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Posts Tagged ‘NC Poetry Society’

Chain

Posted in Ecopoetry, Imagery, Photography, poetry, tagged , , , , , , , , , , , , , , , on February 24, 2023| 15 Comments »

[poems from Word and Witness: A. R. Ammons, Julie Suk, Peter Makuck]

Carnage ensues at the table while I make coffee. As all the other animals look on in abject silence, large plush Starfish (carnivore, you know) has captured Baby Chick and is eating him with authentic suck-the-juice-right-out-of-you sound effects.

I remark that I’m going to be sad to miss little yellow Chicky. My grandson looks up, all innocence, and simply reminds me, “That’s just the way the food chain works.”

So it must be. Nine years before the publication of Darwin’s The Origin of Species, Alfred Lord Tennyson had already warned us (“she” being Nature, “types” being species):

. . .
She cries, ‘A thousand types are gone:
I care for nothing, all shall go.

‘Thou makest thine appeal to me:
I bring to life, I bring to death:
The spirit does but mean the breath:
I know no more.’ And he, shall he,

Man, her last work, who seem’d so fair,
Such splendid purpose in his eyes,
Who roll’d the psalm to wintry skies,
Who built him fanes of fruitless prayer,

Who trusted God was love indeed
And love Creation’s final law–
Tho’ Nature, red in tooth and claw
With ravine, shriek’d against his creed –

Who loved, who suffer’d countless ills,
Who battled for the True, the Just,
Be blown about the desert dust,
Or seal’d within the iron hills?

+++++ from In Memoriam A. H. H. (1850)

Shall we weep for Baby Chick? For the extinctions accelerating around us? For ourselves, our loss? A few years back I was leading a group of Junior Highs on a nature walk when we spotted a marvelously large spider shuffling along the path ahead of us. When we reached it, though, we found it was not the legs of the spider that were walking but the legs of the pint-sized wasp that had stung and paralyzed it and now dragged it to a favorable spot for egg laying. In an instant the spider transformed from an object of fear and loathing to a spike of compassion in our hearts.

This week a very talkative red shouldered hawk is haunting the woods out back. No coincidence: that’s where the bird feeders hang. We hope he’s eyeing the squirrels – there are more than enough squirrels, eat all you want Sir Hawk. And the mice that come for the seeds dropped to the ground from the feeders, and then store them in our basement, yes, eat them, too. But please, not the cute chipmunk who hides in the ivy or the finches we love. Alas, I guess we don’t get to choose. That’s just how the food chain works.

But wait – do all our choices come to nothing? Our love, our suffering of countless ills, our battles for the True and Just – is the end of all these to be blown to desert dust? Can’t we choose to engage with embattled Nature? Can we reduce our relentless consumption of the planet, choose leaders of vision and intelligence, make peace with our brothers and sisters? How lengthy shall I extend this list? Shall we abandon hope and just accept our place in the food chain while the warming earth devours us?

If a spider can inspire a moment of compassion in a 13-year old, I will have to accede that there may yet be hope for our species.

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The Yucca Moth

++ The yucca clump
is blooming,
++ tall sturdy spears
spangling into bells of light,
++ green
in the white blooms
++ faint as a memory of mint.

I raid
++ a bloom,
spread the hung petals out,
++ and, surprised he is not
a bloom-part, find
++ a moth inside, the exact color,
the bloom his daylight port or cove:

though time comes
++ and goes and troubles
are unlessened,
++ the yucca is lifting temples
of bloom: from the night
++ of our dark flights, can
we go in to heal, live
++ out in white-green shade
the radiant, white, hanging day?

A. R. Ammons
collected in Word and Witness: 100 years of North Carolina Poetry, Carolina Academic Press, © 1999 North Carolina Poetry Society

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This week a friend asked me to send him the table of contents of Word and Witness for a project on biodiversity he’s considering The book was published by the North Carolina Poetry Society in 1999 and edited by Sally Buckner with an afterword by Fred Chappell, who was NC Poet Laureate at the time. It spans the full 20th Century of North Carolina poetry and poets, and as I was scanning the TOC to email my friend a PDF, I re-discovered the names of so many folks who have inspired and befriended me over the last two decades.

Poetry continues to thrive in “the writingest state.” Word and Witness is 261 pages; it would be a real challenge to prepare Volume II for just the first quarter of the 21st Century and limit it to that length. I believe it is still possible to purchase a copy from Carolina Academic Press. You need to get yourself one.

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Waiting for the Storyteller

Once more we wait for the storyteller
to step into the margin and reveal intentions:
why the first letter flowered,
spiraling down the page with intricate designs,
the hand translating what the tongue began.

Clues drop, mostly forgotten,
so on and so on stacked like bricks,
crumbling when we look back,
a voice once close now a stranger.

All through the book we wild-guess the villain,
so deceived by this one or that
we look for reprieve, a surprise ending,
the page turning to a house in the woods,
dogs locked up, gun put a way.

In the still forest of words,
where the hidden appears in its season,
hills darken and move in.
Like lean horses that have rocked a long way home,
they circle the pool of our hands.
A deer riffles through leaves, then a bird
sings begin again, begin again.

Julie Suk
collected in Word and Witness: 100 years of North Carolina Poetry, Carolina Academic Press, © 1999 North Carolina Poetry Society

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Dogwood Again

Home from college, I’d leave my reading,
climb the hill through trees behind the house,
listen to a rough wind suffer through
new leaves and, too aware of myself, ask why?

The answer could have been stone wall,
wind or some other words. In April, our house
lived in the light of those first white petals
and now I think more about hows than whys –

How, whenever we fished at Pond Meadow,
my father dug a small one up, carefully
wrapped the rootball in burlap, and trucked it
home until our hard blazed white all around,

and how, at Easter, those nighttime blossoms
seemed like hundred of fluttering white wings.
Again that tree goes into the dark loaded
with envy, those leaves full of light not fading.

And this morning, a fogbright air presses
against the blank white pane and would have us
see the way mist burns from within, shimmers,
slowly parts, and flares upon an even whiter tree,

tinged now with orange, and how a soft fire
runs to the farthest cluster of cross-like petals,
each haloed with clear air, finely revealed.

Peter Makuck
collected in Word and Witness: 100 years of North Carolina Poetry, Carolina Academic Press, © 1999 North Carolina Poetry Society

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Bios adapted in part from Word and Witness:

After growing up on a tobacco farm near Whiteville, A. R. Ammons (1926-2001) received a degree from Wake Forest College, and served as an elementary school principal, but he lived most of his adult life outside his native state. His interest in writing developed during long hours aboard ship when he served a term of duty with the Navy. In 1964 he joined the faculty at Cornell University, where he was ultimately Goldwin Smith Professor of English. Among his many honors are the Bollingen Prize, the national Book award (twice), the MacArthur Fellowship, and the 1998 Tanning Prize from the Academy of American Poets.

A native of Alabama, Julie Suk (b. 1924) has lived for many years in Charlotte, where she worked in a nature museum. In addition to authoring six volumes of her own poetry, she has co-edited (with Anne Newman) Bear Crossings: An Anthology of North American Poets. Her collection The Angel of Obsession won the 1991 University of Arkansas national poetry competition, and in 1993 she won the Bess Hokin Prize given by Poetry magazine. In 2004 Julie received the Irene Blair Honeycutt Lifetime Achievement Award from Central Piedmont Community College; her book The Dark Takes Aim won the 2003 North Carolina Poetry Society’s Brockman-Campbell Book Award and The Oscar Arnold Young Award from The Poetry Council of North Carolina.

Among previous occupations, Peter Makuck (b. 1940) lists, “truck driver, painter, mechanic,” but he is best known as writer and as Distinguished Professor of Arts and Sciences at East Carolina University. Pilgrims won the Zoe Kincaid Brockman Award for the best book of poems by a North Carolinian in 1989. In 2010 Long Lens: New & Selected Poems was nominated for a Pulitzer Prize. In addition to his eight collections of poetry, he has published numerous short stories and essays. Peter has received the International Poetry Forum’s Charity Randall Citation; a Connecticut native, he has been a Fulbright Lecturer at the Universite de Soavoie, Chambery, France. He founded Tar River Poetry in 1978 and served as editor until 2006.

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Doughton Park Tree 2021-10-23

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NCPS 90th Anniversary (ii)

Posted in Imagery, Photography, poetry, tagged , , , , , , , , , , , on September 30, 2022| 14 Comments »

[with poems by Ana Pugatch, David Poston, Maureen Sherbondy, Joan Leotta]

The original Constitution of the North Carolina Poetry Society stated these objectives: to foster the writing of poetry; to bring together in meetings of mutual interest and fellowship the poets of North Carolina; to encourage the study, writing, and publication of poetry; and to develop a public taste for the reading and appreciation of poetry. These tenets still inspire the mission of NCPS. During the second decade of the twenty-first century that mission has expanded, metamorphosed, and grown wings.

