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Posts Tagged ‘Jacar Press’

[with two poems by Julie Suk]

Silence does not exist for me. I’ve had my tinnitus mapped by an audiologist: four different frequencies in each ear, one or two dominant (louder!). One tone (on the left) is pitched so low that the only time I’ve heard it was before sunrise in Shining Rock Wilderness (near Mt. Pisgah) – no wind, no birdsong, no people, no machines. The other tones are high pitched, constant whining needles of sound, minor chords that never resolve.

I’ve heard that some people are driven insane by tinnitus. Perhaps you’d better be extra vigilant when you’re around me. Somehow, though, I’ve been blessed with the gift of mostly ignoring it, not caring. I can’t remember a life before I heard this daily continuous ringing screech. Where did it come from? All that target practice earning Marksmanship Merit Badge in Boy Scouts? All those lawns mowed as a kid? All those Grateful Dead and J. Geils Band concerts?

Intrusive noise. Which of us in 2021 doesn’t suffer from such? Thank you, iPhone, for telling me my screen time increased 23% last week. Add to that I’m a terrible meditator. If I try to empty my mind what immediately creeps in to fill the vacuum is regret and guilt for every screwup I’ve ever committed in my entire life. What works better for me is poetry. Feet flat on floor. Deep breaths, in and out. Open the book. Read a page. Stare unfocused into space. What tinnitus?

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At first I’m tempted to apologize for introducing Julie Suk with an essay that endeavors to wring a smile, but no, the light touch is not inappropriate. The poems in Astonished to Wake, Julie Suk’s sixth book published in 2016 when she was 92, are often about loss and all of them are about her own impermanence – they are solemn but they are never grim. The poems are simply perfectly human.

We all share one thing on this earth – our own mortality. Admitting that, we may be open to discover that we share much more: grief that we must live through and live beyond; loves that are no longer present but which still warm us like the dying fire’s embers; moments of joy, however brief.

As I sit down for a couple of hours to re-read this book in its entirety I become thoughtful, reflective, connected, grave, but not sad. And the only ringing I hear is Julie’s words.

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Migrations

A stretto of rain on the windowpane,
a swirl of bees caught in the creek’s overflow,
the yard going under.

Remember how replete our lives once were,
brimming over, the future a muted thunder
drawing us close.

Hold me, hold me

meaning I was fearful the same as you.

Drowning in sweet addictions,
we paused in a childlike daze –

no way to foresee
how and when we’d be swept away,

our bones washed up long after –
perhaps a fragment carved into a flute,

breath,
once again, floating through the wilderness.

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Between Lives

And what if it’s true that the life we’ve lived
flashes by at the moment of death?

Not even for an instant would I want repeated
the boring drone of guilt,
nor the shabby aftermaths of desire.

The black tunnel lit with epiphanies
would be my take –

sighs of contentment, laughter, a wild calling out –

and at the end,
a brief flaring of the one we’d hoped to become
escorting us into the light.

Julie Suk, from Astonished to Wake, © 2016 Jacar Press

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Julie Suk (born Julie Madison Gaillard; 1924) is a prize-winning American poet and writer from Charlotte, North Carolina. She is the author of six volumes of poetry – The Medicine Woman (St. Andrews Press, 1980), Heartwood (Briarpatch Press, 1991), The Angel of Obsession (The University of Arkansas Press, 1992), The Dark Takes Aim (Autumn House Press, 2003), Lie Down With Me (Autumn House Press, 2011), and Astonished To Wake (Jacar Press, 2016), and co-editor of Bear Crossings: an Anthology of North American Poets. She is included in The Autumn House Anthology of Contemporary American Poetry. Her poems have appeared in many literary journals including The Georgia Review, Great River Review, The Laurel Review, Ploughshares, Poetry, Shenandoah, and TriQuarterly.

[Bio from Wikipedia]

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Southern Harebell, Campanula divaricata, Campanulaceae (Bellflower) family

[with two poems by Lola Haskins]

I sat in the ophthalmologist’s office reading Lola Haskins and wondering. I’ve put off this visit due to COVID and I’m overdue, seeing Dr. Bondalapati for the first time. She is new here, just moved to Elkin from Chapel Hill with her family last summer. Most of her staff I’ve known for years, although it is still welcoming to be recognized behind the mask.

