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[with 3 poems by Catherine Carter]
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Good morning, unseen
John-John was back from college and told Moses that 99 percent of
the matter in the universe is invisible to the human eye. Ever since,
Moses made sure to greet what he could not see.
        –“A Good Story,” Sherman Alexie,
The Lone Ranger and Tonto Fistfight in Heaven
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Good morning, bacteria
breeding in my coiled gut,
your endless collective of many
the true core of my one. Good
morning, yeasts fermenting
diligently away at all my crevices
and folds, and magnetic field
of gravity which grounds me so close
to this home planet, your pull connecting
the water in this flesh with the drag
of the moon beneath these feet.
Good morning, hairs of fungi
connecting tree to tree and all
earth to all other earth. Good morning,
trails of mouse urine
through the multifarious paths
of grass, which to the vision
of the hovering sparrow hawk glow
ultraviolet, forming arrows
which point the way to the door
of the soft grass-lined burrow.
Good morning, possum crushed
by the roadside, visible but
from which most eyes flick away,
your unseen atoms already
disaggregating to take on fresh
lives as fly larva, carrion beetle, silver
flash beneath the flight pinion
fo the black buzzard, the death-
devourer. Good morning, unmet eyes
of Maria, whose home is this
intersection’s northeast corner;
good morning, ongoing anguish
of the lumbar vertebra fractured
in the stockroom job where she
broke and was fired for breaking;
good morning, urgent grip
of the bowels she must walk
a mile to relieve from this corner
where she stands with her sign
hoping for change that won’t come.
And good morning, unrecorded
conference called in a corner suite,
which even now is about to close
the shelter where tonight she hopes to sleep.
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Catherine Carter
from Good Morning, Unseen, Jacar Press, Durham NC; © 2023
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❦ ❦ ❦
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Not secret. Not hidden. Neither cloaked nor covert, simply not seen. These are the glimpses of my mother’s life I am getting since she died. No tremors from within locked strongboxes, no heart attacks delivered by anonymous post – simply the small bright fragments of her unseen life. The bits not dependent on her being Mom to me.
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I’m paying more attention to the glimpses because I don’t have Mom beside me on the couch any more, although she was never one to draw attention to herself anyway. Here they come, all these versions of my mother through the years, fragmentary visions arriving in photos I’ve glanced at in the past but never really examined. Here she is on her bike, smiling, maybe ten years old; here’s that very same smile again at another age, at every age. What confidence, what honesty! So open. A real person smiling at me.
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Today I’ve found her college annuals – do universities still publish such things? Do people still save them for 75 years? Here’s Mom with the other officers of her Freshman class, 1946, and she the President. I never knew! As a Junior her she is at the centerfold – with a dozen friends – from their listing in Who’s Who in American Universities. The two women beside her remained her friends for life, names even I recall her mentioning. Such a full, rich world Mom inhabited. So many worlds.
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In a few weeks we’ll hold Mom’s memorial service and I’ll no doubt hear even more stories of her unseen life. Already Linda’s youngest sister has told us how she loved Miss Cookie as her Kindergarten teacher. Linda and I were already away at college; the only glimpse I had of Mom’s teaching life was when she brought the gerbils and ducklings home from her classroom for holidays. I wish I’d had the curiosity and imagination to follow her around her world for a few days. But no – she was just our Mom.
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Grief is the empty place beside me on the couch that becomes the empty place inside. I try to fill it with memories, all those moments I’ve known and seen, but they aren’t nearly enough. Where to find more? Show me everything I missed before so I can try harder to open my eyes. Show me every bright fragment. Good morning, Unseen.
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This Stone
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This stone is a particular stone,
mica-flecked lichen-splotched quartz-
veined hunk of granite hunched
by the side of the road where I climb the cove.
It has a history; it has been places.
It knew the molten earth-heart
and the grind of the glacier.
It gouged grooves in the flesh
of this world as gravity dragged it down.
It crushed small plants in its path,
and offered a matrix to lichen,
coolness to soil in the heat of the day,
shelter to mushrooms, midges, mice.