On September 17, 2022, the NC Poetry Society gathered at Weymouth Center for the Arts and Humanities for a gala celebration of our 90th Anniversary. This was the first meeting in person since the spread of COVID19 two and a half years earlier. After dozens of virtual workshops, poetry readings, Zoom programs, and online open mics, our faces had somehow remained familiar but we had come to know many new faces as well. When we walked into the Boyd House in Southern Pines the greetings were ecstatic, the hugs manifold, and behind the masks were face-splitting smiles. Joy overwhelming!

And isn’t this the essential nucleus of the mission of NCPS? Oh yes, we thrive on the unexpected metaphor, the well-honed line, the expressive reading. Poetry, though, is more than craft. It is the art and magic of connecting, the door that opens shared experience, a key to community. As we share poetry we share our self. Suddenly there are two of us walking this journey of humanness, two to delve its depths, two to breach its heights. Wherever poets and lovers of poetry gather, wherever a hard and beautiful and true word is spoken, there is joy.

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The Lena M. Shull Poetry Manuscript Contest was established in 2013. The Poetry Council of NC disbanded and donated its residual assets to NCPS to endow an annual full length poetry manuscript contest named for Lena Shull, the founder of PCNC. NCPS publishes the winning manuscript; the author receives fifty copies, a monetary award, and featured readings. The inaugural prize was awarded to Becky Gould Gibson for her book Heading Home. The 2022 winner is Ana Pugatch for Seven Years in Asia. Finalists are David Poston for Letting Go and Maureen Sherbondy for The Body Remembers.

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Dissolution

You’ve come to a place that is always raining. The silence: a flood.
At five a.m., the group stands like still poplars outside
the monastery. The previous night, your white uniform had blown
from the laundry line into the dirt and the smell of earth never leaves you.

She tells you about how she cut class to go sit on the toilet,
contemplating ways to end her life. “I knew then that I had to do something,”
the monastic explains. “That something needed to change.” Your head is shaved,
each strand an earthly attachment; when you sweep up

the pile of sunlight you don’t feel any lighter. The poplars paint
their characters and you’re told to stop smiling. On Mt. Wutai, the prayer flags
flutter furiously. There’s never enough rice and your body burns
through itself; those flags are a fitful hunger. At night,

you don’t bother turning over when water drips from cracked
plaster onto your forehead and you begin to wonder
why do lay people come here—why did you come here—and has your pride
become a fist—does dukkha melt in summer snow—

You share a room with a stranger. The pilgrim’s back is hunched, her eyes
a brilliant black. “N duō dà le?” you ask. She thinks she’s eighty but can’t be sure.
You shit in a hole and shower alongside her, your frame nearly twice
her size. She doesn’t care you’re a giant or that it’s your birthday.

The mountain is chilly in July. When you give a monk your WeChat, he sends
a pixelated lotus; you reply with thank you hands. The monastics’ robes are flecks
of crimson. You can sense the five flat peaks, the thousands of vertical pines. Your skin
is so damp you become Wutai, and the well of your anger dissolves into rain.

Ana Pugatch
from Seven Years in Asia, winner of the 2022 Lena Shull Contest of the North Carolina Poetry Society. Dissolution first appeared in The Poet’s Billow and won their 2020 Atlantis Award.

Ana lives in Raleigh, NC, with her husband and son. She has taught English in China and Thailand while studying Buddhism. Ana received her MFA from George Mason University, where she was awarded the ’20-’21 Poetry Heritage Fellowship.

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Something Beautiful

Last month,
as the Fourth of July barrage
dissolved into the night
and people around me
gathered camp chairs and blankets
for the slog through everyone’s trash
back to their cars,
I stood there in the dark
waiting for
one more
bright flowering
I knew
would never come.

Now, lying alone
just before dawn
waiting for the Perseids
to flare across
the edge of sight
as the sky begins to pale
behind a rumple of mist
where the dark lake waits,
I shouldn’t worry about
which faint streaking
will be the last.

I’m remembering
my ninety-year-old father
bursting into laughter
at the Dairy Queen
as he ate a banana split,
and what was so funny to him
was the sudden thought-
he said this-
that it might be
the last one he ever ate,
and what could I do
but laugh with him
and remember later
that he was right?

David Poston
from the manuscript Letting Go, finalist for the 2022 Lena Shull Poetry Award.

David Poston lives with his wife Bee in Gastonia, NC, and is a frequent book reviewer for Pedestal Magazine and a co-editor of Kakalak. He has published three poetry collections, including Postmodern Bourgeois Poetaster Blues, winner of the 2007 Randall Jarrell/Harperprints Competition.

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Cousins I Never Met

Fire burns down the entire forest
but still one flower thrives. The moon’s
silhouette against the sky reminds me
yes, we are still alive. We ran and walked
through yesterday’s parade. You thought
the kite you ran with on the sand could
fly up to the night-imprisoned moon. My cousins, too,
(all gone too soon) watched this same light
in Germany as night-time, day-time prisoners in
rooms fit for two or three, not fifty.

Two years ago we let go of white balloons
at the newborn’s funeral. Five days
he lived. Son, nephew, brother. Five days. We looked up
until white globes blurred into white clouds.
Devoured. We throw rocks at death both now
and then. Still, death stays with you and me hours,
months, through years of lingering. Remember

painting the German Shepherd thick
with tomato juice to release the stink.
Oh, that stink, it lingers. Oh, this scent
of death too. Stink of burning flesh,
I have heard about it, read about it.
Lampshade flesh, they whisper in the halls.

Now walk with me inside
the burned-down forest, take in the sweet
perfume of one flower reaching up
to the sun and moon. My relatives made it
through until the final hours and then
and then. Auschwitz, final hour. The end
when release could be tasted, sulphur burning
on his defeated tongue. Fuhrer fury. The end arrived
when release could be swallowed from the air
so close, and yet. Their blood, our blood waters
burnt soil. We plant new seeds. We march forward.

Maureen Sherbondy
first appeared in Connotation Press

Maureen lives in Durham, NC, with her husband Barry Peters and her cat Lola, and teaches at Alamance Community College. She has published eleven poetry collections, most recently Lines in Opposition.

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No gathering of poets at Weymouth Center would be complete without a workshop. for the afternoon program Joan Leotta presented The Art of Poetic Storytelling, exploring how verse and narrative intersect. She used the metaphor of the moon’s phases to convey the various forms narrative may take, minimal to whole, partial to complete. One of her own poems illustrates, as Joan says, “an example of a crescent moon–only part of the story arc present, a slim piece, the rest filled in by the reader/listener:”

an owl continually questions
my identity
as I watch the stars

[first appeared in haikuniverse]

Joan also introduced her workshop with this insightful observation she solicited from Joseph Bathanti, Seventh NC Poet Laureate 2012-2014, for just this occasion:

“I fancy myself, essentially, a narrative poet, one that relies a good bit on what I call reimagined autobiography – though not all of my poems are narrative or autobiographical. I’m also a novelist, so I’m always preoccupied with story and I also think it’s important that a poem be accessible, rather than a coded conversation a poet has with him/her/their self that only the poet understands. Strong narrative poems tell stories through utilizing classic conventions of fiction such as dialogue, plot, conflict, characterization, setting/place, etc., while still relying heavily on key elements of poetry such as compressed, often impressionistic, language; rhythm; stylized line and stanza breaks; and attention to sound. They balance the image-charged voltage of poetry with traditionally discursive narrative strategies of fiction and creative nonfiction, focusing on
the occasion of the poem, and the dramatic situation that inspired it.”
++++++++++++++++++++++++++++++++ Joseph Bathanti

Joan is a Pittsburgh native who now lives in Calabash, NC. In addition to poetry she has written novels and non-fiction food and travel guides. Her poetry collection Feathers on Stone is forthcoming in 2023 from Mainstreet Rag Publishing. Besides teaching writing and performing, Joan is also herself a performer and story teller.

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The Randall Jarrell Poetry Competition is sponsored by the North Carolina Writers’ Network; winners are invited to read at the fall NCPS meeting and this year are part of the 90th Anniversary celebrations. Their poems will be published in storySouth and we hope to present the poems here at a future date:
+++++ Winner – John Haugh: Consider the Word Pursuit on the Winter Solstice
+++++ Runner-up – Aruna Gurumurthy: Madras
+++++ Honorable Mention – Jeff Miles, Vivian Bikulege

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THANK YOU to so many who made this North Carolina Poetry Society 90th Anniversary gathering not only possible but truly worthy of the banner, Infusing Ceremony with Celebration: Poetry with Light, Soul, and Sound: Lynda Rush-Myers, for a year of planning and countless hours of preparation and presentation; Celestine Davis, ever-present ever-encouraging ever keeping the wheels on the bus; Regina Garcia, heart and soul and thrilling Tribute introductions, and Romeo Garcia making sure we all got lunch; the entire NCPS Board of Directors, setting up, hanging signs, welcoming and greeting, picking up the trash; and special thanks to the staff of Weymouth Center and Executive Director Katie Wyatt, we/you couldn’t do it without you/us.

