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This evening at suppertime she peers into the beef and carrots simmering on the right burner; I snip pea pods and spinach into the black bean broth on the left burner. Pretty soon both pots are smelling darn good. It’s usually something like this, the scene in our kitchen all the years since I decided to stop eating meat and she didn’t. Separate skillets, or sequential nuking, then sit down together.

But then every once in a while it’s all her show. She steams the broccoli while I sit near the lamp and read. I start on a little dry white wine (she’ll accept two ounces for herself later – Pastor Jan, pretend you didn’t read this) while she simmers the pasta. She serves two blue patterned Japanese bowls we’ve owned since year one. Then we sit down together.

When I die, sorry to say, I have no faith that there will be an angel in heaven who can make broccoli Alfredo this good.

 

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Getting home from the office early these days, I’m revisiting the overflowing stacks beside my desk. Poetry, philosophy, poetry, nature, poetry — I’ve rediscovered that all of Terri Kirby Erickson’s poems are home.

Lots of poetry is about home – you get a peak through the curtains and maybe you can imagine life on the other side of the pane. Terri’s poems are home. Welcome in. Don’t mind the mess. Maybe you didn’t understand this is your home but for twenty or thirty lines you will be part of the family. So many families. So many homes longed for, left behind, returned to. Soft light, hard edges. Sweet and harsh and all shades between. Come on in. Let’s sit down together.

 

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from In the Palms of Angels, Terri Kirby Erickson, Press 53 © 2011

 

Wayfarer

He seems like a man
you’d see walking down a long
stretch of road, the kind
with dust

rising

in a red haze beneath the wheels
of pickup trucks, cutting
through fields of golden

wheat. Scudding clouds cast
shadows
across the ground like whales

swimming through clear
water, and the air carries the scent
of grain and loam.

Every few miles, the glint of a silo
(startling against the lonesome

sky)

signals a farm house
where peach pies sit cooling
on window sills, and patterned
carpets are worn-out from parents

pacing to and fro with fretful babies
in their arms.

He’s traveling toward the horizon
with the steady gait of someone
with a place to go, whose tender

gaze

will soon find home, that place
more sacred than communion wafers
nestled in the palms
of angels.

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Rosary

Down by the creek,
we sit on dry
stones,

our shoes and socks
jumbled in a pile.
The sun

warms our toes
and casts its
net of light

from bank to bank,
where willows
trail their

fingers in the water,
and snakes look
like branches

floating by
them. Mosquitoes
lay their eggs

in stagnant pools,
far from leaves
and grasses snagged

by rocks, twisting
in the current.
Tadpoles swim

in tight formation,
wiggling their tails
in tandem,

as salamanders
scuttle by, searching
for places to nap.

Dragonflies hover,
then hurry
away,

their wings
thrumming a one-note
song – while we,

silent as nuns in prayer,
count the beads
of summer.

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[Rosary first appeared in Basilica Review; other collections by Terri Kirby Erickson from Press 53 include: Telling Tales of Dusk; A Lake of Light and Clouds; Becoming the Blue Heron.]

Author Page, Terri Kirby Erickson, Press 53, Winston-Salem, NC.

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Linda’s Mom preferred to assume the garb and persona of Mother Goose rather than Conan the Librarian, but if there were ever a muscular champion of children and books, Donna Unger French was it.  She began in the Sixties as library volunteer in an elementary school that didn’t have a library – Mom French created one in a wide place in a hallway.  Eventually each of the Aurora Public Schools had its library, and with Mom’s magical touch they became temples of creativity and imagination.  They were holy refuges for readers.  They were FUN! At its acme the middle school library included: an old clawfoot bathtub lined with purple shag carpet where students could lounge and read; a life-size E.T. and a menagerie of giant cut-out Sendak Wild things; doll houses and dragons, cowardly lions and witches, masks and puppets.  And every good book.

Mom French’s home is still overflowing with books.  Every Newberry.  Every Caldecott.  Racks and stacks of Bill Peet, Wallace Tripp, Richard Scary, Tomie DiPaola.  When we took our kids to visit it was a marathon of reading on Grandma’s lap.  Before Margaret and Josh themselves could read they could name each book’s artist with a single glance.  Thirty years later, Saul knows that when he and Dad go to the used book sale at the library, they are going to come home carrying a huge sack of books.

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The Fairies
William Allingham (1824-1889)

Up the airy mountain
Down the rushy glen,
We dare n’t go a-hunting,
For fear of little men;
Wee folk, good folk,
Trooping all together;
Green jacket, red cap,
And white owl’s feather.

