling hair.
What if none of it were true? What if
you and I walked all our afternoons under
smoke, and never saw beyond? What if
the tiny lichens that velvet the water, the
gators that pile like lizard on the banks,
the ibis with her sweet curved bill? What
if the turtles that plop off their logs like little
jokes? What if the sheltering mangroves?
O what if? Look up, friend, and take my
hand. What if the wood storks were gone?

Lola Haskins
from The Ecopoetry Anthology (Trinity University Press, San Antonio, Texas, © 2020)

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Wildflowers of Tennessee, the Ohio Valley and the Southern Appalachians – August 1, 2018; by Dennis Horn, Tavia Cathcart. Sponsored by the Tennessee Native Plant Society

This book focuses on Tennessee, but the Ohio Valley and Southern Appalachians are covered, encompassing all or parts of Alabama, Arkansas, Georgia, Illinois, Indiana, Kentucky, Maryland, Mississippi, Missouri, North and South Carolina, Ohio, Pennsylvania, Virginia, and West Virginia. Within these pages I’ve discovered just about every wild flower I encounter here in the North Carolina foothills, or at least a close relative. The book overall is arranged by plant family with taxonomic commentary; it includes a quick thumbnail guide by color in the front; every entry has rich commentary about history and ethnobotany; my favorite section is the excellent illustrated glossary – everything the wild plant nerd could possibly want!

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Doughton Park Tree -- 5/1/2021

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[with 3 poems by Rebecca Baggett]

How many grooves are there in a 12-inch 33 ⅓ rpm long-play record? The seven-year old doesn’t think us a bit odd when we fish out the big black discs and set them spinning: Burl Ives, Disney Princess theme songs, John Denver and the Muppets. She sings along with Miss Piggy, “Five Go-old Rings!” Would she have hopped off the couch last night and boogied with us to The James Gang cranked to the max on Funk 48?

We still have a landline at our house and until recently a rotary dial phone in the basement. I just read that only this year is Chuckie Cheese phasing out software updates shipped on 3.5 inch disks – which the article called “floppies” (remember? 5 ¼ inch, 360 kb, don’t toss them into a drawer with any magnets). Physical artifacts may be relegated to the landfill, but words remain our tools even if we’ve never knapped a flint. Dial it for me. The car won’t crank. Meet me at half-past (fractional arc of an analog circle?).

Last week I checked in at radiology for an x-ray. The young woman entered all my identifiers and when she got to my email address, she remarked, “Gee, AOL, I haven’t heard that one in a while.” Darlin’, that just means I’ve been jacked into the internet since before you were born. Juggling floppies. Writing DOS batch files before breakfast. And I’ll bet you don’t even know how many grooves.

Just one. That’s all it takes to be real groovy.

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Before the Stories Begin

Before the stories begin, the mothers die,
setting their daughters adrift, little coracles
bobbing rudderless, at the mercy of river currents
and ocean tides. Abandoned in forests so thick
no light touches their ferny floors, imprisoned
in crumbling towers guarded by rampant brambles,
banished to the dank depths of castle kitchens.

But here is the alternate reading:
Before the stories can begin, the mothers must die,
setting their daughters free – released from cautioning
fingers and pursed lips, from disapproving quirks
of a brow, from warnings weighted with echoes of warnings,
the line of foremothers frowning down the generations.

The daughters find themselves oddly light,
abruptly free to renounce titles and abandon kingdoms
for life on the high seas, to fall in love with a man-beast
deep in the forest, a stable boy, a fairy godmother.
To seclude themselves in towers full of groaning
bookshelves, to spend their days squinting
at the twisting calligraphy of ancient manuscripts,
to aim telescopes toward the night skies,
to rename all the stars.

Rebecca Baggett
from The Woman Who Lives Without Money, Regal House Publishing, Raleigh, NC, © 2022

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Words are artifacts by which we might glimpse the world. Words are not the world; words do not contain the world nor create the world; words are simply pebbles someone has painted, incised, knapped and dropped along the path. But Oh, how words may guide us along that path!