 

LAST WEEK: additional NCPS 90th Anniversary celebrations with poems by Brockman-Campbell Book Award winner Kim O’Connor and finalists AE Hines and Cheryl Wilder, plus Susan Laughter Meyers Fellowship in Poetry winner Yvette R. Murray.

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Portions adapted from The North Carolina Poetry Society: Part 5 – 2012-2022, Ninety Years of Creativity, Challenge, and Change; compiled and composed by Bill Griffin with special collaborator David Radavich; © 2022 The North Carolina Poetry Society.

Doughton Park Tree 2021-03-23

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90 Years of NC Poetry Society

Posted in Imagery, Photography, poetry, tagged , , , , , , , , , , , on September 23, 2022| 14 Comments »

[with poems by Kim O’Connor, AE Hines, Cheryl Wilder, Yvette Murray]

The North Carolina Poetry Society was organized in 1932 at the Charlotte home of Edna Wilcox Talley. The six members present elected Zoe Kincaid Brockman, well known poet and women’s editor of the Gastonia Gazette, as the organization’s first president. Could those six writers have imagined that ninety years later their idealistic endeavor would be thriving, with a membership of over 500 and sometimes more than a hundred persons from all across the state attending meetings? That through the decades the North Carolina Poetry Society would be the forerunner of additional writers’ organizations such as the Poetry Council of North Carolina, NC Writer’s Network, and NC Writer’s Conference, not to mention numerous local and regional groups in NC towns and counties? That poetry would be happening in schools with Poetry Out Loud, in shop windows and on buses through Poetry in Plain Sight, in countless books and journals published in North Carolina every year?

Zoe Brockman, Edna Talley, and friends knew the truth long before Doris Betts coined the phrase: North Carolina is the “writingest state.” Perhaps they wouldn’t have expressed it so eloquently but they would have agreed with Ed Southern, NC Writers’ Network executive director, that “one cannot spit, piss, or throw a rock in the Old North State without hitting a writer.” I like to believe those women of an earlier time would have been pleased but unsurprised at the many poets inducted into the NC Literary Hall of Fame after its inauguration by Sam Ragan at Weymouth Center in 1996; they especially would have applauded when all the inductees in 2014 were poets – Shelby Stephenson, Betty Adcock, Ron Bayes, Jaki Shelton Green. The Charlotte Six would no doubt have volunteered to serve as mentors in the Gilbert-Chappell Distinguished Poet Series, helped set up tables at the Sam Ragan Poetry Festival, and host open mic on Zoom during the pandemic. We who participate in the North Carolina Poetry Society of 2022 benefit from their high ideals, keen vision, and energy – we uphold a worthy tradition, and we have embraced the creativity, inclusion, and diversity that now make this tradition our own.

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NCPS gathered to celebrate its 90th anniversary on September 17 at Weymouth Center for the Arts & Humanities, Southern Pines, NC – the first meeting in person in two and a half years. We look back and we look forward. We pay tribute to those who have taught and inspired us, and we open ourselves to the newest voices among us. We listen to the words of poets who dedicated their lives to building the power of literature in North and South Carolina: Joseph Bathanti reading Kathryn Stipling Byer, Shelby Stephenson reading Marty Silverthorne, David Radavich reading Susan Laughter Meyers. And we listen to the words of today’s poets reading the poems of now.

The Brockman-Campbell Book Award is the most prestigious honor bestowed by NCPS, awarded annually for the best book of poetry published by a North Carolina poet in the preceding year. Past winners have included Fred Chappell, AR Ammons, Betty Adcock, and Robert Morgan, among many others. The 2022 winner is Kimberly O’Connor for her book White Lung. Finalists are Anything That Happens by Cheryl Wilder and Any Dumb Animal by AE Hines.

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The History of My Silence
Hendersonville, North Carolina, 1961

white people sit in the front my great-grandmother
says my mother is angry
she wants to sit in the back

my mother is six years old
her first time on a bus
she wants to sit in the back

why? she stamps her foot

my great-grandmother does not answer the rest of the world
the boycotts the marches the fire
hoses let loose on children burning
crosses any of it does not
exist for them

they sit in the front like good white
women I think that

their silence their
compliance
has flowed into me
a river I have to swim
even as the water turns to flame.

Kimberly O’Connor
from White Lung (Saturnalia Books, Ardmore PA, © 2021)

Kim is a North Carolina native who lives in Golden, Colorado. She received an MFA from the University of Maryland and has taught creative writing and literature in middle school, high school, and college classrooms in Colorado, Maryland, West virginia, and North Carolina.

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Naturalization

We’d been lucky. I’d made it out of Guatemala
alone with the baby, and the baby still alive.
I hadn’t let him crawl out a hotel window.
I hadn’t let him swallow a button from my sleeve.
Managed to feed him and change him
and carry him in taxis and embassies, through
markets and airports, beneath the electric barbwire
of US Immigration. In Houston, I watched
badged women and men berate
brown men in shackles while they sat
tethered to stiff chairs beside us. Most stared
at their shoes. I am embarrassed to admit
I did nothing. Said nothing. Didn’t catch a man’s
tired eye and offer him even a nod, my feeble Spanish.
Instead, I just called my little son’s name over
and over, and bounced him on my lap.
Then we were ushered back into the land
I’d promised him. Bound together by law,
and off to our next gate without a glance back
at the men on their way to whatever place
they no longer called home.

AE Hines
from Any Dumb Animal (Mainstreet Rag Publishing, Charlotte NC, © 2021)

Earl grew up in rural North Carolina and currently resides in Portland, Oregon where he is pursuing his MFA from Pacific University. He is winner of the Red Wheelbarrow Prize and a finalist for the Montreal International Poetry Prize.

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Bailed Out

The house stirs with my stirring.
I am the elephant, the devil’s minion.
Secure in my arms a woven afghan

blue and darker blue. I run
fingers through holes and open
like a wish bone but cannot pull

them apart. A wish not wished
establishes habit, like sleep-dancing
or tangling the vacuum cord around my wrist

to make love. I am two people now—
the before and the after; one I’ve already forgotten
the other I have not met. I hear voices whisper

what if—a crossroad so difficult to leave
I build a roadside bench. At some point
I will rise from this bed, speak though I only hear

his curdled breath, allow my first taste of bone
in the broth I can smell, but no one will notice
my stained hands, the bloody prints on the wall.

Cheryl Wilder
from Anything That Happens (A Tom Lombardo Poetry Selection, Press 53, Winston-Salem NC, © 2021.)

Cheryl lives near the Haw River in North Carolina, where she gives talks and workshops on art and writing, serves as president of the Burlington Writers Club, and owns a small web development company. She is co-founder and editor of Waterwheel Review.

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The Susan Laughter Meyers Fellowship in Poetry was established in 2017 in memory of former president of both the North Carolina and South Carolina Poetry Societies, Susan Meyers. The annual merit-based fellowship for one North Carolina or South Carolina poet requires submission of five poems with blind judging by a three-judge panel. It is co-sponsored by NCPS and the Weymouth Center for the Arts and Humanities, and includes a one-week residency at Weymouth Center plus an honorarium. The 2022 Fellowship recipient is Yvette R. Murray.

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Poem In Which Words

don’t deserve this.
They have been around a long time; served us well.
Why then do we use them like poisoned blue darts?
Words have been so kind as to adapt.
They want to stay relevant too.
But we spit them into red plastic cups like
‘bacca juice and leave them on the side of the road.
They never harmed us,

Yet we turn them ugly side out,
Pit them against each other,
Use our fangs to inject venom.

The poor words can’t be unheard,
the ring after of their scent,
makes folk mad.

I hope they don’t cry,
I hope they don’t die by suicide,
I hope they don’t vanish within.

Then we will never again find the words.
They might like that though.
Scrubbed clean with different color hair
They can hold hands,
stroll the streets,
carry their shopping bags,
or look for a bistro
in peace.

Yvette R. Murray
from a gathering together literary journal, Spring 2021

Yvette is a Gullah poet from Charleston, SC. She writes because she has to. The words bump around in her head and give her headaches. Just kidding! For Yvette, Poetry is the most beautiful event space on the planet.

