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Posts Tagged ‘Fred Chappell’

.   .   .   Think of the wren
and how little flesh is needed to make a song. 

from Why Regret?,  Galway Kinnell

Brown-Headed Nuthatch

Sitta pusilla

The Grandson and I are playing with Legos on the back porch. Above the constant chitter of the goldfinch kaffeeklatsch shines a sudden clear bright whistle. “Listen, Saul. That’s a Carolina Wren.”

After a few minutes of silent cogitation, a few more minutes of Lego cars brmmm-brmming across the planks, we hear the bird again. Saul remarks, “He’s saying Senner-pede, Senner-pede.”

“You mean centipede, the little crawly thing with a hundred legs?”

“No, Senner-pede.” Brmm, brmm. “I made that up.”

And the moral of the story: Encountering the logic of the philosopher, even if only six years old, it’s probably best to listen.

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The Carolina Wren is one of my favorites, feisty little troglodyte whose voice is 30 decibels too big for his 30 grams of fluff. Listen to enough wren song and you discover the birds can be quite individual. Scolds, chatters, and so many variations on that 2- or 3- or 4-note whistle: just when you think you know them all someone new moves into the neighborhood.

Fred Chappell is one of my other favorites. He’s one of the writers that inspired me about twenty years ago to rediscover the dark forest of Poetry. I carried a typescript copy of his poem Forever Mountain around in my wallet until it wore through and I’d about memorized it. As I sort through the piles on my shelves I think it’s safe to say I’ve bought every one of his books. The epigrams, the complex forms, the backsass, the cat poems . . .

. . . and just when you think you know his song someone new moves into the neighborhood. At this year’s Sam Ragan Poetry Festival Fred revealed to us that he’s now writing fables, poems that tell a story with a moral. His voice just keeps getting bigger and bigger. And you can bet that a Fred Chappell fable is going to stretch your intellect and then bite you on the ass.

Feisty, yes; troglodyte, no.

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Fox and Bust by Fred Chappell; read at Sam Ragan Poetry Festival,
Weymouth Center for the Arts and Humanities in Southern Pines, NC, on March 21, 2105

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Every year the North Carolina Poetry Society sponsors the Sam Ragan Poetry Festival, named for our state’s third and longest-serving Poet Laureate.  Sam was succeeded by Fred Chappell as our fourth Poet Laureate, illuminating that post from 1997-2002. In 2004 Fred collaborated with philanthropist and poet Marie Gilbert, assisted by William Jackson Blackley and a volunteer board, to create the Gilbert-Chappell Distinguished Poet Series.  Each year since then three notable NC poets have been selected to serve as mentors, each to 3 or 4 students middle school to adult, to create and critique a body of poems, followed by public readings in libraries throughout the state.  Fred is still a guiding light for this endeavor, which celebrated its tenth anniversary at this year’s Sam Ragan Poetry Festival in Southern Pines on March 21, 2015.

The photos and poems from this and the five preceding GriffinPoetry posts commemorate that event.

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Weymouth Woods

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Doughton Park Tree #1

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She – or is it he? – steps up to the lectern, adjusts the mic, unfolds a sheet of paper. Tells a funny little story about arriving in this place, the hour’s drive, the decades’ journey. Mentions a connection with a character in the poem. An influence from another poet, a friend, family. Clears his – or is it her? – throat.

And then reads the poem.

And we who are listening to this person for the first time or who have known her and her work for years, we step into her world. The images unfold into our imaging, the story connects us to the person who was and has become this person, we add lines between the lines as they enlighten our own story. We step into our own world along a new path, familiar yet unfamiliar, and now populated by this person and her poem.

Is this how it’s supposed to be? Shouldn’t a poem walk in on its own legs, open its own mouth? Whose voice is speaking? Does it even matter who wrote these lines? Unlined face or gray at the temples? Scholar or laborer? Woman or man? Tell me, because I want to connect with the poetry. Tell me, because I’m connected to the person.