Rebecca Baggett is an inherent and inveterate sesquipedalian, as she confesses in the poem by that title in her book, The Woman Who Lives Without Money: a lover of complicated ‘foot-and-a-half long’ words. And yet the words she uses to craft these mysterious, marvelous, poignant, sad, hilarious poems are seemingly simple words. Everyone knows these words, these comfortable and familiar words. How Rebecca has painted, incised, and knapped these words, though! How she has lined them up and breathed into them meaning they had only dreamed of. How wonderful is the world she reveals in this ethereal and at once solid collection of words, such telling artifacts, these powerful words.

The Woman Who Lives Without Money (Regal House Publishing, 2022) is the winner of the 2020 Terry J. Cox Poetry Award. Rebecca has also published four chapbooks, including God Puts on the Body of a Deer, winner of the 2010 Main Street Rag Chapbook Contest. She was born in coastal North Carolina and his lived her adult life in Athens, Georgia.

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Weeping Willow

The willow missed
the children, their chatter –
like squirrels, but more various
and musical – missed
the sparrow-light bodies pressed
against her, the secrets
they whispered, how thy clung
to her branches with their small
hands, the way their legs twined
around her.

++++++++++ Nothing inhabited her
like that, nothing loved
so fiercely or so foolishly.
They believed they would be
hers forever,
++++++++++ did not understand,
at all, necessity, compulsion,

letting go

Rebecca Baggett
from The Woman Who Lives Without Money, Regal House Publishing, Raleigh, NC, © 2022

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Chestnut

I touched a chestnut sapling
in the Georgia mountains.

My friend writes of the great trees
and their vanishing,

but I have seen a young chestnut,
tender and green, rising from its ashes.

I, too, write of loss and grief,
the hollow they carve

in the chest,
but that hollow may shelter

some new thing,
a life I could not

have imagined or wished,
a life I would never

have chosen. I have seen
the chestnut rising,

luminous,
from its own bones,

from the ash of its first life.

Rebecca Baggett
from The Woman Who Lives Without Money, Regal House Publishing, Raleigh, NC, © 2022

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Doughton Park Tree 4/30/2022

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[with 3 poems by Maria Rouphail]

A stroll down the beach at dusk – I was sixteen and she was almost. Would you call it our first date? I think we held hands. I know we didn’t kiss. Fifty-four years later the beach is still there, although not the pier we walked beneath, things the earth makes, less so human desires. This afternoon she is upstairs writing a letter and I have just cleaned up after lunch. Where have we been and where are we going? Well, in an hour we’ll take a walk beside the river.

Oh Wise One, long-married, specialist in domestic bliss and expert in the cultivation of love, impart your secrets! Are you kidding me? I’ve spent all morning making a list and it is exactly two items long: (ONE) Never Imagine You Know; and, (TWO) Never Quit Working to Find Out. Number One becomes apparent every time I assume or jump to a conclusion or utter as comfort some empty platitude (or, cardinal sin, just wasn’t paying attention). Number Two is the quick corollary as Number One’s immediate aftermath and the sooner engaged the better – not Working to Find Out usually invites conflagration.

Which is probably why love is such a necessary obsession of poetry. Infatuation is the hot minute of attraction; love is the cool hour of reflection. Poetry may germinate unseen underground as the temperature rises, but its sprout becomes visible when the creature is leaned back in chair, pen hovering listless over paper, the image of affection growing into clarity within the cool, reflective mind. And as I reflect further, I perceive that the seeds of most of my own love poems involve messing up with Number One and Two, above, only to be rescued and reconciled by the big sighs and small gods of forbearance and forgiveness.

Even now I imagine her at her desk, pen and paper, that elegant typographer’s script, those meticulous phrases – oh yes, I want to love her and I do.

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Annunciation
++++ (after Lynn Emmanuel)
+++++++ for Robert

He wants to be born.
So first he enters the dream of the woman
a doctor has told will never conceive.

He lets himself in through the gate
of her sleeping brain
during a hard snow
in late November.

He give himself eyes and hair like hers,
wraps himself in thick fleece, his fingers curving
over the hem, like a paws of a burrowing mammal.

She wakes with the dream of him still clinging,
I’ve birthed a back-eyed baby boy, I’ve carried him
up the aisle of the church to the baptismal font.

She goes to the window where slantwise
snow erases the houses across the street.
Only a curbside lamp on its iron stalk breaks through,
++++ a yellow clot in the boreal blur.

After she has laid aside the dream or forgotten it,
he enters her body sometime in January.
His arrival ignites engines and fires up turbines

with power unknown to her, making her whole
being a construction zone for the laying of foundations,
the framing of the many rooms of his evolving body.