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THANK YOU to so many who made this North Carolina Poetry Society 90th Anniversary gathering not only possible but truly worthy of the banner, Infusing Ceremony with Celebration: Poetry with Light, Soul, and Sound: Lynda Rush-Myers, for a year of planning and countless hours of preparation and presentation; Celestine Davis, ever-present ever-encouraging ever keeping the wheels on the bus; Regina Garcia, heart and soul and thrilling Tribute introductions, and Romeo Garcia making sure we all got lunch; the entire NCPS Board of Directors, setting up, hanging signs, welcoming and greeting, picking up the trash; and special thanks to the staff of Weymouth Center and Executive Director Katie Wyatt, we/you couldn’t do it without you/us.

NEXT WEEK: NCPS 90th Anniversary celebrations continue with the Lena Shull Manuscript Prize: poems by winner Ana Pugatch, finalists David Poston and Maureen Sherbondy, and workshop presenter Joan Leotta

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Portions adapted from The North Carolina Poetry Society: Part 5 – 2012-2022, Ninety Years of Creativity, Challenge, and Change; compiled and composed by Bill Griffin with special collaborator David Radavich; © 2022 The North Carolina Poetry Society.

Why We Are “The Writingest State”; Southern, Ed. North Carolina Literary Review; Greenville NC, Nr. 25 (2016): 92-99.

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Tearing Them Up

Posted in Imagery, poetry, tagged , , , , , , , , on August 19, 2022| 8 Comments »

[with 4 poems by John Hoppenthaler]

When Saul turned 9, his Mom passed down her old tablet to him. No phone, internet disabled; he didn’t use it to learn higher math or play games. What Saul did with that cracked and creaky tablet was create videos. He wrote, produced, and narrated a whole series titled, “Animal Habitat.” First were the off-center and slightly zany documentaries of the daily lives of the family pets. Then he moved on to both parents, then toddler sister (not an entirely complimentary biopic of the latter). The search for ever more subjects led him to, uh oh, grandparents.

“Welcome to Animal Habitat. Today we explore a very strange creature, The Granny. Here she is in her native surroundings doing what she loves to do most – tear up old National Geographics. Why does she do this every afternoon? That is just one of the mysteries of Animal Habitat.”

Yes, Linda does tear up old National Geographic magazines. We had close to fifty years of accumulated piles – beginning with the oldest, she’s been ripping out articles she wants to keep, reread, and refer to before recycling the discards. She sorts the articles by topic and stores them in clear plastic sheaths (leftovers from my comic book collection). We’ve been learning a lot. I believe she’s made it to August, 2010.

Tearing up National Geographics – the perfect metaphor for our long marriage. You can’t hang on to all your old garbage; sometimes the big heave ho is mandatory. Some of that stuff is mildewed, nasty, blacks your fingers. Nevertheless, there are definitely some pearls in there worth recovering and holding up to the light. Better yet, you might learn something new. In fact, there’s a new issue every month – you’d better always be open to learning something new.

One more thing – when Linda does discover anything cool, she shares it with me.

❦

John Hoppenthaler discovers metaphors in the garden: metaphors for the prickly beauty of love, for weeds of rejection and disappointment, for childhood and parenthood, for loss and luminous joy. John’s 2015 collection, domestic garden (Carnegie Mellon University Press), is one I won’t be tearing up or consigning to a plastic envelope. I’ll keep it on a shelf nearby, ready for when I need to learn something new.

❦ ❦ ❦

domestic garden

A ghost has disarranged these roses
+++ lining the walkway. Some greenhouse
++++++ jokester must have switched

Jackson & Perkins packaging – Heaven
+++ on Earth for Change of Heart, Black

Magic with Beloved. I’ll name them
+++ rancor lilies in your absence, though
++++++ I don’t hate you, & they’re not lilies,

& you aren’t really gone, except in the way
+++ presence sometimes contradicts itself.

Should they grow on me – fugitive varietals
+++ I never thought to plant – will they lure
++++++ your bouquet any closer, spirit

away weeks I’ll name neglect, aphids
+++ who’ll stay aphids, sucking at the stalk?

John Hoppenthaler
from domestic garden, Carnegie Mellon University Press, 2015

❦ ❦ ❦

passing

I’ve just received a text that says a buddy
died last night but that doctors brought him back
to us with a shot, and so my friend is a Lazarus.

I’m in a boathouse owned by another old pal;
he is traveling for work somewhere abroad.

Mallards have lifted from the vernal pond,
and thousands of frogs are singing
because it’s raining. I wish Bill ws here so we could

talk about our friend who has gone and returned.
Crows call to each other across the lake. Same old

story: there’s danger and it surrounds us. And now
the blue heron I’d failed to notice pulls his legs
free of mud and flies away. A small falcon skims

the shoreline. When he was raised, was Lazarus pleased?
I wonder how he lived the rest of his unforeseen days.

Were his preparations any different than they’d been before?
It’s early March, and Easter will be here soon. Jesus, too,
realized how permeable the membrane is that keeps us

this side of death, and that the dead can come back
if they’re summoned. The ducks, the hawk and the heron

have passed on through to somewhere else,
but the joyful frogs remain crazy
with song. A hunter’s gunshots punctuate the distance,

a single crow lands in the crook of a tree, and it seems
as though the blessed rain has nearly stopped for now.

John Hoppenthaler
from domestic garden, Carnegie Mellon University Press, 2015

❦ ❦ ❦

John Hoppenthaler is Professor of English at East Carolina University in Greenville, NC. For ten years, he served as Editor for A Poetry Congeries online journal, and he currently serves on the Advisory Board for Backbone Press, specializing in the publication and promotion of marginalized voices. domestic garden won the North Carolina Poetry Society’s Brockman-Campbell Award for the best book of poems by a North Carolinian in 2015.

❦ ❦ ❦

what we find when we’re not looking

++++++ I was hiking the quiet ridge of pines
beyond Lake Kathleen. it felt so like a church then
++++++++++++++++++++++++++++++ that I knelt.

++++++ When I stood again, when I was able,
I found a woman’s Timex strapped around a limb,
++++++++++++++++++++++++++++++ thick as your wrist.

++++++ She’d been pacing – that much I could see –
and kept stopping at the watch’s face. Was time moving
++++++++++++++++++++++++++++++ slowly or quickly?

++++++ Late sun rolled from the valley. Rain
would surely come. No one – I called out once but no one.
++++++++++++++++++++++++++++++ She looked over

++++++ nearly a dozen cabins, the bed and breakfast.
She could see the vacant day camp, the eagle’s nest. Things
++++++++++++++++++++++++++++++ were about to end,

++++++ and soon it would begin. It felt so like a church then
that she knelt, stood up, took off her watch and strapped it around
++++++++++++++++++++++++++++++ the branch. She

++++++ meant to free herself from time. It couldn’t last.
She lost her definition; time defines us. She was hiking
++++++++++++++++++++++++++++++ and lost her watch.

John Hoppenthaler
from domestic garden, Carnegie Mellon University Press, 2015

❦ ❦ ❦

the way to a man’s heart
+++ – for Christy

To sautéed garlic and onions I add
pureed plum tomatoes, a great splash
of good, red wine. Never cook with
wine you wouldn’t drink, someone
offered, and we agree. I pour a glass.
Later, I’ll add coarsely chopped basil
from the herb garden, sea salt, maybe
a pinch of sugar, and always the drizzle
of extra virgin.
++++++++++++ But now, as you see,
this extended metaphor is dissolving,
so I’m left with Pinot Noir and the glass,
fresh basil sprigs which remind me of you
And now there’s musing on the oil’s earthy flavor,
and not this aching hunger, and who is it
who says poetry makes nothing happen?

John Hoppenthaler
from domestic garden, Carnegie Mellon University Press, 2015

❦ ❦ ❦

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Writing You into the World

Posted in family, Imagery, Photography, poetry, tagged , , , , , , , , , , , on July 15, 2022| 2 Comments »

 

[with 3 poems from PINESONG]

Do you see me . . . writing you back into the world?
+++++++++++++++++++ Maria Rouphail

What is reality? Perhaps it does require ten dimensions to explain quantum phenomena but we sentient creatures are stuck with four, all we are able to feel. That’s as real as we can get. And with entropy dictating the direction of time’s arrow, it’s a one-way street.

But what about dreams? What about memory? The one is all hallucinatory confabulation, jetsam from the brain’s real work of making sense. The other – random imprint of synapses in hippocampus, little tangles and sparks of wishfulness, wholly unreliable. Then why do dreams open doors into worlds we are absolutely compelled to explore? Why are memories so deeply, viscerally, demandingly real?

My Grandpop Cooke died when I was five. We lived states apart; I spent only a few weeks with him each year. Most of my memories are stories told about him later – his eclectic brilliance, his inventions and patents, his ferocious calling as physician and surgeon. In most of the photos from our few shared years he is behind the camera composing, the rest of us the subject, the scene. Mostly I sense him in the recalled scent of his workshop, oil & sawdust, or in the heft of the books he left. I never hear his voice.

