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Posts Tagged ‘imagery’

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[with 3 poems by Debra Kaufman]
 . 
Walking Westerly, My Shadow Precedes Me
 . 
She does not hear a warning
in the wren’s song,
+++++++++ as I do,
or see the ghost moon as an omen.
 . 
She appears to have a jauntier step,
wilder hair, longer, slimmer limbs.
 . 
Perhaps she is the me
I once was –
waitress, dancer, diary keeper.
 . 
Nothing bad
has happened yet.
+++++++++ Soon
 . 
she will trail a dangerous
fragrance, be sniffed out,
tracked, pinned down.
 . 
Wind trembles the beech leaves.
The wren calls again.
 . 
I step toward the past,
she into the future
 . 
Debra Kaufman
from Outwalking the Shadow, Redhawk Press, Hickory, NC; © 2023.
 . 
❦ ❦ ❦
 . 
If you believe that everything is connected;
if you believe that matter and energy are conserved (not to mention angular momentum);
if you believe that the breath you’ve just taken into your body, its oxygen reddening your corpuscles, worked its way up the hill from the great red oak not tumbled in last spring’s tornado, and that when you release it a second from now it will begin to wisp its way back down to wait for the asters you’ve sowed on wind-scoured earth;
if you believe that your body is stardust, its phosphorus and calcium and that fleck of selenium, every element which is heavier than air;
if you believe that no distance is too far and no time too long a thread to tie everything together and extend the connection,
++++++++++ then believe this:
 . 
when that wisp of a woman sitting on the couch beside your father and his baby sister, white-haired tiny flit of a woman no more substance than moonbeam, when she smiles it will light up the string of a million smiles stretching back so far that every smile since must take its cue, all the way back to the very first smile twenty-five years (less thirteen days) before you were born.
 . 
Recall those smiles you can and hold onto them — you dancing while she plays Mozart on the piano and laughs; she holding the cake while you take a deep breath to blow; beaches and playgrounds, jokes and canasta, weddings and first smiles of your own babies shared with her. Most smiles have flown to continue their cycle, petal of a flower she will notice, bug she’ll try to pick up from the carpet, a noise or a vision in some other creature’s thread of existence . . .
 . 
. . . but some precious few smiles are preserved in silver. Layers of atoms on glossy paper. Here’s one that her niece, your cousin, has just handed you, holding its connection to the others over seven decades in the bottom of a carton waiting for your gathering today. You hold it close for her to see and she smiles again.
 . 
Look! Today’s smile! When you see it, recognize its provenance, its taxonomy, its lineage and inheritance from all that have preceded it. Accept its assurance. So much lost, so much consigned to this or that flimsy drawer in the cupboard of memory (yours) and so many keys to so many drawers misplaced (hers), but still firmly by that long and winding thread as tenuous as breath connected. Every wisp connected.
 . 
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❦ ❦ ❦
 . 
The last time my mother
 . 
spoke words I heard
I saw her see me in a flash:
You’re my daughter!
We walked the hall,
a circumference
around the single rooms.
Round and round.
Each time we passed
the common room
she’d point to the Christmas lights.
 . 
On her bed lay a book
of her wedding photos.
I named the names, some small comfort.
I sang “Jacob’s Ladder”
and she smiled in that puzzled way.
 . 
I meant to rub lotion on her legs –
her skin dry, tissue-paper thin –
but they were calling her
for supper. I kissed her cheek.
She kissed my hand,
did not want to let it go.
 . 
I hoped we’d see a few sparrows
out her window, but
dark coming early, I saw only
our ghostly selves reflected there.
 . 
Debra Kaufman
from Outwalking the Shadow, Redhawk Press, Hickory, NC; © 2023.
 . 
 . 
❦ ❦ ❦
 . 
Yet if we do not stare despair in its face
(I hear you say) how will we recognize
 . 
the silver sliver of moon
when it hangs suspended like a dream?
