Feeds:
Posts
Comments

Posts Tagged ‘New Year’

I learned today from our friends at CHARLOTTELIT that Dannye Romine Powell died on October 10, 2024. She was a joyful and fearless supporter of literature, the arts, and poetry in North Carolina for many decades, and whenever I asked her advice or permission to use her work, she was a gracious friend.

I am re-printing this post from December 30, 2020 so that we can share again these evocative poems by Dannye. In Memoriam.

 . 

❦ ❦ ❦

 . 

NEW

 . 

[with poems by Dannye Romine Powell]

When we lower her pack from the tree where it has swung all night like a bell mocking the bear, the skunk, she opens it and screams: a fairy crown atop her sweatshirt and socks, a perfect round nest and four perfect hairless mouse pups like squirming blind grubs. We peer in awe, shepherds at the manger.

Mother mouse has hidden herself — she is not in the pack with her babies. We lift the nest intact, hide it in a bush beside the tree, nestle leaves around. Mother will sniff out her precious ones, reclaim her treasure. But we have other lambs to tend.

We eat, stow gear, shoulder our packs, face the trail, and consider: the pack was in the tree just one night; the nest is woven from meadow grass where we slept; the mother who climbed – how many trips up and back? – was heavy with her brood.

Miles before us, a new year before us – how heavy will each day’s burdens become before night brings rest?

.     .     .     .     .     .     .

A new book by Dannye Romine Powell arrived in the mail this week: In the Sunroom with Raymond Carver from Press 53 in Winston-Salem. I meant to read one or two poems this morning but I have read them all. A central persona that weaves through the collection is Longing: she visits rooms in old houses, unfolds memories into the light, shares the pain that others might lock in closets. Grief shared conceives within us hope to rekindle joy. Sharing grief, sharing joy, we become more human.

.     .     .     .     .     .     .

The Secret

Light glazes the near-empty streets
as I drive. Beside me, my grown son asks
if a secret I thought I’d kept buried
is true. A secret
that can still catch fire.
We stop on red. A bird flies
by the windshield. My father’s words:
Easier to stand on the ground
and tell the truth than climb a tree
and tell a lie. Now, I think. Tell him.
I stare at my son’s profile,
straight nose, thick lashes.
I remember, at about his age,
how a family secret fell
into my lap, unbidden.
That secret still ransacks a past
I thought I knew, rearranging its bricks,
exposing rot and cracks,
changing the locks on trust.

.     .     .     .     .     .     .

In the Night, the Wind in the Leaves

swirled and rustled
out our open window as if
for the first time,
as if we never were,
the earth newborn, sweet.

And what of us – asleep
on the too-soft bed
in the old mountain house?

Gone.

Also our children.
the ones who lived, the ones who died
before they grew whole. All night

the breeze swirled and rustled
through the leaves as if it played
a secret game, swirling
and rustling all night

as if we never were.

from In the Sunroom with Raymond Carver, Dannye Romine Powell, © 2020 Press 53

.     .     .     .     .     .     .

Dannye Romine Powell has won fellowships in poetry from the NEA, the North Carolina Arts Council, and Yaddo. Her poems have appeared over the years in The Paris Review, Poetry, Ploughshares, The Southern Review, Harvard Review Online, Beloit, 32 Poems, and many others. She is also the author of Parting the Curtains: Interviews with Southern Writers. For many years, she was the book editor of the Charlotte Observer. In 2020 she won the Randall Jarrell Poetry Competition for her poem “Argument.”

.     .     .     .     .     .     .

Read Full Post »