All of us masked. Wondering. Are our precautions enough? Is it OK to be together like this?

Isn’t it remarkable how much eyes alone can communicate? Eyebrows bobbing, winky lids, wrinkly skin of brow and temple, lovely corrugator muscles. I left the office happy to have seen my new doctor and Deanna, Karen, all the others.

Bridge the separations. Make community. Take nothing for granted.

I am also restored and innervated by Lola Haskins’s poems. I heard her read several years ago and just bought her collection, how small, confronting morning (Jacar Press, 2016). Isn’t it remarkable how much a few words and a few lines alone can communicate? Seeing through another’s eyes. Another’s voice in my ears . . .

. . . like happiness // it materialized so gradually / that I never even for a moment // saw it coming

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The Cabin at Fakahatchee Strand

by morning the water has turned such
silver I want to put it on i know

it would only flutter off my skin
like a bird too quick to follow

but i don’t care i want it anyway
and i want that tangle of cattail

and black rush too the way i want
to be perpetually waking to

yet another gift like the single gator
stretched out on the muck

where pond has begun to thicken
to swamp like happiness

it materialized so gradually
that i never even for a moment

saw it coming

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Lola Haskins, from how small, confronting morning (Jacar Press, 2016)

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Flight

if i eat feathers asks the child
will i be able to fly?

you already can says her mother
any night
the lightness in you my lift you
from your cot
that’s why i close the windows

when i get old enough the child
wonders

will you open them? oh yes
comes the answer

(sorrowing) that’s what
mothers do

.

Lola Haskins, from how small, confronting morning (Jacar Press, 2016)

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Haskins writes with the startling freedom and grace of a kite flying, and with the variety and assurance of invention that reveal, in image after image, the dream behind the waking world.
W.S.Merwin, winner of the Pulitzer Prize and former U. S. Poet Laureate

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Appalachian Trail near Clingman’s Dome, 2003

[with two poems by Kathryn Stripling Byer]

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Summer has skimmed the high ridge like a chimney swift, rarely perching for long. Now on September mornings you can see your breath. First frost certainly won’t dally. Above 6,000 feet you wonder, Where is the South in Southern Appalachians?

And what about these bleached spines and gnarled knucklebones? This phalanx of snags that palisades the highest elevations against the green upon green below? The balsam wooly adelgid arrived on Clingman’s Dome in 1957. By the 1980’s the tiny insect invader from Europe, order Hemiptera, had destroyed more than 90% of the Fraser Fir in Great Smoky Mountains National Park.

This year, though, the Park Service has declared a tenuous truce. Some of those dead snags are forty years old but younger trees spared by the adelgid have matured and are making fertile cones. The very oldest trees, with thicker bark, also seem less susceptible. The insects are still around but you have to hunt for them, whereas during the earliest infestations biologists described the branches covered in wooly bugs as if they had been “whitewashed.”

What is the fulcrum of this new equilibrium? Perhaps the adelgid found easy pickings among whole communities weakened for decades by acid deposition, bad air. Coal-burning power plants up the Appalachian ridge to Canada have added scrubbers. The red spruce that had stopped growing in the ‘80’s are laying on new rings of cambrium. Leave a patch of ground alone long enough and it will grow into what it is meant to be.

Or will it? Depends on what you mean by leave alone. The fir that survive are a little more resistant to the insect, a little more acid tolerant. But what happens as their subalpine microclimate becomes less like Canada and more like Atlanta? Scrubbers remove the nitrogen and sulfur that oxidize to form acids but when you burn carbon you get carbon dioxide. Can’t scrub that out. How many degrees of warming can Fraser fir tolerate? Go higher, it gets cooler. Here in the Park you can’t go any higher than Clingman’s Dome.

Mountain Angelica, Angelica triquinata (Apiaceae - parsley family)

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Last week I shared two poems from Kathryn Stripling Byer’s first book (1986). The two poems that follow here are from her final book, Trawling the Silences, published in 2019 two years after her death.

Kay Byer takes me into wild places and she brings me home. She names the earth, just naming a thing is a prayer, and she leaves nameless the mysteries that mist from her verses into my soul. She has left this earth, and she has left this earth to me to hold close for the days I will remain. Notice. Learn. Cherish. Tell it.

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Three for My Trail Guide
for Jim

1.

Ascent

Before I can catch
my breath you right away
start to identify

Wild Ginger,
Mayapple,
Bloodroot.