Down along the rocky shore
Some make their home,
They live on crispy pancakes
Of yellow tide-foam;
Some in the reeds
Of the black mountain-lake,
With frogs for their watch-dogs,
All night awake.

High on the hill-top
The old King sits;
He is now so old and gray
He’s nigh lost his wits.
With a bridge of white mist
Columbkill he crosses,
On his stately journeys
From Slieveleague to Rosses;
Or going up with music,
On cold starry nights,
To sup with the Queen,
Of the gay Northern Lights.

They stole little Bridget
For seven years long;
When she came down again
Her friends were all gone.
They took her lightly back
Between the night and morrow;
They thought she was fast asleep,
But she was dead with sorrow.
They have kept her ever since
Deep within the lake,
On a bed of flag leaves,
Watching till she wake.

By the craggy hill-side,
Through the mosses bare,
They have planted thorn trees
For pleasure here and there.
Is any man so daring
As dig them up in spite?
He shall find the thornies set
In his bed at night.

Up the airy mountain
Down the rushy glen,
We dare n’t go a-hunting,
For fear of little men;
Wee folk, good folk,
Trooping all together;
Green jacket, red cap,
And white owl’s feather.

Copied from a well-thumbed edition of Volume 1 of CHILDCRAFT, (c) 1954 by Field Enterprises, Inc.  Mom French gave each of her seven children a set of Childcraft books when they left home on their own.

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A true story: When Mom French finally retired after forty (fifty maybe?) years as Aurora schools librarian, she still returned as a volunteer to read stories.  We’re not sure just how she arranged this, but one Saturday night she loaded the car with books, put on her Mother Goose outfit – pointy hat, shawl, wire-rims – and drove to downtown Cleveland to a bar near the Cuyahoga River.  While the longshoremen raised their beers, she read them nursery rhymes, poems, and bedtime stories.  They begged her to come back again.

Mom, in each story we read and in each one read to us, we will always hear your voice.

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Southern Sentence Poem Revisited

Last week when I reminisced about my Granddaddy, Pee Wee Griffin, Seaboard Airline Engineer for some fifty years, among the many comments I received was Kathryn Stripling Byer’s: The song of a train passing has haunted many a Southern poet’s work.  Haunted, that is indeed what we are.

Yesterday I caught a snippet on public radio by a Civil War historian at Duke.  He describes Governor Graham dragging his heels about secession; as much as a third of North Carolinians opposed war.  The Duke Prof then tells about pulling into a barbecue restaurant in Kinston recently.  During the War, General Pickett encamped at Kinston on his return from a disastrous attempt to recapture New Bern from the Union.  In Kinston Pickett hanged twenty-two North Carolinians he considered deserters, though most of them had never sworn the oath to the Confederate Army.  Pickett was later accused of war crimes and fled to Canada – the historical point being that allegiances, honor, and motivations are a lot more complicated than South vs. North.  When the Professer parks at the restaurant and looks down the row of cars and pickups with Stars and Bars on their bumpers, he just shakes his head and says, “You don’t even know who you are.”

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Who are we, anyway?  That’s why there’s poetry – that we may discover who we are.  I’m pondering again the form an essentially Southern poem might take. Remember in August I suggested such a poem must include Place, Past, and Culture.  Our identity is complex, but a poem’s complexity lies in its brevity.  What sense most perfectly evokes a memory?  The sense of smell – impossible to describe, complex and heavy with nuance, a simple odor may transport you to a time and place you thought you’d departed forever.  I want a poem to do the same, to be vastly more than the sum of its words, to cause the reader to gasp and sigh at the same time.

Therefore, the SOUTHERN SENTENCE POEM MUST BE SEVEN LINES.

Why seven?  When I as a doddering old man kiss my great-grandchild, I will have held or been held by seven generations of my family.  There are seven Southern waters: spring from rock fissure, clear trout stream, green piedmont river, dam & lake, blackwater meandering, sound, shore.  Southerners more than many are subject to the seven deadly sins and seven heavenly virtues.  Don’t forget the seven bridges road in Montgomery, Alabama.  But most of all because I think seven lines is just the right length.

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So here’s another attempt:

When the train whistle blows
through the Yadkin Valley
we lay down our plastic toys,
lean across the porch rail
until the last beckoning
has trailed away, and I become
my grandson, wondering.

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Place – Yadkin Valley; Past – becoming my Grandson; Culture – porch rail and, of course, that lonesome, haunting train whistle.

Leave me your Southern Sentence Poems here or on our new Facebook Page.

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