But in these two memories Grandpop is real to me. We’re standing on the bluff above Bogue Sound while he tosses corn to his mallards, wordless memory, me the child allowed to reach his hand into the pan of grain. He is kneeling, my 4-year old hand in his while he outlines the little bones in those fingers and teaches me, “Phalanges, Metacarpals.”

I tell you these stories. I write them down. Time holds its breath, reverses its flow. I bring Grandpop back into the world.

❦ ❦ ❦

After “After Years” by Ted Kooser

At once when you walked by,
I noticed something on your face that I
hadn’t seen in a long time.
You, smiling into your phone,
stepping over a dead rat on the street vent,
were a revelation.
Around us, the collapsed a skyscraper into the ground
and, as you rushed past without realizing,
a breeze blew a lamppost into a hurricane.
For this instant of infinity,
God must have a heart to
let me see you among the mills of people
coming and going, back and forth
between the drone of city life and the thrill of living at all.

As I lose you to the background,
the weightlessness of your memory bombards me.
How quietly did you leave to ensure
I wouldn’t notice your absence?
Where did you possibly go if not
further into the pile of things I swore to forget?

We are all bound by finality.
To stop living in circles, you take flight
and I watch the world wear away my stubborn grief
until I forget why I ever had to grieve at all.

Claire Wang
PINESONG, Sherry Pruitt Award, Third Place
11th Grade, Marvin Ridge High School, Waxhaw, NC
Teacher: Bobbi Jo Wisocki

❦ ❦ ❦

Today’s three poems are from PINESONG, the annual anthology of the North Carolina Poetry Society. Ten adult contests, four for students; winners and honorable mentions. Judges from all over the country, diversity of poets as well – no two year’s collections are similar. Some of these names will go on to glean literary honors; many already have.

You can buy a copy (or if you are a NCPS member request a copy gratis) by contacting me and I will forward your request to the appropriate address: comments@griffinpoetry.com

❦ ❦ ❦

The Waters

A naiad swims to the bottom of the ocean
feels the great press of all that water,
the suffocating embrace of the dark.
At these depths, she wonders, does the giant squid
feel a need, like childbirth, to release her ink?
She lays her hand on the throat of beginnings;
and Earth takes a tremendous breath,
blows out bubbles, bubbles, bubbles –
multitudes that almost shine like light.

A woman sinks to the nadir of life,
where every single thing is hard.
Not just difficult – that’s brushing hair,
teeth; saying the right thing;
avoiding saying the wrong;
awakening before the sun sits atop a vast blue.
Truly hard:
the corners of counters, cement floor,
the slam of a door. Glass breaks
behind her eyes every single day,
glittering, blinding, refracting,
reflecting failure, filling her mind’s eye
with shard of adamantine static.

A girl swims the abyss of her nightmare.
Hears a voice – maybe her mother’s – but garbled,
muted the way a fetus hears in the womb.
It is hard to breathe.
Treading the water of sleep, fear and desire
swirl in the dark below her. Shy bumps the land,
the bed, the sheets twine her legs like kelp.
Consciousness slips around her, a gleaming eel
she finally lays hands on. Here is morning,
bright and smooth as a clam’s mantle.

Alison Toney
PINESONG, Thomas H. McDill Award, Honorable Mention

❦ ❦ ❦

Abuela

In the dream,
my dead father speaks the same words
as when he was in the flesh.
Leaning into my ear, he says
Imaginate, hija –
the nuns at the convent school
taught your grandmother to write –
My lips part again,
as when he told me the first time
about the black-eyed girl
with a birth and death date no one remembered,
who saw visions and wrote them down.
That was before she became the too-young mother
abandoned by her impatient man
who refused the burden of a tubercular wife
and their two baby boys – Poemas,
my orphaned father said.
I turn to face him,
as though he were
the door to a vast room.
But then I wake,
and breath streams out of my body like a tide – ¡Abuela, abuelita!
Do you know that I see you, the poet at her desk?
Do you see me at mine, writing you back into the world?

Maria Rouphail
PINESONG, Thomas H. McDill Award, Second Place

Maria also won the 2022 Poet Laureate Award from the NC Poetry Society for her poem, Two Variations on a Theme of a Tenement (as Viewed from the Window of a Moving Train) With a Song Interposed.

 

❦ ❦ ❦

❦ ❦ ❦

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New is Old is New

Posted in Imagery, Photography, poetry, tagged , , , , , , , , , , , on January 28, 2022| 4 Comments »

[with poems by Augusta Wray]

1932, Charlotte, North Carolina – the Great Depression has all but silenced the constant rumble of railcars from Atlanta to D.C. through this hub of the South. Most of the cotton mills are shuttered but Ben Gossett, president of Chadwick-Hoskins, has an idea. He asks President Herbert Hoover for help. Mill workers will weave cloth from 50,000 bales of cotton sitting in idled factories and sew it into clothing for the needy. Slowly the Queen City will again stir to life.

That same year, 1932, The Charlotte Symphony Orchestra was founded. More songs were recorded in Charlotte than in Nashville (and just 4 years later Bill Monroe would make his first recording in a closed Charlotte warehouse). Seeking a different kind of music, six poets gathered that spring in the home of Edna Wilcox Talley to begin a venture dedicated to expanding the appreciation of poetry in their state. The North Carolina Poetry Society would begin to admit members whose skills “measured up.” Over the next few years they would hold monthly workshops and an annual banquet, with a prominent writer as speaker, begin publication of a regional literary journal, and slowly expand their reach from Charlotte to the entirety of the state and beyond.

One of these Charter Members was August Wray. She had lived in Charlotte since her marriage in 1902. She attended every meeting of the NCPS through the 1950’s. Her poems would appear in The North Carolina Poetry Review, Journal of American Poetry, and many other publications, especially the poetry column of The Charlotte Observer, edited by Andrew Hewitt. She won many poetry honors and prizes in the 1930’s and 1940’s. And in 1959 she would publish a full length collection, Engravings on Sand, edited by Dorothy Edwards Summerrow.

.     .    .     .     .     .     .

Trees at Night

Ink spots upon a midnight sky – fantastic,
+++ sinister and dark –
At night, trees take on fearsome shapes
+++ with no detail of leaf or bark
To add to grace of swaying limb where
+++ branches curve and intertwine,
No carven foliage of jade – all monotone
+++ in black design,

Carbon pictures, weird and ghostly, of night
+++ Dragons crouched to spring,
Warily silent and foreboding, menacing,
+++ like a wounded thing –
Smoky masses, deeply shadowed, with outlines blurred
+++ that mystify –
Trees clutch the heart in night’s dark silence
+++ silhouetted against the sky.

Augusta Wray
+++ from Engravings on Sand, Poets Press, Charlotte NC, © 1959

.     .    .     .     .     .     .

 

Last week I received Engravings on Sand in the mail. Bibliophile Carmela Dodd discovered it at a flea market and upon reading its inscription by Augusta Wray to “Mrs. Charles Evans,” Carmela felt that the book deserved a home with the North Carolina Poetry Society. Thank you, Carmela! What an amazing artifact and memorial during the Society’s 90th anniversary year.

Dorothy Edwards Summerrow, who edited the collection, writes this to begin her foreward: When, at Augusta Wray’s request, I was given the pleasure of compiling and editing “Engravings on Sand,” there was turned over to me a large suitcase literally bulging with poetry manuscript. Dorothy describes excitement but also dismay at selecting the best work of one of North Carolina’s finest poets . . . because I must of necessity select for public inspection, only a small fraction of the prodigious output of her private heart.

In 1959 Augusta Wray was 83 years old. She had been widowed four years earlier. She and her husband had no children nor other close family; she told Dorothy, “My poems are my children.” Dorothy describes the treasure before her: When I opened the suitcase entrusted to me, the sparkle of the poems made the dark, rainy afternoon brilliant with the fire of many gems.

.     .    .     .     .     .     .

Release

In the dark and tranquil stillness of the night
When quietude has simulated peace,
When joy is born without the aid of light
And sorrows softly fade away and cease,
When weary eyes are drifting into sleep
That carries them afar from day’s dull care,
When dreams appear invitingly to seep
Through all perplexities and leave them bare –
Then does the spirit take command and things
Become unreal and float away like foam;
The soul is loosed and on unweary wings
takes leave of what was once its mortal home.
++ The soul and body separate, go free,
++ When sleep, or death, gives them their liberty.

Augusta Wray
+++ from Engravings on Sand

.     .    .     .     .     .     .

Nocturne in Silver

Silver shadows in somber silence
Wrap folds around the tranquil night,
Silver rain from a silver moon
Pours its radiance through silver light.

Sleeping leaves from moon-drenched branches
Drip silver pendants edged with pearl,
Flowers with their petals closing
Gleam with silver as the furl.

Cobwebs, silver-strewn with dewdrops,
Chiming tone when brushed by moth wings,
Are silken harps, tht quivering, make
Plaintive music from silver strings.