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The first thing former NC Poet Laureate Cathy Smith Bowers told us at the Sam Ragan Poetry Festival was how bad her early poems were. Oh right, Cathy, as if we believe you could write a bad line. The second thing was to credit Fred Chappell for teaching her that poetry can include humor, this after Fred had read us several re-imagined fables with wickely tart morals.

And the third thing Cathy told, after doubling us over with helping after helping of her own outrageous stories, was that she pines to be able, like Fred, to meld the humorous with the profound. Hmmm. She may have nailed that with this one:

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Syntax          –           Cathy Smith Bowers

Where haunts the ghost after the house
is gone? I once wrote. First line of my first
poem in my first creative writing class. I’d
been reading Byron, Keats, and Shelly, lots
of Poe, loved how the cadence of their words
fit the morass my life had fallen to. I had
stayed up all night, counting stressed
and unstressed syllables, my mother’s
weeping through the door of her shut room
echoing the metrics of my worried words.
It was the year our family blew apart,
my mother, brothers and sisters and I fleeing
in the push-button Rambler with no reverse
an uncle had taught me to drive. I loved that poem,
finally knew how words the broken and bereft
could alchemize, couldn’t wait to get to class,
could hear already in my mind that teacher’s
praise. When it came my turn to read, the paper
trembled in my hand, my soft voice cracked,
years passed before I reached the final word,
before she took the glasses from her nose
and cocked her head. You’ve skewed your syntax
up was all she said. I remember nothing else
about her class. That spring her house burned
down, she died inside. Where haunts the ghost
after the house is gone? I had several alibis.

From The Collected Poems of Cathy Smith Bowers, Press 53, 2013

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Cathy Smith Bowers and Caleb Beissert met as mentor and student through the Gilbert-Chappell Distinguished Poet Series and we shared their reunion at Sam Ragan Poetry Festival, March 21, 2015.

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Light in an Upstairs Window           –          Caleb Beissert

Reptilian plants crouch in the corners climbing
curtain rods. Darkness sweeps over the house.

Four friends walk a mountain trail to a darkened
tower, stacked firewood not far from the old cabin.

Mystery grows deeper in the old growth forest,
in the clusters of stars, in the study in the house.

The yard surrounds, like a secret army poised and hushed
in the emptiness. Silent horses. The austere house.

The faithful dog has seen something invisible
and makes known he wishes to be let out of the house.

Among the vanilla of books, the lamp-lit pages
run with ink, producing distant lands beyond these walls.

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Cathy Smith Bowers bio

Books by Cathy

Caleb Breissert Bio

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“This is about how big Annalee Kwochka was when she became my student.”

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green vertebrae cradling all the wood-bone of your years

Poetry exalts. Yes, that’s right, it transports you up and out of dreary into ethereal. No it doesn’t. That’s all wrong. Poetry grounds you. It brings you right on down to where you can plunge fingers and toes into clay, grow roots. How else could you ever expect to leave? Still wrong. Think again. Poetry doesn’t change you at all. It catches you in the moment, this moment, right now, and shows you the you you really are.

So who’s right? How about this: Poetry = Salt. Here’s what the cookbook says – “salt makes food taste more like itself.” Poetry? Makes life taste more like itself. I’m sitting here eating a bowl of lentils. Onion, tomato, even the bay leaf can’t rescue it from bland. A fine sprinkle of poetry: an angel named Gracie; my sapped body a river that floods without regard; green mountains to lift me from the sinking sand. Now that’s tasty. More than tasty, that’s umami. More than base sustenance, that builds muscle. Wings, roots, soul – serve it up!

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Sam Ragan Poetry Festival, March 21, 2015 in Southern Pines – a tenth anniversary gathering of poet mentors and their students from the Gilbert-Chappell Distinguished Poet Series. During its first ten years GCDPS (named for founders Marie Gilbert and former NC poet laureate Fred Chappell) has sponsored dozens of students of all ages to work with the finest poets from around North Carolina. A complete reunion of readings would take a full week but this one Saturday is more than filled with five mentors and four students.