 . 
++++++++++ from Bearing / Witness
 . 
Moonrise this past Monday was 2:37 PM in Elkin, North Carolina, USA. Waxing gibbous, we spot her on the one clear afternoon without rain. We won’t have to worry about finding our way through the darkened house at bedtime. Light will precede us, follow us, attend us. We can’t summon the moon or assign her course; we can only watch and trust she will return. We can only recognize and be grateful.
 . 
I didn’t want to get out of bed that Monday morning. All the motivations and machinations of the preceding week – phone calls, site visits, family conferences – had cooled and dissipated. Who says energy is conserved? I sat at my desk, the to-do list accruing and scrolling in my head, not knowing how to begin. And then there was Debra Kaufman’s new book waiting patiently at the top of the pile. I opened to the first poem. The clamp on my innards released and breath returned.
 .  . 
Moon, and of course shadow, are recurring images in Outwalking the Shadow. It is no coincidence that metaphor and metamorph are nearly homologues. Images may shift their shapes and meanings, may stand in for any number of times and spaces, but moon and shadow link arms, weave a net, cast it out and draw us in. Debra does more than create contrasts. Her poems are not satisfied to simply cast light into the dark umbra of grief. Enter her lines and welcome the shadow, relive it, discover how and who it has made you. Recognize that light blinds when it glares but enlightens when it glimmers, slivers, almost ephemeral as dream.
 . 
Recognize that each of us lives with our shadow, and that even moonlight may cast one. Debra’s book is dedicated to her mother, Kathleen, and many of the poems explore her life, their life together, her final days, thereafter. Debra’s poems encompass much, much more than grieving, however. In many of her lines, I hear her speaking the very phrases I have needed to speak to my own heart. Perhaps you, too, have had mornings when you found it a burden to take even one step, when you felt empty and powerless and alone. These poems admit that. We are human and we carry our shadows. But these poems surprise themselves with sudden flashes and connections – a summoning of crows, a lesson learned, a visitation by spirits. Every time I turn another page, I discover more of what I need. Come, let us walk out together. There may still be joy if we open ourselves.
 . 
❦
 . 
More about Debra Kaufman, Outwalking the Shadow from Redhawk Press, and how to purchase HERE
 . 
❦ ❦ ❦
 . 
Let my heart swing open
 . 
like French doors to a garden of blowsy flowers,
saloon doors where Kitty serves shots of rye,
a screen door with a farm wife waving you in,
 . 
or let my heart be a picture window
through which I see everyone I have ever loved,
my breath steaming the glass, come in,
 . 
we’ll turn up the party lights,
show all the passersby we’re dancing,
or better yet, let’s all spill out into the street,
 . 
my heart a village music festival –
welcome teachers, firefighters, cashiers, nurses,
shysters and spinsters, salsa dancers a skateboarders,
 . 
cat lovers, detasselers, twirlers and high-steppers,
come in you scuffed shoes, rhinestones, flannels,
I’ll be a mirror reflecting all y’all’s kindness,
 . 
your clumsy moves and broken bits,
your sad patience and patient wildness,
your generosity, crankiness, haunted dreams –
 . 
I’ll be the hostess sprinkling blessings like petals,
saying, The universe is here and so are we – 
champagne for everyone!
 . 
Debra Kaufman
from Outwalking the Shadow, Redhawk Press, Hickory, NC; © 2023.
 . 
 . 
❦ ❦ ❦
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❦ ❦ ❦
 . 
2016-10-17a Doughton Park Tree

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 . 
[with 3 poems by David Radavich]
 . 
Offering
From one day
to the next
seems a difference
 . 
between drought
and flood,
 . 
corporations
and the poor.
 . 
Should we pack
our suitcase
for the future?
 . 
We bend over
gardenias
in the back yard,
 . 
salvia, rosemary,
daylilies jut now
blazing
 . 
wondering if nature
can withstand
our age,
 . 
sun fighting
with wind and rain,
 . 
wars consuming
everything
 . 
we believe.