Augusta Wray
+++ from Engravings on Sand

.     .    .     .     .     .     .

The seasons . . . love . . . death . . . these are the themes of most of Augusta Wray’s collected poems. She is steeped in Carolina culture and climes. In this final poem I’ve chosen, though, I hear an understated voice of longing and regret. Perhaps she refers here to her childlessness, but perhaps she is opening herself, and her readers, to discovering beauty in the reality that is her life – who cares what it may have seemed to some to lack?

Flowering Plum

In loveliness she stands,
Blonde beauty rare,
With white and fragile hands
Folded in prayer.

Of bridal purity,
A perfumed veil
Hides with security
A body frail.

The season waits for her,
She blooms each year
When winds softly murmur:
“Spring is now here.”

Feathered choristers sing
Blithely and loud,
Sheltered beneath the wing
Of petaled cloud..

Lonely she stand apart,
No fruit she bears.
Such beauty serves the heart.
Barren? . . . Who cares?

Augusta Wray
+++ from Engravings on Sand

.     .    .     .     .     .     .

Dorothy Edwards Summerrow was a renowned Carolina poet herself, winner in 1957 of the Roanoke-Chowan Award for Poetry. She also noted in the foreward: In Silver Echoes, the poetry anthology published in the spring of 1959 by the North Carolina Federation and edited and compiled by this editor, more of [Augusta Wray’s] poetry is included that that of any other writer in the state.

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History of the North Carolina Poetry Society

Charlotte / Mecklenburg historical timeline

Roanoke-Chowan Award for Poetry

2015-06-15Doughton Park Tree

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Beneath the Surface, Waiting – Pat Riviere-Seel

Posted in Imagery, Photography, poetry, tagged , , , , , , , , , on December 17, 2021| 8 Comments »

 

 

[with 3 poems from When There Were Horses]

Once upon a time there was a little boy . . . . a frisson of anticipation: the four-year old’s attention is now riveted on Pappy. What mischief will the boy in the story create, what adventure awaits, what danger?

When my grandson used to ask me to tell him a story it was a gift to both of us. Often the stories sprouted spontaneously from our pretending and play, their main characters usually some of his favorite companions like Mousey and Blue Rat. What joy and entertainment when you engage with the characters in a narrative! Even more so if you identify with the characters – their plight, their seeking, their discoveries strike a resonant chord in your own heart. You live a little richer and fuller through them.

But what if you are them?! What if you are the little boy in the story unfolding? What if a door opens and you enter the story and it becomes an extension of your own? The gift the teller gives you in that moment can’t be measured.

So many of the poems in Pat Riviere-Seel’s new book, When There Were Horses, open that door for me. I enter the lines. Not only do I engage, not only identify, but I become a part of the narrative. The resonance moves me to reflect on my own arc, my own plight and seeking. How does that happen?

How does poetry do that stuff? Mmmm, mystery and magic. Art and invitation. I admit I don’t actually know the details or specifics of many of Pat’s narratives but even so I have come to feel a part of them. When I get past asking, “What does she mean by that?” and just enter the flow of how she is creating meaning, then her poems crack open new earth. There, beneath the mud of daily routine, behind the obfuscation of some constant ringing little voice in my head, something waits. Waiting to sprout and bloom. Waiting to sing a new song. Waiting and wanting to peel back all that separates us from each other, and from our inner self. Something is beneath the surface, waiting to break our heart, and to heal it.

.     .     .     .     .     .     .

From the Almanac of Broken Things

I choose this earth that breaks
my heart again and again,

the woods for the way trees
bend, fall, and return to dirt.

I choose the sand dollar, the nautilus
that in brokenness finds new creation.

I choose the favorite doll that no longer cries,
loved into silence, into rags.

I choose the memory of a stranger’s touch
that lifted my face above water. Because

I did not drown, I choose morning,
the gauzy-gray dawn that returns.

I choose the once-wild Palomino
whose beauty can never be tamed.

I choose light from long dead stars
that illuminates without heat.

I choose March with its promise of spring,
the warm days that tease, the blizzard

that insulates and warms the bulbs, the seeds,
all that lies beneath the surface, waiting.

Pat Riviere-Seel
inspired by Linda Pastan’s poem The Almanac of Last Things

 

 

.     .     .     .     .     .     .

What the Moon Knows

She knows shadow, how to
slip behind clouds. She’s perfected
the art of disappearing. She knows
how to empty herself into the sky,
whisper light into darkness.
She knows the power of silence,
how to keep secrets, even as men
leave footprints in the dust, try to claim her.
Waxing and waning, she summons
the tides. Whole and holy symbol,
she remains perfect truth, tranquility.
Friend and muse, she knows the hearts
of lovers and lunatics. She knows
she is not the only one that fills the sky,
but the sky is her only home.

Pat Riviere-Seel

 

.     .     .     .     .     .     .

Enough

Ahead, I see her watching me, pity
or compassion, hard to tell
from this distance. I want to ask her,
my future self, what she knows
and when she knew it. I want to know
whose laughter fills her hours? Does she
still dance? Still run? What does she know
of grace? These days I know so little.

But she’s still faithful, the self I look back
to see at dawn, a quarter century ago,
running out Colbert Creek road between
woods and murmur of the South Toe River, two-lane
Highway 80 South, past Mount Mitchell Golf Course,
down macadam that turns into gravel, clatter across
the low water bridge, out Rock Creek Road,
before she turns toward her dusty driveway,
past grape vines, the garden where the black cat
waits to walk her home. She’s the one who
declared, I am enough. She’s kept her promise.
But now, knowledge brings scraps
falling from bone that offers proof
something happened here in this lost country –
three deaths, one new love.

Pat Riviere-Seel
all selections from When There Were Horses, © 2021 Pat Riviere-Seel, Main Street Rag Publishing, Charlotte NC

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.     .     .     .     .     .     .

FULL DISCLOSURE: Pat Riviere-Seel is my cousin. Third cousin one generation removed is how I think we figured it. Pat and I first met twenty years ago at a North Carolina Poetry Society meeting at Weymouth Center for the Arts and Humanities in Southern Pines. During a break we were sharing casually about what we’d been doing lately and she mentioned her recent family reunion in Lewisville, NC.

“We met at an old Methodist Church in Lewisville where my Great-Great-Grandfather is buried.”

“No way, we had a family reunion in Lewisville a few years ago and we met at a church, might be the same one, where my Great-Great-Great-Grandfather is buried. His name was J.N.S. Daub.’

“Uh, hmm, mine is named Daub, too. Reverend Daub.”

“I’ve got a photo of the headstone at home. I’ll send you a copy.”

Sure enough, one and the same Daub. That was my maternal Great-Grandmother’s maiden name. Three Daub sisters married three McBride brothers. So Pat and my Mom are third cousins (although separated in age by more than a generation).

All those years, something beneath the surface, waiting.

– – – B

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2020-11-03a Doughton Park Tree

 

 

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Bunnies for Themselves – Becky Gould Gibson

Posted in Ecopoetry, Imagery, Photography, poetry, tagged , , , , , , , , , , , , , , , , on May 28, 2021| 4 Comments »

photo by Saul Griffin

[with 3 poems by Becky Gould Gibson]

Amelia’s Papa Jimmy brought the bunnies to playschool yesterday. Four of them had fallen from a nest destroyed as he cleared a field two weeks ago. No mother in sight.

When we heard he’d bought bunny milk at Tractor Supply and was feeding them four drops every two hours we first thought, Is he raising them for the dogs? Not to eat, to teach. He trains young beagles to hunt; maybe they need to learn the smell of rabbits?

But no, not at all, it’s just that Jimmy can’t leave helpless young to die. Tractor Supply will mix up formula for any small critter you may have need of. He used a dropper until they learned to suck from a nipple. Two weeks later they’re hopping, eating tasty greens.

Yesterday each four- and five-year old got to hear the bunnies’ story, touch their soft ears and heads. Today Jimmy will release them at the edge of the woods, restored to bunny-ness, preserved for no other purpose than themselves.

.     .     .     .     .     .     .

Stand of Birches

The woods are wet this morning – rain yesterday
or the day before, maybe – such a sense of quiet,
all the damp peace of it, mostly trees to be with,
birches especially, minimalists in chic black and white,
raw silk with horizontal markings like wounds
slashed across white paper, dashes, staples, lines
of ghostly scansion, every beat, every syllable
of wood and glade accented, no scales or hierarchies
scored in their bark, rather universal emphasis,
as if everything mattered – this tiny white-headed
flower, this ant on some errand, even the mosquito
buzzing my ankles, these low-growing grasses,
branch with its bark pulled back, underbelly softening,
chartreuse mosses – though brief, briefly important.

