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Posts Tagged ‘imagery’

“In case of nuclear attack, hide underneath the toilet.  No one’s ever hit it yet.”

On the wall above the commode, that’s the hand-lettered sign you get to read while you take aim and take a leak.  Assuming you’re standing – it’s a unisex bathroom.  To find it I had to ask directions of the forty-ish woman behind the register in the little convenience store: through the store room, take a right, last door.  I’m running ahead of schedule and have stopped for gas about a mile above the Catawba River (and I hate to arrive anywhere and have to ask first thing, “May I use your restroom?”).  Looked like it couldn’t be more than another mile or two from here to the Bethlehem Branch Library where I’d come to hear Adrian Rice read.

For the wanderer in search of literary respite, what a haven.  A simple well-lit temple to words.  Bethlehem Branch is across the county line from Hickory, so all those who cross this threshhold must do so intentionally and filled with expectation.

After we set up chairs, the head librarian showed me around: cozy spots for curling up with a book; windows, lots of natural light on winter afternoons; the current month’s art on display, evocative scenes by a local photographer; each photo accompanied by a poem written by a local poet inspired by that specific shot.  And now the library is officially closed but the door keeps swinging open.  Twenty or thirty souls arrive to share poetry, each of them intentional and filled with expectation.

In case of nuclear attack, head for the library.  Might as well pass through the pearly gates with a crowd you wouldn’t mind accompanying into eternity.

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I’d never heard Adrian Rice read his poetry before this night.  But who could resist that soft accent, as smooth and deep as kelly moss and inviting as a tall glass of dark amber?  The first thing he said was, “It’s a disaster to ask an Irishman to read for twenty minutes.  The introduction to the first poem will be twenty minutes!”

How can it be, then, that Adrian has written a book of haiku?  He shared with us several from his collection Hickory Haiku.  Oh sure, before each poem he gave us a build-up that was probably ten times seventeen syllables, but the secret to the Ulster lad’s three-line epics is to sit down and read the book through.  Fifty terse images from a man far from home and almost as far from boyhood.  Lines as quick and sharp as a turning latch.  Connections longed for, connections discovered.  The green hills left behind and the new hills that have become home.  The strangeness of nature, the nature of people, perhaps not so strange after all.  The deepwater anchor of porch, books, family.  Taken together, these are poems that link arms to tell a grand story with a wink and a prayer, worthy of an Irishman.

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II

We Irish aren’t wooed
by weather.  But, for folk here,
it’s a love affair

VIII

Night-winds lay the corn
rows low.  Morning, they rise –
foals finding their feet.

IX

Olde Hickory Tap
Room – draught handles are beer-bows
that target the Thirst.

XIX

The sun’s done gone.  Dark
ink surges through sky water –
a storm’s a-comin’!

XXVI

Two contrails cross in
the royal sky – the airy,
brave flag of Scotland.

XXVII

Like found poems, the bare
necessities of home – Heinz
beans & Weetabix!

XLII

We whinny and neigh,
two rocking horses grazing
the pasture of porch

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Adrian Rice teaches English at Catawba Valley Comunity College.  Turning poetry into lyrics, he has also teamed up with Hickory-based and fellow Belfastman, musician/songwriter Alan Mearns, to form ‘The Belfast Boys’, a dynamic Irish Traditional Music duo.  Listen to him read at the book launch for Hickory Haiku.

Thanks to Bud Caywood for organizing the monthly art and the annual poetry readings at Bethlehem Branch Library, and thanks to all the staff and regulars.

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Juxtaposition

Jeez, just when you think you sort of know someone.  Picture the engraving by M. C. Escher, Encounter: a placid white man, the negative space around him metamorphosed by degrees into a sinister appearing black man.  They greet. But step back.  At a distance sufficient for you to see the image whole, where does one homunculus end and the next begin?  Like looking into yourself.  Or into the world.

Celisa Steele’s poems in How Language is Lost embody the same perplexity.  Look closely.  Are these images sacred or profane?  (There will never be a more arresting poem title than “Al Considers the Fucking Holy Spirit.”) Now step back.  Read every poem.  Just when you thought you sort of knew someone.

A subtle breath wends from line to line to line, an irresistable inhalation that brings all within – drunk with your face in the mashed potatoes, grieving as ice melts in the cup, alone and lost as a language, as an entire generation.  Or grunting at the jab of an elbow in your ribs that demands you laugh.  There you are.  There I am.  A fractal poetry in which the smallest detail expands to become the universe.  Divine juxtaposition.

If everything is God, the only sin is in denying that God is everything.

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The Jungle on the Back Patio

Today a sparrow, doubtless
a Yeatsian, builds her nest again
where yesterday I beat it down.

Last fall Besson bulldozed
the jungle at Calais.  Hundreds
of undocumented migrants,

Pashtuns hoping to hop
a Dover-bound lorry, flew
before the announced razing.

Some stayed (most minors),
arrested in soft clouds of breath
just visible in the early morning.

This morning’s song – luculent
encomium of labor – lowers
the upturned broom in my hand.

No one wins.  Not the bird,
not the French.  Nothing changes
by an inch or an ounce, and I imagine

I will startle her to flitting frenzy,
send her to a nearby branch
each time I set foot on the patio.

Eggs, cool for too long, will
never hatch – the next generation
lost in a spindrift of pollen.

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Celisa Steele

MC Esher Gallery 

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Passionate Intensity

Surely some revelation is at hand . . .

Now the long freight clears the crossing and traffic grinds again along E. 36th St.  Now the thirty or so find their way into the Gallery, grind and clear through studio work spaces & art on display, find their seats.  Now the poets approach the microphone.

There couldn’t be a better space for poetry.  Green Rice Gallery at the corner of Davidson and E. 36th, reclaimed and resuscitated mill and warehouse, the intensity of artistic creation in all its forms and guises.  There couldn’t be a better crowd.  Jonathan and Scott, the hosts gentle and inciting (you guess which is which).  The writers and listeners not just from Charlotte but as far as Winston-Salem and OMG Lincolnton.  Everyone intent. Everything passion.

I have rarely attended a better open mic.  The woman channeling Ginsberg’s America who cries to discover her place in this nation, in this existence.  The man reciting surrealist imagery until the photo on the wall behind him becomes Salvador Dali.  The quiet brooding lyric that leaves me desperate to know more – what lurks beneath?  The guy of 100 personas whose rant in the character of a postal employee makes me want to duck for cover.

And the woman who read two Irish poets, the first observing the tangled path love may take – didn’t each of us listeners say, “So true.”  And for her second she read Yeats.  Violence, chaos, apocalypse before us. The Second Coming.

Frightening that his poem written in 1919 sounds the very dread we experience in 2011.  The New York Times observed in 2007 that this was becoming the official poem of the Iraq war.  And yet however menaced I may feel as the rough beast, its hour come round at last, / Slouches towards Bethlehem to be born, I am encouraged by the passion of these young poets declaring their intention to create new order from anarchy.  I am convinced that they, the best, lack no conviction in their passionate intensity.

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THE SECOND COMING
William Butler Yeats (1865-1939)

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: a waste of desert sand;
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Wind shadows of the indignant desert birds.

The darkness drops again but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

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A brief analysis of THE SECOND COMING

Green Rice Gallery in Charlotte

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