 . 
Time to visit
the cemetery, bring
 . 
the pure lilies
we picked
this morning
 . 
as our offering
to the dead,
 . 
We owe them
our knees
and this stab at
 . 
continuing
 . 
paying homage
to names
 . 
and all
that’s green.
 . 
David Radavich
from Here’s Plenty, Červená Barva Press, W. Somerville, MA; © 2023
 . 
❦ ❦ ❦
 . 
“These are monsters migrating.” Thus the boy explains the drawing he’s brought home from kindergarten. Three big ones fly south, dragon-winged, pterodactylloid, gallinaceous. A mighty bruiser gallops on great feet bound to raise dust and thunder, heavy tail thrashing. But here’s one down in the corner foreground, not imposing, non-scary, looking me straight in the eye. Most monsters speed away, thank goodness, but some are willing to stay and make friends.
 . 
Monsters sneak into my head at 3 AM when I return from the bathroom. In the old days, before I retired from medicine, they called me from the ICU or Labor & Delivery and I knew it was time to pull up my pants and find the car keys. Now they spring up when I call them – damn! – and poke me with their spines and cold stiff claws each time my breath attempts to settle. Does anyone escape? Doesn’t everyone with parent, child, grandchild harbor a squirm of worry underneath the bed, ready to pop awake and crawl up between the sheets?
 . 
Monsters seem to be drawn to the idle mind like migrating bats to open, dark caverns. Their scales and markings may vary but they all belong to Class, Order, and Family of What If? Once their migration might have lasted just hours – what if I can’t get his blood pressure up? what if her baby’s head is transverse? – but now they don’t seem to have any finite lifespan. The infinite multiverse fans out from its monstrous 3 AM nidus into a crashing storm of uncertainty. Calm yourself. Smooth those waves of rapid breathing. Wrap the turbulence and darkness until they become a comforting cloak. What . . .
 . 
. . . if you sit down with me here and tell me about these monsters? The boy has a name for each one. He knows their powers and their weaknesses. Far from being fearful, these are friends, some to each other and all of them to him. You wouldn’t want to sit on one – they’re sharp, and they might break! – but it’s amazing to watch them fly and run. In fact, they are all related to each other. They are monster family.
 . 
 . 
❦ ❦ ❦
 . 
Crux
for Shelby
 . 
This is where
boy meets man:
 . 
a space
always alone
 . 
between
water and land,
 . 
fishing
or hiking,
 . 
gathering crayfish,
skipping stones,
 . 
another boss
is another tyrant,
 . 
pay not enough
to make ends meet,
 . 
mouths to feed
at the table,
 . 
gills in the water
needing your lure
 . 
and just the right
throw to home
 . 
sliding in
or head-long,
 . 
swinging high over
that creek
 . 
never knowing
if the vine will hold,
 . 
that’s what being
adult means:
 . 
learning
not to trust,
 . 
pulling everything
you’ve got,
 . 
keeping a sharp eye on
what’s moving
 . 
and then
grab it for grace,
 . 
feed that family
and don’t apologize.
 . 
David Radavich
from Here’s Plenty, Červená Barva Press, W. Somerville, MA; © 2023
 . 
❦ ❦ ❦
 . 
What if my name, instead of “Bill,” were “Boy?” What is the thing against the idea of the thing? And words on a page, are they the one or are they the other? David Radavich, in Here’s Plenty, doesn’t open his palm and hold out to you the answer to such queries, but he leaves plenty of answers scattered among the lilies or still hanging from branches, reddening fruit for us readers to discover. Can the idea of a thing become itself when we bite into it, when we take it into ourselves?
 . 