This one particular manifestation
of all that rockness,
created in fire, is still
joining in creation,
participating in being. It has known
billions of mornings; this one
is new. Though it will not answer,
I nod to it as I pass, and, if no one
human is there to hear, I speak:
good morning, you one
rock exactly like no
other. Here we are again,
short life and long one
brushing past each other beside
this road of crushed and broken
stone. Good morning,
spirit of earth, on this one morning
here on earth’s stony flesh.
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Catherine Carter
from Good Morning, Unseen, Jacar Press, Durham NC; © 2023
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Beyond perception as well as beneath notice, these are the unseen in Catherine Carter’s Good Morning, Unseen. The bacteria in our gut upon which our lives and health depend. The homeless woman who might once have thought she could depend on the lives around her. Noticing the ignored and overlooked and essential: Catherine’s piercing images and mind frothing metaphors bring all into stark relief. These poems are revelation.
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How did I miss that? Why am I only now first seeing? Unseen is the dirt that bears me up, unseen is sunlight fusing itself into wood. Glad may be the cat in coyote country but Magic is one man opening the door to one small apartment as refuge. It’s all around us, always has been. The first commandment is “pay attention.” Forgive us for how often we have sinned.
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Catherine Carter’s Good Morning, Unseen is available from Jacar Press.
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The unseen says
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from the magnolia I wave to you through the wind,
my dark leaves quivering in the glitter of winter
sun, though I knew you would not see.
As the dog I rest my chin on our bed,
tell you it’s safe to wake, as you shudder with the fear
and despair you clutch so close.
Under your feet as the dirt I bear you up;
as the air without which you cannot live
two hundred seconds, I lift your rigs again, again,
seven hundred million times, never wearying
until you do. As the sunlight I fuse myself
into wood, bursting forth again in flame;
as the rain I show you safe passage, falling,
seeping, leaping through my selves the clouds and the sea.
As you breathe, as you drink as you stretch cramped hands
to my electric coil, toast me in the bread, you ask
whether I’m even here, or forget to ask.
Refugee on the long road, back bent
with the treasures you lug, the fears you haul:
lay down the weighted silver, your grandparents;
plate and grief, let home evaporate behind you,
unbind the albatross corpse festering your neck.
Set it all down. Be free of it,
and take my hand in yours. With a second hand,
and a third, I pipe for you now:
just for a moment, dance.
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Catherine Carter
from Good Morning, Unseen, Jacar Press, Durham NC; © 2023
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[with poems from Duet by Dorianne Laux and Joseph Millar]
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Listening to Paul Simon
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Such a brave generation.
We marched onto the streets
in our T-shirts and jeans, holding
the hand of the stranger next to us
with a trust I can’t summon now,
our voices raised in song.
Our rooms were lit by candlelight,
wax dripping on the table, then
onto the floor, leaving dusty
starbursts we’d pop off
with the edge of a butter knife
when it was time to move.
But before we packed and drove
into the middle of our lives
we watched the leaves outside
the window shift in the wind
and listened to Paul Simon,
his tindery voice, then fell back
into our solitude, leveled our eyes
on the American horizon
that promised us everything
and knew it was never true:
smoke and cinders, insubstantial
as fingerprints on glass.
It isn’t easy to give up hope,
to escape a dream. We shed
our clothes and cut our hair,
our former beauty piled at our feet.
And still the music lived inside us,
whole worlds unmaking us in the dark,
so that sleeping and waking we heard
the train’s distant whistle, steel
trestles shivering across the land
that was still our in our bones and hearts,
its lone headlamp searching the weedy
stockyards, the damp, gray rags of fog.
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Dorianne Laux and Joseph Millar
from Duet, Jacar Press, Durham, NC; © 2016
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❦ ❦ ❦
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Here I am again, six years old this time, sitting cross-legged on the floor beside the pinnacle of 1959 technology. I wind it up, carefully lay the 6-inch plastic disc on the little turntable (it’s bright yellow plastic, I will never forget that), and position the needle at the outer groove. The wind-up box is white and red and has a picture of Mickey Mouse grinning; it looks like Mickey’s arm is what holds the stylus. The needle itself juts from a hollow flat cylinder, sort of like a tuna can with perforations; the little holes are what transmit the sound. No electronics, no electricity involved.
