Feeds:
Posts
Comments

Posts Tagged ‘imagery’

Linda and I take walks.

Take?  The walking gives itself to us.  We talk, catch up on the hours, days sometimes.  We list things that need to get done, places that must be gone, eroding detritus of stuff that clamors to be fixed.  We laugh at the last cute thing Saul did, the cute thing he said that we’ve smiled at twenty times already.  We discover small things along the path – what is the name of that little blue flower? – and rediscover things that have brought us small delights in the past.  And we hope we burn up some calories and coax some blood to run its circuit a little faster.

Throughout the breeding season American Avocet pairs greet each other by rubbing along the length of their long recurved bills while the male drapes a wing over the female’s back.  Cozy.  Most birds that form lasting pairs, for a season or for life, have some sort of bonding display – preening, mock-feeding, a dance, aerobatics.  Evolutionary biologists conjecture that these instinctive behaviors strengthen the pair-bond and increase the chance of reproductive success.  More eggs, more chicks, more offspring successfully fledged.  Survival.

Linda and I take walks.

IMG_3770

.     .     .     .     .

Yesterday afternoon Linda and I walked Old Man’s Gorge in the Hocking Hills of southern Ohio.  Over thirty years ago Linda’s Mom and Dad bought a little farm in the woods near there.   It’s been close to twenty years since we last visited Old Man’s Cave.  During that time the new trail markers, new bridges, steps, railings, everything has a moist green fuzz of moss, as if the three-hundred million year old blackhand sandstone has invited all things in the Gorge to appear as old is it does.  Linda and I keep remarking to each other, “Was this here last time we came?  I don’t recognize this stone wall, but it looks ancient.”

IMG_3746

.     .     .     .     .

Overcast, damp, ten degrees cooler than its summit, the basin of Old Man Gorge just feels like Ohio.  Maples have begun to turn color along the rim, but in the shade of the grand overhangs all hues become muted.  The eroded walls are a hundred variations of gray and rock-green, a lichen wash of winter sky. The shades of our Ohio roots:

.     .     .     .     .

 Twenty‑Three Grays

The first is crossing the Ohio into Marietta,
not the green river yearning west
but each of its scalloped reflections
like scales on a crappy, and at each ripple’s
lip a premonition of ice.

Next: passing the first car southbound
salt‑encrusted with two hundred miles
of I‑77 — what color is it really?  A casual visitor
to this state still our home may claim
there is no color here, but doesn’t gray
enfold the possibility of every color?
Sky layered in bands dark and darker
preserving as in a comforter some memory,
warm purple; fingery hawthorn
and buckeye almost yellow; cattails
coyly pink; dark earth chocolate
between cream snowcrests —
all of them holding everything within.

In Canton the window eyes of Mercy
Hospital passing no judgement.
In Akron, the stone walls of Rockne’s,
frost like stale beer foam; peeling letters
at the exit sign: Peninsula/Hudson.
Geese in the ditch beside a Cape Cod;
rust‑gray girders where we drive beneath
tank cars, coal cars, and then the Turnpike
overpass.  And as we reach your driveway,
rime, old tears the wipers can’t beat back.

Those who’ve never left here, do they notice?
And we who return, can we name
what comforts us?  Only in his eighties
did your Dad’s hair surrender to the shades
of sky and winter fields, and now when I hold
you this close full of days recalled, stories
we=re sharing as if for the first time,
the good full color of Dad’s life now passed
fully into our hearts, I see in your hair thin streams
coalescing, bands of evening sky and highway,
winters we will hold together, and the springs.

© Bill Griffin.  First appeared online in John Hoppenthaler’s Congeries at Connotation Press, June, 2011.

IMG_3744

American Avocet — Recurvirostra americana

.     .     .     .     .

IMG_3810

.     .     .     .     .

IMG_6432

…………………

Read Full Post »

[After you read this post, move on to my revised definition of the
SOUTHERN SENTENCE POEM
at
https://griffinpoetry.com/2012/11/25/when-the-train-whistle-blows/
And send me your offerings at our Facebook page:
https://www.facebook.com/SouthernSentencePoem?ref=hl ]

Last month after a poetry workshop we all went out for lunch.  Someone had been reading a book of Buson and Issa, and we got to complaining about how hard it is to transmigrate haiku from Japanese to English.  Syllable counting aside, Japanese haiku has so many formalities that just don’t translate.  Each word is drenched in a thousand years of cultural nuance; lotus, frog, mountain, they all have layers of meaning very difficult for an outsider to grok.  Why do we even try to write haiku ourselves?

At some point we came up with the idea – note here that no alcohol was involved in these discussions – that we Southern poets need a poetic form we can call our own.  I remember us laughing about what we might call such a thing;  the term “Bubba” seems to have come up a few times, with various prefixes and suffixes.  At the end of the day, though, we hadn’t really developed anything substantial.

.     .     .     .     .

IMG_8370

I’ve been thinking about that conversation ever since, and I’m now ready to unleash upon the literary world a new poetic form: the Southern Sentence Poem.  Besides consisting of a single sentence (which actually ain’t too Southern, knowing how we like to tell long-winded stories), each Southern Sentence must include all three of the following:

1 – Place.

A word or phrase has to place the poem in the American South.  It can be the name of a town, a geographic feature, a mention of some typical flora or fauna, even an ACC university.