Becky Gould Gibson

photo by Saul Griffin

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These poems by Becky Gould Gibson are from her book Heading Home, the winner of the inaugural Lena Shull Book Contest in 2013. The poetry is strongly rooted in family and place but also richly steeped in literary tradition and history. I keep coming back to Stand of Birches for its eloquent, even spiritual expression of the deepest premise of Ecology: not utilitarian, not exploitative, not derivative or charismatic or anthropocentric – each living thing in all its interconnectedness is of value in and for itself.

Yes, yes, OK, OK, even mosquitoes.

In 2012 the Poetry Council of North Carolina elected to dissolve its organization and merge its residual funds with the North Carolina Poetry Society. Since 1949 PCNC had promoted the craft of poetry in the state with its annual contests; now in collaboration with NCPS it established an endowment to sponsor the annual Lena Shull Book Contest for an unpublished full length manuscript by a North Carolina writer, named for founder and first president of PCNC. Becky Gould Gibson was the first Lena Shull winner.

.     .     .     .     .     .     .

Scuppernongs
+++ Immortal life will be given . . .
+++ The Lord of harvest gathers us, / Sheaves of the dead –
++++++++++++++++++++++ for Bill

When death lifts its edge a little,
as in the first movement of Mahler’s C minor symphony,
you wonder will you be ready.
We finish a bowl of scuppernongs from the market,
wild bronze from childhood,
delighting in the bite, thick skin between our teeth,
touch tongue-tip to tongue-tip.
You taught my tongue to talk back.
I recall all those summers,
you in another county, nearly a decade before we would meet.

Now, come with me.
We’re together, then. It’s a languid afternoon in late August.
I’m eight. You’re ten.
As for death, I still think I can talk my way out of it.
Follow me across the un-mowed yard,
weeds tickling our legs,
to the scuppernong bush at the edge of Mr. Marcus’s field.
For you, death is no fiction.
At six, made to duck under your desk at school,
wear a dog tag, so someone could identify your body.
No bucket. We stuff ourselves madly.
Know what happens if you swallow a seed? We laugh.

No, love. It is not my own death I worry about, but yours –
will I ever be ready for it?
To be alone as I was that distant August,
memory plucking the fruit of you, scuppernong ripe in my mouth.

Becky Gould Gibson

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Lines to Yeats on the Anniversary of His Death
++++ January 28, 1939
++++ for Alice

To a soul just fledged, still damp, in a nest
Of paper, flimsy bits of Plato, Paul,
Shelley, Wordsworth, Tennyson, all the rest
Who believed (or even half-believed) soul
Could soar above the earth (earth a mere cast
Of heaven), spirit somehow separable
From flesh, you came, William (my dear Willie)
With your poems of pure song, heart’s own music.

No wonder it entered my veins, my pulse
Learned to tick your rhythms. No matter you
Warned not to pleasure soul at the expense
Of body, who could even listen to
Such warning with such a beat, sound and sense
So perfectly married, as if to show
A manmade thing could become immortal,
Gold bird on a gold limb sing out its soul.

You made me more impatient than ever
To conceive such a poem of my own.
Your artless art merely fed the fever,
Yet every line fell stillborn from my pen.
Blood had become a colorless liquor
Nourished on symbols. Life had to happen,
And it did. Not a woman but a child,
Rather a child’s birth. It was a girl-child

Split me apart. No way to staunch the flood
(Nothing’s sole or whole that has not been rent)
Of blunt necessity. You had your Maud.
I had my Alice. She caught me up, lent
Me her knowledge. She, no man or bird-god,
Made loins shudder, roused me from those years spent
In abstraction, taught me bone, bowel, breath,
Body’s mortal work. She taught me my death.

Becky Gould Gibson

three poems from Heading Home, Winner of the 2013 Lena Shull Book Contest, Main Street Rag Publishing Company, © 2014 Becky Gould Gibson

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2016-05-08a Doughton Park Tree

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Light into Darkness – Tony Abbott

Posted in Christian themes, Imagery, Photography, poetry, tagged , , , , , , , , , , , on March 12, 2021| 8 Comments »

[with 3 poems by Tony Abbott]

Mike and I met at a remote trailhead below Mt. Pisgah to hike up into Shining Rock Wilderness. We planned to spend one night at our favorite site after reaching it by this unfamiliar approach. End of September, gorgeous reds and golds, brittle blue sky, and we were prepared for cold above 5,000 feet.

No camp fires permitted in a Wilderness Area. We made tea over a little alcohol stove, sat on the ground, and talked until it grew too dark to see. The ultralight 2-person tent Mike had packed was cozy, which is to say it was more like a 1 ½-person tent. We’d be keeping each other warm.

I woke up after midnight in dense darkness and couldn’t breathe. Got out of the tent, pulled on my balaclava, walked away to pee, sat on a log – deep silence, no owl hoot, no chitter of flying squirrels, not one breath of wind. When my butt started to freeze I tried squeezing back into my mummy bag. No good. My chest tightened, the thick black pushed down on my face, I had to claw its hand away. Worst claustrophobia ever.

I finally dragged my sleeping pad and bag out to a level space in the pine needles, wrapped a jacket around my feet, and hunkered in just as the moon rose through the red spruce. Cold light expanded my lungs. At some point, hours creeping, moon in my eyes, I fell asleep. Mike woke me at first sun.

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What can bring light into darkness? What hand comforts the clench of fear? What consoling faith casts away doubt? What companion banishes loneliness?

The forward to Anthony S. Abbott’s book Dark Side of North, published posthumously by Press 53 this year, consists of a remembrance presented by Dr. Jacqueline Bussie at Tony’s memorial service on October 17, 2020. Here is an excerpt:

Suffering didn’t make Tony unique. What he did with it did. Tony was the first adult, and the first teacher, I’d ever met in life who was willing to talk about the hard stuff. He taught us that suffering sucks. That suffering denied is suffering unhealed. He taught us to never sugarcoat suffering, smack a pink bow on it, or shove it to the back of the drawer. In one of my favorite lines in Tony’s poetry, he urges us to get down to “the Humpty-Dumpty business of trying to make a jewel out of the cracked pieces of the heart.”

Dr. Jacqueline Bussie, page xiv, Dark Side of North

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The Boy from Somewhere Else

lived in the open mouth of the world.
He chewed on the dry branches of time.
He was handsome enough, to be sure,

but there was in his voice
the deep well of absence.
He was with them, but not of them.

His speech was familiar, but not theirs,
and when he told tales
of his drunken uncles and stage-struck

sisters, they nodded politely
and they spoke in their apple-round voices
of kith and kin, and told how their

grandfathers had founded the first
bank in Hitchcock County.
He would wait, this boy.

He would find one day the person
who could hear his music
as blood red leaves matched autumn.

He could not be mistaken about this.
When she came, he would recognize her
at once – as one knows the coming storm

by the first, distant clap of thunder.
Perhaps he could not keep her.
Perhaps one can never keep such a gift.

But, still, she would grace his years – the buds
of his growing up, the rattling trains of the
middle passage, the brittle bones of the slow

descent, the icy nights of the final coming down.

from Dark Side of North, Anthony S. Abbott, Press 53, Winston-Salem NC, © 2021 by the estate of Anthony S. Abbott

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The Light in the Window
In memory of Nancy Abbott Hieronymus (1926-2017)

How early I must have known that she was
my true mother, that when she packed her bag
I must go with her. She would keep me safe.

How early I must have known that she was
my true teacher, making the sounds of the words
with her mouth so I could learn them, too.

How early I must have known that she was
my true protector, throwing herself across me
slashing her knee on the broken windshield glass.

Later, when I was nearly grown, cocky sophomore
in prep school, riding the subway home at 2 a.m.,
she left a light in the window on that I

would turn out when I came in. I didn’t know
she stayed awake until she heard the door open
and close, heard the click of the light going off.

Now I sit by her bed and watch her sleep and wake,
sleep and wake, and tell me how she loves
her precious Dick, how she will hold his hand

all the way to heaven. Beyond the light in her window
the evening comes over the island, the deer prick up
their ears, the foxes peek from their dens. In the pines

the gold crowned kinglet waits. She is coming, they say,
our friend is coming, the one who loved us all these years.
Tonight I will go home, and the friends who loved her so

will arrive, one by one, to take her in their arms,
and the next night the angel will stand at the foot
of her bed. You are loved, he will say, and enfold her

with his bright wings. And she will go where that brightness
is and, like a light in the window, shine upon us all.

from Dark Side of North, Anthony S. Abbott, Press 53, Winston-Salem NC, © 2021 by the estate of Anthony S. Abbott

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The Long Afternoon

All through the long afternoon
the wind moved in the branches.
I had lived in the city and had seen
only the dust from the tires,
the diesel gas from the gray brown
buses with their leaden burdens.