This is one task and one blessing of poetry – not to be a textbook, lining out chapter and verse; not to be gospel; but to be spell, cast into the world and opening like the petalled layers of a peony. Perhaps we return day by day to discover its transformation, perhaps we grab and thrust our nose deep into the blossom’s perfume and scatter petals all around us. Either way we engage, yes with the words but even more so with ourselves. The real poetry is what we write within while reading what is without.
 . 
David Radavich lives in the world. So apples, seed and stem, peel and core and crisp. Edens and crags. Harsh sharp divisions and tender comings together. Nothing ignored or unnoticed, nothing left out. Everything invited in. You and me, too. Come – there’s plenty.
 . 
❦
 . 
Here’s Plenty is David Radavich’s tenth collection of poetry. He has also published many plays as well as scholarly and informal essays in many countries. The book is available HERE
 . 
 . 
❦ ❦ ❦
 . 
Going Home
 . 
Forget about it.
 . 
The old one wasn’t
worth much
anyway.
 . 
You can do better
tossing a coin
or consulting
some astrologer.
 . 
Choose
where or what
you want to be
 . 
and go there
to take your place
among the yet
to arrive.
 . 
Wave your white
flag to the past
 . 
and make your new
garden bloom
 . 
as if
you had been
 . 
there all along
incognito
 . 
among many
creatures
you don’t know
names for,
 . 
your enemies
forgotten
 . 
and a sky
just as much
your own
 . 
as a new skin.
 . 
David Radavich
from Here’s Plenty, Červená Barva Press, W. Somerville, MA; © 2023
 . 
 . 
❦ ❦ ❦
 . 
2020-06-11a Doughton Park Tree
 . 

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 . 
[with poems from The Ecopoetry Anthology by
Gary Snyder, Evie Shockley, Adrienne Rich]
 . 
For the Children
 . 
The rising hills, the slopes,
of statistics
lie before us.
the steep climb
of everything, going up,
up as we all
go down.
 . 
In the next century
or the one beyond that,
they say,
are valleys, pastures,
we can meet there in peace
if we make it.
 . 
To climb these coming crests
one word to you, to
you and your children:
 . 
stay together
learn the flowers
go light
 . 
Gary Snyder
from The Ecopoetry Anthology, edited by Ann Fisher-Wirth and Laura-Gray Street; Trinity University Press, San Antonio, TX; © 2013
 . 
❦ ❦ ❦
 . 
In the cook tent behind the Big Top, the carnies are eating breakfast together. One rowdy slurps coffee with the spoon handle jutting up from his cup. His buddy hollers, “You’ll put your eye out!” but he just ignores the danger and goes right on drinking.
 . 
Young Toby Tyler and I just gape, he at the jostling men and me, age eight, at the black & white TV. Both of us are convinced it’s going to happen any minute, spoon into eyeball. No matter what happens during the rest of that movie, we keep watching the guy with the doomed eye.
 . 
Sixty years of foreboding later and I still can’t tell you much else about the film (wasn’t there a chimp?), but it doesn’t take much for me to still feel that gut tug of imminent blinding: the teaspoon of Damocles. “Putting your eye out” was one of the more graphic horrifics that dogged my childhood. When it became the tagline for “A Christmas Story,” I couldn’t laugh with quite the same gusto as my wife. As readers we’re admonished to be vigilant for foreshadowing; as writers we’re taught to incorporate it; as kids we’re just scared into behaving ourselves.
 . 
Turns out the rowdy never even poked his eye. It wasn’t foreshadowing at all, just a one off Disney gag. Can you even call something foreshadowing if it never connects to the unwritten future, if there isn’t some aftshadowing of destiny that confirms the prophesy? Am I trying to tell myself to quit worrying so much about a future that may never arrive? Standing in the TSA line at the airport – oh no, do I have a weapon in my pocket, nail file of Damocles? Dad speeding toward his 95th birthday with driver’s license in his pocket, gleam in his eye, and in his ignition the key of Damocles. What could possibly go wrong?
 . 