2 – Past.

We Southerners make fretful Buddhists – we just can’t let go of the past.  The poem can be “in the moment” but it requires a reference to the past: kinfolk, a historical event, a personal experience (inevitably with a bad outcome, of course, but lesson learned).

3 – Culture.

Let the New Englanders and the Californians and the Canadians come up with their own poetic form – this here poem is about the South!  The reference to Southern culture can be food, customs, language/slang, clothing, agriculture or business . . . even anthropologists have a trouble defining the word “culture.”

IMG_0118

And to my mind a really good Southern Sentence would be seasoned with a drop of bittersweet.  Aren’t some of our great themes sin and redemption, hurt and healing, always at least a little hopefulness?  And it is ever appropriate to inject a little humor.  Just one additional rule: no cussed semicolons.  I love semicolons, but they are just too damn Yankee.

.     .     .     .      .

IMG_2550

Help me out.  Send me some Southern Sentence Poems.  If I get a whole passle of them I might start a whole new blog, or at least give them their own page.  Any comments and enlargements on my three rules?  Make the form your own.

AND . . . can anyone think of a better name than Southern Sentence Poem?

Finally, here are a couple of examples (it’s only a coincidence that each is 3 lines; that’s not one of the rules):

.     .     .     .     .

Nana said she despised those “jawflies,”
cicadas that filled the oaks around her house,
but every August I think of her.

.     .      .      .      .

In Nana’s preserves each fig
was suspended in gold – the summer sunset
on Bogue Sound.

.     .     .     .     .

IMG_7788

.     .     .     .     .

Read Full Post »

I just finished reading Abraham Lincoln, Vampire Hunter by Seth Grahame-Smith . . . while on hold to Time-Warner Cable.  Seriously.  I called the help line, heard the perky attendant mention, “We are currently experiencing thirty minute hold times,” and went back upstairs for my book.  Read the last 35 pages in 30 minutes and was just about to start the appended excerpt of G-Smith’s latest book when a human being answered.  Is there some cosmic irony in the fact that someone who turns his TV on less than an hour a week (except during the Olympics) spends about that same amount of time reading a book while waiting to have the TV fixed?

Reading while on hold – what a concept.  The problem is the inane music they play.  First was a scratchy version of Beethoven’s Für Elise, then what sounded like an instumental version of (I swear I’m not making this up) 70’s disco, followed by smooth sax jazz so generic that static would have been preferable.  And then the sequence repeated.  I hope it didn’t do some subliminal damage to my auditory cortex while I read how John Wilkes Booth (spoiler alert!!) became a vampire.

What would you think about this alternative – listening to poetry while on hold?  Something catchy and non-generic that would make you smile, make you cry (nothing, however, that would make you cuss the cable company, or the service desk, or that trembling help guy in the corporate basement in Hamtramck, MI). Someone reading with feeling and verve and a little bit sexy.  Some astounding turn of phrase or unexpected conclusion that compels you to say, when the human interrupts, “WAIT!  Put me back on hold, please.”

IMG_3687

Next time your internet connection has spiraled into a black hole in the Greater Magellenic Cloud, or your dishwasher is autodialing a porn site in Belarus, or you’re trying to track down your personal banker who has absconded to her luxury condo on the coast of Belize, wouldn’t you rather listen to Dorianne Laux read this while you await succor?

.      .     .     .     .

Singing Back the World

I don’t remember how it began.
The singing.  Judy at the wheel
in the middle of Sentimental Journey.
The side of her face glowing.
Her full lips moving.  Beyond her shoulder
the little houses sliding by.
And Geri.  Her frizzy hair tumbling
in the wind wing’s breeze, fumbling
with the words.  All of us singing
as loud as we can. Off key.
Not even a semblance of harmony.
Driving home in a blue Comet singing
I’ll Be Seeing You and Love Is a Rose.
The love songs of war.  The war songs
of love.  Mixing up verses, eras, words.
Songs from stupid musicals.
Coming in strong on the easy refrains.
Straining our middle aged voices
trying to reach impossible notes,
reconstruct forgotten phrases.
Cole Porter’s Anything Goes.
Shamelessly la la la-ing
whole sections.  Forgetting
the rent, the kids, the men,
the other woman.  The sad goodbye.
The whole of childhood.  Forgetting
the lost dog.  Polio.  The grey planes
pregnant with bombs.  Fields
of white headstones.  All of it gone
as we struggle to remember
the words.  One of us picking up
where the others leave off.  Intent
on the song.  Forgetting our bodies,
their pitiful limbs, their heaviness.
Nothing but three throats
beating back the world – Laurie’s
radiation treatments.  The scars
on Christina’s arms.  Kim’s brother.
Molly’s grandfather.  Jane’s sister.
Singing to the telephone poles
skimming by.  Stoplights
blooming green.  The road,
a glassy black river edged
with brilliant gilded weeds.  The car
as immense boat cutting the air
into blue angelic plumes.  Singing
Blue Moon and Paper Moon
and Mack the Knife, and Nobody Knows
the Trouble I’ve Seen.

by Dorianne Lux

collected in Poetry 180, edited by Billy Collins, © 2003 Random House

.     .     .     .     .

IMG_7516

Read Full Post »

« Newer Posts - Older Posts »