In April, cornerstone and beam well set and level,
he shows her his brain and spine, a string of perfect lights
blinking the in the midnight sky of the sonogram.

The doctor is speechless. But the woman
rehearses the names of her beloved living and dead.
She will pick one of them.

She watches the tiny heart strobe in its cage.
Beacon of what is coming in October.
A swaddling blanket. A christening.

Maria Rouphail
from All the Way to China, Finishing Line Press, © 2022

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One line echoes in each poem I read in Maria Rouphail’s collection: Even then, / I could not say you did not love me. All the Way to China is a conversation between daughter and mother that spans decades, even generations. Many different speakers inhabit the poems, in many places and circumstances, but the voice of daughter/mother is audible in each, even if only as a whisper. Through harsh treatments, neglect, destructive choices, and pain that whisper of love still works to keep itself alive.

Love is work. In one of Fred Chappell’s novels, a youngster asks his old grandfather how is it possible that he and grandmother have managed to stay married for so many years. The old guy’s answer? “You don’t leave, and you don’t die.” In Maria’s poems, leaving is a frequent threat and dying too soon is a reality, but the magical work of poetry allows the dialogue to continue in spite of, maybe even because of, mortality. Telling a story allows it to discover its meaning. Telling a hard and painful story allows it to discover new meaning that just may open a door to healing.

The final two poems in the book bring meaning and healing forward and invited me to turn back to the first page and read the cycle again: Laudate Omnes (in praise of everything), and Mother and Daughter, Two Voices – III, Daughter. Yes, this collection is the work of love.

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Laudates Omnes
++++++(for Asher, young grandson)

Let’s talk
to the bees.

++++++Let’s say

Ladies, thank you
each and all

for coming this day
to the hyssop and bergamot.

Thank you
for diving

into the boggy throats
of pale blue sage.

Thank you
for letting sticky

pollen crawl
up your hairy legs.

Thank you
for the sweet spit of the hive.

Now to the trees turn and say,
Brothers,

I don’t know all your name
or what families you belong to,

but you over there,
tall and handsome with your spiky green:

if you and I were lone survivors
of a meteorological catastrophe,

I’d live with you.
I’d hole up under your branches.

Leaves and rain
would be our food and drink each day.

Now let’s say thanks and thanks and thanks
for the hive’s honeyed paradise,

for meadows of thick-maned mares
drowsing with their foals,

for bees, horses, and trees,
ocean, plains, and the sky.

Let’s say thanks
for the darkness between stars

which is not an emptiness,
but a rookery

where God dreams us.
And if we found ourselves

on a comet flying
beyond Pluto’s orbit,

even there we would
be not separate and alone,

but we would be
as now we are

in the heart of things,
the very heart.

Maria Rouphail
from All the Way to China, Finishing Line Press, © 2022

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Margie’s Daughter Talks Back

Wood. Shell. Bone. Buttons
in every size and color your mother saved for mending.

You, too, saved them,
in the round cookie tin on a high shelf.
Rainy days, and you’d take it down
and we’d remember
buttons from faded summer dresses,
buttons from coats returned from war,
buttons with bits of garments still clinging,
flesh and tendon of them. Red grosgrain,
shock of silver wedding silk,
fingers of fragrance still clinging.
Attar of rose and vetiver still clinging.
Heft and pour, the cascading clack and clatter
of buttons, like coins or pretend jewels.

You, too, loved them.
You and I together breathed the old secrets hanging
like the kitchen smells in that Bronx apartment.
Buttons from a man’s flannel before zippers were.
Your father’s, you said. And the blue bruise
your mother tried to hide with a lock of hair when
you, looking, and in your small voice, asked,
What happened to your eye, Mama?
as she reattached the right arm of your school sweater.
In the next room the bleats of a baby boy,
and a darkness you hoisted onto your twelve-year-old hip
and hauled through the rest of your life.
Hauled it into my life, too.

Would you believe me if I told you?
I have survived the winter.
Here is the faith I’ve entered with myself,
rule, rite, and rigor of it:
I will not belong to whatever happens to me.
It’s OK to say these things.

Maria Rouphail
from All the Way to China, Finishing Line Press, © 2022

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2019-02-09 Doughton Park Tree

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