Alas, I’m afraid that eight-year old kid already had thinking about, planning for, and worrying about the future inscribed deep in his psyche. In the fable about ants and grasshoppers it never even occurred to him to identify with anyone but the ant. Here I am now, all grown up, carefully rinsing the teaspoon and putting it in the washer. But what the hell: gimme another cuppa coffee!
 . 
❦ ❦ ❦
 . 
notes for the early journey
+++ for j.v.k.
 . 
somewhere along the way you will need to lean
over a bluff’s edge   drop you shoes and keep moving   use
the feel of greening grass under your feet as a guide   if a
rainbow confuses you   which end   go the third
way   on the mountain you’ll remember   climb on
up to where the aspens tremble   you will be alone   these
high winds can knife some lungs to gasping rags   but for you
 . 
there’s nothing to worry about   breathe   sniff the air like
a bloodhound and head the opposite way   find the
place where the land dissolves into sand   keep walking   when
that sand becomes sea   speak a bridge into being
I know you can do it   your father’s son ain’t
heard of can’t   follow the song   don’t stop until you’re south
of sorrow and all yo can smell is jasmine   I never
once stumbled on such a place   hard to say if a brown child
is the last four hundred years has had such
a luscious dream   day or night   but this is your mother’s
lullaby   I know she meant you to sleep sweet
 . 
Evie Shockley
from The Ecopoetry Anthology, edited by Ann Fisher-Wirth and Laura-Gray Street; Trinity University Press, San Antonio, TX; © 2013
 . 
❦ ❦ ❦
 . 
At Christmas we celebrate the past and resolve to be worthy of the present – to give life to the divine presence within our own hearts. At New Year’s we look to the future. In recent years that gaze forward has generally been accompanied by a soto voce “Oh, shit.” Yeah, pretty bleak outlook for 2024: politics, race, climate, war. Party’s over.
 . 
This is the best time to open a book of poetry. Not to escape to some idealized past but to connect to another human being who is also muttering, but who hasn’t yet given up hope. And this is especially the time I open my Ecopoetry Anthology, all hefty 0.9 kg of it. I’ve read many definitions of ecopoetry (as differentiated from nature poetry), some of them requiring thousands of words,  but here’s my personal take: poems that observe the world as it is, life and geology and physics without rose-colored glasses; poems that put is in our place in the world, in the literal and figurative connotation of that phrase, no holds barred, no punches pulled; poems that, even in the face of reality, still hold onto hope that we creatures might understand, appreciate, and love every particle of it.
 . 
And each other. Love each other. This is the best time to read a poem, connect with the poet, and connect with every other reader of that poem. Past, present, and future. What the hell: gimme some love and hope!
 . 
❦
 . 
More information on The Ecopoetry Anthology, and where to order,  HERE
 . 
. .
❦ ❦ ❦
 . 
What Kind of Times Are These
 . 
There’s a place between two stands of trees where the grass grows uphill
and the old revolutionary road breaks off into shadows
near a meeting-house abandoned by the persecuted
who disappeared into those shadows.
 . 
I’ve walked there picking mushrooms at the edge of dread, but don’t
+++ be fooled,
this isn’t a Russian poem, this is not somewhere else but here,
our country moving closer to its own truth and dread,
its own ways of making people disappear.
 . 
I won’t tell yo where the place is, the dark mesh of the woods
meeting the unmarked strip of light –
ghost-ridden crossroads, leafmold paradise:
I know already who wants to buy it, sell it, make it disappear.
 . 
And I won’t tell you where it is, so why do I tell you
anything? Because you still listen, because in times like these
to have you listen at all, it’s necessary
to talk about trees.
 . 
Adrienne Rich
from The Ecopoetry Anthology, edited by Ann Fisher-Wirth and Laura-Gray Street; Trinity University Press, San Antonio, TX; © 2013
 . 
 . 
❦ ❦ ❦
 . 
IMG_0768, tree
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