I’m dizzy with switchbacks
I see rising into
the hardwoods you hail

Sarvis,
Sycamore,
Tulip Tree.

Trillium sweeps down
the hillside like angel wings
come to rest creekside.

You chanting hepatica,
stonecrop, anemone,
we climb until

we reach the summit,
where underfoot
some stubborn lichen

you can’t name
has already claimed
the best view.

2.

Star Grass

You name it
and there it is
at the edge
of the outcropping
over the Gorge.

Not to worry,
I placate the ravens
that harry us,
we won’t be lingering
long in your aerie.

See? Even now we are
striding away
into star grass,
its small spikes of clear
recognizable light.

3.

Galax

Squatting behind bushes,
I smell it nearby, neither bear scat

nor carrion vine, to which naturalists
liken its scent, but the breath

of an old woman lowering herself
to her chamber pot, sighing

as I heard her sigh while I tried
not to listen. Hoisting my backpack

I leave her behind in the underbrush,
glad to be back on the trail

with you, sidestepping tree stump
and blowdown, splashing through

creek bed, striding from switch back
to switch back toward sky we see,

step by step, open its window,
when, almost to summit, I stop.

Breathing hard. The scent
of her following me.

Kathryn Stripling Byer, from Trawling the Silences (Jacar Press, 2019)

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Silvery Glade Fern, Deparia acrostichoides (Dryopteridaceae - Wood Fern Family)

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Trawling the Silences

This end-of-March day, I’d rather watch hawks surf the
thermals than contemplate what lies ahead.
Or behind in its wake. In the few hours left, let me keep
my doubts shut, my windows wide open, their sheer curtains
billowing. It’s March, after all, having come in
a lamb and departing a lioness, stalking my back yard,

leaving her paw prints alongside the patient ephemerals
rising again out of leaf litter. Squirrel corn. Spring beauty.
The first rue anemone. Today I would rather
read field guides, repeating the whimsical names
of our nice-dwelling mussels about to be wiped out by backhoes
and bulldozers. Pimpleback, Snuffbucket. Monkeyface
Pearlymussel. Don’t let their names be forgotten,
I’d pray if I prayed, though just naming a thing is a prayer,

wrote Simone Weil, turning her face to the almighty
silences. The silences. Where would we be
without them, what were we, what will we be, oh to be,
and again be, that damn linking verb. I’d rather be tracking
my lioness up to the rim of that mountain top,
I’d rather let be and let go. Let the anemone
cling, the hawks soar, the lioness squander another day
trying to find what she’s looking for. Give her another day,
I ask the Almighty. Give the birds one more day
scolding the rapscallion squirrels stealing birdseed.
I rest my case, carapace, my own little voice trawling
the silences, the bully wind boasting its presence in present-tense,
no linking verb to shut down the show. Let
my lioness lounge in the sally grass. Licking her paws.

Kathryn Stripling Byer, from Trawling the Silences (Jacar Press, 2019)

 

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Spruce-Fir forests covered vast areas of the Southeast when glaciers reached their southernmost extent 18,000 years ago. As the glaciers retreated north the Spruce-Fir communities also retreated to higher elevations and now remain only along the highest peaks and ridges above 4,000 feet elevation, mostly higher. Clingman’s Dome at 6643 feet is the highest point in Great Smoky Mountains National Park and indeed along the entire Appalachian Trail. Its impressive swath of Spruce-Fir is also home to the rare Jordan’s Red-Cheeked salamander (Plethodon jordani) found only in the Park. The naturally acid soil and severe climate limit biodiversity compared to lower elevations, but other distinctive high elevation species include mountain ash (Rose family), mountain wood sorrel, mountain asters, glade fern. After sixty years the Fraser Fir seem to be surviving the balsam wooly adelgid invasion, air pollution, acid rain; it remains to be seen how long they will remain in the face of advancing climate change.

from SNAKE DEN RIDGE, A BESTIARY, illustration by Linda French Griffin

from SNAKE DEN RIDGE, A BESTIARY, illustration by Linda French Griffin

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Photos by Bill Griffin from Southern Appalachian Naturalist Certification Program; Southern Appalachian Ecology, September 2020, Great Smokies Institute at Tremont; instructors Jeremy Lloyd and Elizabeth Davis.

 

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