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Tony Abbott is Professor Emeritus at Davidson College and still teaches courses in modern drama and creative writing, especially poetry. He has served two years as president of the NC Poetry Society and continues to guide our programs and encourage our members. When he stands at the lectern and pauses before reciting, do you feel it, too? He invokes in me a spirit not of confidence but of questing, not knowing but seeking. The titles of one of his books wonders if words could save us, but when I listen to Tony I believe they can.

When Tony was invited to be one of the Distinguished Poets at SRPF he knew he had to read with a student whom he had mentored before and after (but not during) GCDPS, and whose growth as a poet he still follows and nurtures. Annalee Kwochka will graduate from Davidson College this spring with a degree in Disability Studies and continue graduate studies in clinical psychology; she is currently completing a full-length book of poetry that will be her thesis. Before she entered Davidson she was a GCDPS scholar, and before that she won every youth contest the NC Poetry Society sponsors several years running.

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Tony and Annalee are reading from Tony’s book The Angel Dialogues, Tony the voice of the jaded poet seeking his muse, Annalee the voice of the angel sent to redeem him.

The Poet Names the Angel               —              Tony Abbott

Spring night. Azaleas shining, red and white,
in the pale gleam of the full moon. I step outside.
She is sitting on the hood of my car
across the street, painting her toenails.

“Lets walk,” I say, “I’ve got something
serious to ask you.”
Just a minute, she says, and blows on her toes.
I wait, and then I wait some more.
I don’t think this is my color, she says.
We walk. I watch her toes and think.

I take a deep breath. “Do you have a name?”
She blushes, and she says nothing.
“I want to call you by name. Do you have a name?”
No, she says. Not really.
“Why not? Doesn’t God name you?”
Oh no, our people name us. Each one
names us, she says, and she starts to cry.
“Why are you crying,” I ask.
The names, the names, the names–
Each name brings back the person. This angel
business is hard, sweetheart. I have all these
people. I love them all. I help them all. A little
girl in Venezuela named me Rosalita? Isn’t
that marvelous? The angel Rosalita.
A game strikes my fancy.

“France,” I say.
Antoinette, she says.
“Russia,” I say.
Masha, she says. It must be Masha.
“German,” I laugh.
Oh God, German. Ilkedoodle.
The angel Ilkedoodle.” We laugh together.

I’m standing under the angel tree. It is empty.
She sits at my feet, yoga style,
and looks up at me. Well, she says.
Any ideas?
“I don’t know. I don’t think I can do this.”
Yes, you can. Try. You’ll find it.
You always do, eventually.

I close my eyes. Then I know.
“Grace,” I say. “Gracie,” “Gracia.”
Indeed, she says, and floats upward
into the leaves.

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Renditions of self              —               Annalee Kwochka

1. Neither acute nor chronic fits the curve of your sapped body
these days; rather, constantly recurring, the river floods without
warning, without regard.

2. On the Sabbath, you anoint your own body with Vaseline.
You are snake-leather skin, bird-hollow bone, quickening, flung-
open mind.

3. After dinner; a single glass of cheap, sweet wine. You collapse
into bed. Room still fully-lit, fully-clothed. Without even the urge
to bury yourself.

4. Then—raw-skinned horizon, aching iris-of-eye—are you
not right, to live in fear? You are cortex, synapse, firing neurons—
heart bruised and writhing in the hot sun.

5. You are a failed secret agent, writing your identity over and over
on fortune-cookie papers, filling your pockets, passing them on
with each handshake, pulling them out of ears—

6. Despite your best intentions, home is full of sinkholes.
Classified lives brush against you; You would spring
yourself open, the un-cracked spine of a holy book.

7. Only the mountains comfort you
lift you from the sinking sand, green vertebrae
cradling all the wood-bone of your years.

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Tony Abbott

The Angel Dialogues

If Words Could Save Us

 

Annalee Kwochka

Opening the Doors to the Temple

 

umami, the fifth taste

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Doughton Park Tree #3

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