Here it was different. Here on the grass
we had found by chance, walking
away, just away from everything
and then, a clearing and green
grass and the wind moving
like silver over the water
and in the branches, too. Yes,

all through the long afternoon
the wind moved and we were silent
in awe of the day and leaves
yellow and red and orange,
which floated slowly down
into our waiting hands.
aaaaaaaaaaaaaaaaa Later
I found these leaves in a book
where you had put them for
safe keeping, a book you knew
I would take down and read
some distant starry night.

from Dark Side of North, Anthony S. Abbott, Press 53, Winston-Salem NC, © 2021 by the estate of Anthony S. Abbott

 

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Thank you, Tony. We will continue trying, and we will not stop trying, to make something beautiful from the brokenness that we are. Together. May it be and become so.

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The North Carolina Poetry Society has honored Anthony S. Abbott’s memory and shared Tony’s poetry at its January, 2021 literary meeting and with a commemoration in the Winter, 2021 edition of its quarterly publication, Pine Whispers.

The line “the Humpty-Dumpty business of trying to make a jewel out of the cracked pieces of the heart.” is from Tony’s poem Before Forty in his book The Girl in the Yellow Raincoat (St. Andrews Press, 1989) and collected in New & Selected Poems (Lorimer Press, 2009).

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2015-06-15Doughton Park Tree

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Tracking

Posted in Imagery, Photography, poetry, tagged , , , , , , , , , , , , , , on February 19, 2021| 9 Comments »

[with 3 poems by Patricia Hooper]

Great Smoky Mountains Institute at Tremont, February 05-07, 2021

the assurance of things hoped for, the evidence of things not seen . . .

Faint tracks – but when has life ever laid it out plain, an open book, page upon page with footnotes? Aren’t I still searching between the lines, faint traces, no clear prints? Lately I dream every night of making diagnoses, explaining treatments, buffing up my charts. Is Jung telling me that this was my only purpose in life and now it’s over?

Deer walk a diagonal gait – each hoof print is really two impressions, the forefoot overlaid with the rear. If the rear hoof strikes a little lateral within each fore print it means the pelvis is wider = you are following a female.

Don’t plan on seeing a bear in the Smokies in February. Mom is asleep in a hollow tree with her cubs and Dad is dozing under a bush somewhere (he snores), though he might rouse up to forage on a warm afternoon. So why are we studying mammals at Tremont in February? In the sere meadows, the leaf-littered groves, under the pale unforgiving sky the book of all their signs is open for us to read. Let’s hike up to that oak tree and see who’s been scratching for acorns, see who has left us some scat. Let’s follow that faint trail through dry brown stalks to check out predator and prey. Who clawed up this white pine? Who stepped in the mud?

Canids: dog paw prints show deep claw marks with claws of outer toes angled outward; coyote claw marks are less distinct but all aligned strait ahead; gray fox claw marks are the least distinct since they save the claws for climbing trees, and the rear pad looks scalloped like a chevron.

But clear prints are maybe 1% of tracking. We’re learning a new vocabulary of chewed nut and compressed grass. Tracking is patterns and connections, habitats and behaviors. Measure the size of the incisors that gnawed this antler. Measure the bits of skull and femur in this dropping.

And can I learn a new language? Maybe all these dreams are about knitting up the years, tying the last knot, laying it away to pull out when I need to reminisce. Or maybe I need to discover something missed. Life is not disjunctive – the end of every moment flows into the beginning of the next. The assurance of past creates future. Tracking in Cades Cove – a metaphor for opening oneself to an unseen message within, to the evidence of human purpose. Connections, convictions. We track a personal ecology that leaves signs for us to discover, to question, to wonder.

To follow.

Tracks have lead us to this place, maybe with a lesson or two that sunk in along the way. Some wisdom. And the tracks that still lead forward?

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Patricia Hooper’s bright clear poetry touches earth with a feather – to bring color and flight. Garden, feeder, wild crag, starry night, in all seasons she observes the particular and discovers its connection to the universal. Nature is her palette but human nature is the canvas she illuminates. The poems of her latest book, Wild Persistence, taken singly seem to open our eyes to brief moments or localities, but as a whole these poems weave a complex narrative of family, longing, grief, redemption. I find joy in her art.

Patricia moved to North Carolina in 2006 and lives in Gastonia. In 2020 she was awarded the Brockman-Campbell Award of the North Carolina Poetry Society for Wild Persistence, awarded for the year’s best book of poetry by a North Carolina author.

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Elegy for a Son-in-Law

1.

A distant figure on the mountainside
seems to be coming closer, then it turns,
a blue, retreating cap, a scarlet jacket.
Without another sign, I know you’re there,
climbing again the way you used to climb
before you were a ghost. I want to call
Don’t go! Come back! I have your two small sons
sleeping behind me in the car, their mother
watching the sky for falcons. But you move
farther away. Or we do. Now you’re gone,
back toward Mount Sterling where she took your ashes.
I hope it’s peaceful there. I hope you know
they’re doing well. I hope you didn’t see us.

2.
These are the mountains where you were a boy,
broad waves of mountains rolling like an ocean
into the distance, no horizon, only
these smoky contours where you knew each rise
and hemlock forest, plunging stream. Your friends
tell how you often left them for a while
after you’d reached the top, to be alone,
then met them at the camp, all tales and laughter.
Today, a red-tailed hawk riding the breeze,
gold leaves, cascading creeks, – your kind of joy:
cold rushing currents, then the ecstatic slide.

3.
This is the world you wanted: brisk fall air,
the valleys hung with haze, that long blue range
half-hidden by the clouds. It’s coming clear.
How far you must have seen from there! And here?
It’s hard to see around so many hills,
so many peaks and gorges, and the curves
are slippery on the parkway, miles of turns.
We’re heading home. The boys are waking now,
their mother’s passing crackers, pointing out
the overlook ahead: blue waterfall,
deep river valley, autumn leaves, the pines
along the ridge, the rising trail – and there,
the summit you’d have shown them. Mist and shine.

from Wild Persistence, Patricia Hooper, University of Tampa Press, 2019

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In Tennessee

The Blue Ridge at sunset – hardly a missed note
in the hemlocks where a mockingbird is singing
while to the west a falcon dips, then glides
over the valley, indistinct from here
except that the bird falls lower than the chair
I’m sitting in, and disappears. The sky
is the color of pomegranate, and the balcony
slips into shadow like the distant hills.
No wonder that the mockingbird is singing
a medley of every song he knows,
no matter whose. No wonder that he sits
in the glow of a single flood lamp high above
the roof, a pool he must mistake for sunlight,
enough to urge him on and on and through
his repertoire that bird by bird is ringing
over the day’s end, over the night’s coming.
Maybe he has to sing to know himself
as part of things – finch, cardinal, wren, and now
that long coarse call that sounded like the crow
or Steller’s jay – whatever voice he’s pulling
out of himself, some sound against the silence,
against the signs of brightness vanishing.
The railing of the porch dissolves in mist,
the sun has set, and now we’re weightless, drifting
as if suspended in the blackening air.
His sphere of light no longer seems as clear.
Maybe he knows the lamplight isn’t sunlight.
Maybe he feels he too is disappearing
into the darkness like this porch and chair.
he has to sing, he has to keep on singing,
to know he’s really there.

from Wild Persistence, Patricia Hooper, University of Tampa Press, 2019

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At the Rifle River

When the eagle unfurled, clearing
the green dome of the forest,
I almost missed it

till somebody cried, “Look up!”

and there it was
in the sky over the river

which I saw it must have owned
the way it spanned the rapids
with a single stroke,

and the sky parted.

I can’t say I believe
in messengers from the clouds,

but I didn’t believe
this was an accident either,

the way its light
tore through the drab morning
I barely lived in, and then

it rose over the steaming
forest, it disappeared.

*
At the time I was only watching
my own path by the river,

but afterward
I knew it must still be there
over the rim of maples

its white helmet, its fire,
and its gold eye turned toward me,

or something enough like it,
something powerful and amazing
which someone else sees.

Imagine my certainty
the moment before it rose
through the world, crossing the water,
that there was nothing anymore to surprise me.

Imagine my emptiness.

Imagine my surprise.

from Separate Flights, Patricia Hooper, University of Tampa Press, 2016

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GSMIT // SANCP

Special thanks to Jeremy Lloyd and John DiDiego directors and instructors at Great Smoky Mountains Institute at Tremont, for the weekend Mammals course, which is part of the Southern Appalachian Naturalist Certification Program, and to Wanda DeWaard, guest instructor for the day and master tracker and naturalist.

The Southern Appalachian Naturalist Certification Program at GSMIT comprises eight weekend courses designed to provide fundamental and specialty skills in Southern Appalachian ecology and interpretive techniques. Each weekend includes 15 hours and more of lecture and hands-on field study. Upon completion the student receives the non-credit Southern Appalachian Naturalist Certificate from the University of Tennessee.

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