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I push a lever and the disk begins to rotate. The needle finds its groove (at least a decade before finding one’s groove will mean anything to me) and in between all the scratches from a hundred earlier renditions – music! The little record finishes, I lift the needle from where it’s begun making little whump whump sounds with each revolution, I place the needle back at groove one, and it starts all over again.
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And even so my mother remained sane to her dying day.
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As the years passed, Mom and Dad began to let me listen to their records on the Hi-Fi (mono, not stereo; Uncle Carlyle soldered it himself). It never seemed to drive them crazy to hear Peter and the Wolf or The Music Man a dozen times a day, or even Bobby Darin singing Mack the Knife. Hard core. Finally the big day – I was 11, I had saved my birthday money, I had laid awake at night tallying which of their songs were included: I bought my first LP, Introducing . . . The Beatles.
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Introducing . . . is an anomaly in Beatles discography. It was released by Vee-Jay Records because Capitol/EMI had farted around about agreeing to a first USA Beatles album and Vee-Jay scooped them. Apparently it was only on the market for a year or so before the suits prevailed and forced them to cease and desist. Anyhow, I listened to that vinyl disc about a thousand times before I bought Beatles ‘65. In fact, I might just go slap it on the old turntable right now. Scratches and all. Please, please me!
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And that little yellow record? Easter Parade. Sixty-five years later I still find no evidence that there has ever been such a parade, but now the melody has wormed it’s way in again: “In your Easter bonnet, with all the frills upon it . . .” And even so, my mother somehow remained sane.
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Mick Jagger (World Tour, 2008)
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He stands on stage
after spot-lit stage, yowling
with his rubber mouth. If you
turn off the sound he’s
a ruminating bovine,
a baby’s face tasting his first
sour orange or spitting
spooned oatmeal out.
Rugose cheeks and beef
jerky jowls, shrubby hair
waxed, roughed up, arms
slung dome-ward, twisted
branches of a tough tree, knees
stomping high as his sunken chest.
Oddities aside, he’s a hybrid
of stamina and slouch,
tummy pooch, pouches under
his famous invasive rolling eyes.
He flutters like the pages
of a dirty book, doing
the sombrero dance, rocking
the microphone’s
round black foot, one hand
gripping the skinny metal rod,
the other pumping its victory fist
like he’s flushing a chain toilet.
Old as the moon and sleek
as a puma circling the herd.
The vein in this forehead
pops. His hands drop into fists.
he bows like a beggar then rises
like a monarch. Sir Mick,
our bony ruler. Jagger, slumping
off stage shining with sweat.
O please don’t die. Not now,
not ever, not yet.
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Dorianne Laux and Joseph Millar
from Duet, Jacar Press, Durham, NC; © 2016
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Uno Voce – when Sandy Beam rehearsed an a capella selection, he required us to blend our tone with each person singing near us until it was as if we all sang with one voice. Vibrato is anathema; sibilance is sin! Of course, Sandy would have been happiest if we had all been boy sopranos, but at least we could strive for that brilliant transparent evocation of light he desired.
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Light and truth evoked by a single voice – not at all unlike these poems in Duet. They are each about music – Bo Diddley, Lightnin’ Hopkins, Paul Simon, James Taylor, Ladysmith Black Mambazo, Cher. They build a portrait in layers of color, tone, and years, filled with the music that infuses our past and vibrates in our bones to create our present. And they are written by the duet of Dorianne Laux and Joseph Millar, but the tones and melodies blend until we readers hear a single voice.
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Not an ear worm in the bunch.
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Duet is one in the continuation of the Greatest Hits Series, originally conceived by editor Jennifer Bosveld at Pudding House Press in 2000 and acquired by Sammy Greenspan of Kattywampus Press in 2010. Jacar Press was asked to take over the series under the careful eye of series editor David Rigsbee in 2017. More about the book, the Series, and Jacar Press HERE
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[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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