 . 
[with 3 poems by A. R. Ammons]
 . 
Quibbling the Colossal
 . 
I just had the funniest thought: it’s the
singing of Wales and whales that I like so
 . 
much: you know, have you heard those men’s
groups, those coal miners and church people in
 . 
Wales singing: to be deeply and sweetly undone,
listen in: and the scrawny rising and
 . 
screechings and deep bellowings of whales,
their arias personal (?) and predatory at
 . 
love and prey – that makes up mind for us as
we study to make out mind in them: the reason
 . 
I can’t attain world view or associational
complexity is that when I read I’m asleep by
 . 
the second paragraph: also, my poems come in
dislocated increments, because my spine between
 . 
the shoulderblades gets to hurting when I type:
also my feet swell from sitting still: but
 . 
when the world tilts one way it rights another
which is to say that the disjunctiveness of my
 . 
recent verse cracks up the dark cloud and
covering shield of influence and lets fresh
 . 
light in, more than what little was left, a
sliver along the farthest horizon: room to
 . 
breathe and stretch and not give a shit, room
to turn my armies of words around in or camp
 . 
out and hide (bivouac): height to reach up
through the smoke and busted mirrors to clear
 . 
views of the beginnings high in the oldest
times: but seriously you know, this way of
 . 
seeing things is just a way of seeing things:
time is not crept up on by some accumulative
 . 
designer but percolates afresh every day like
a hot cup of coffee: and Harold, if this is
 . 
an Evening Land, when within memory was it
otherwise, all of civilized time a second in
 . 
the all of time: good lord, we’re all so
recent, we’ve hardly got our ears scrubbed,
 . 
hair unmatted, our teeth root-canaled: so,
shine on, shine on, harvest moon: the computers
 . 
are clicking, and the greatest dawn ever is
rosy in the skies.
 . 
++++++++++ CAST THE OVERCAST
 . 
A. R. Ammons
from Bosh and Flapdoodle, W. W. Norton & Company, New York, NY; © 2005
 . 
❦ ❦ ❦
 . 
January 1: The big round thermometer on the back porch reads 35 degrees Fahrenheit. A long thin coiled spring of two facing layers: each face different metals which contract differently when cooled: the spring’s central attachment a little axle free to rotate: on the axle a needle, a pointer that is able to inscribe an arc three-quarters of a circle: -40 to 140 degrees, currently 35. In 2024 when we can simply inquire of our phone, are we really meant to believe this dubious mechanical contraption?
 . 
My ear lobes, the back of my neck, and my nose hairs believe it. I zip up, pull my cap lower, and walk down the hill toward the river. Jason has pulled in and unlocked the gate. Soon more layered and downed figures arrive. Here we go, twenty-five of us, on our First Day Hike along this newest little section of the Mountains-to-Sea Trail beside the Yadkin River in Surry County.
 . 
First Day Hikes have sprung up all over, parks and neighborhoods, greenways and rail trails. About half of this morning’s walkers have never before attended an Elkin Valley Trails Association event. Something new to show this old muddy river. Fresh coyote tracks on a sandy bank. In a rotting stump, a big square pileated woodpecker hole that wasn’t here 3 days ago when Jason scouted. Still-moist chips at the base of a girdled tree and bright incisor marks from the beaver.
 . 
Now we’re crossing a meadow with waving heads of last summer’s asters, dry and higher than our own heads. I’m pulling goldenrod and wingstem seeds to sow on newly bare ground around the new crossing over Dutchman Creek. Dee remarks on the beauty of particular airy feathered fronds – dog fennel, no summer eye-catcher but striking in its winter browns and grays.
 . 
Old? New? Or just a continuous flow of moments like these? I’ll turn away from my mirror. I won’t query my knees. I’ll unzip my jacket, because now we’re moving and I’m plenty warm. I’ll  enjoy a big inhale of the river-moist air. I’ll listen to the chatter of hikers and the whistle of white-throated sparrows. I’ll make myself ready to notice the next new thing before us.
 . 
 . 
❦ ❦ ❦
 . 
Hooliganism
 . 
Once (there was a time when) I was attracted
to, if not attractive to, everybody, starlet
 . 
and streetlet, athlete and bellybag: afire,
I burned anything, including myself: kneedeep
 . 
in ashen brush, even some simmering fagots, I
tried to separate the heat from the flame but
 . 
gave up, pouring it all into the love of a wife
now nearly half a century old – the wife a
 . 
little older: most of those old flames (sweet
people) have flickered away except for the
 . 
corner of my mind where lively they live on in
honor, honorary doctorates circling their
 . 
laureled heads – what schools they founded!
taking what pains, with what tears, they taught
 . 
me how, roaring possibilities and tenderest
glows: love, love, one learns to love, it is
 . 
not easy, yet not to love, even astray, leaves
something left for the grave: burnt out
 . 
completely is ease at last, the trunk honeyed
full as a fall hive: when the light dies out
 . 
at last on the darkening coals, the life
turns to jewels, so expensive, and
 . 
they never give the sparkle up: this was
a fancy, and not half fancy enough and somewhat
 . 
lacking in detail but ever true.
 . 
A. R. Ammons
from Bosh and Flapdoodle, W. W. Norton & Company, New York, NY; © 2005
 . 
❦ ❦ ❦
 . 
My friend Anne gave me Bosh and Flapdoodle. A. R. “Archie” Ammons wrote the collection of poems in 1996, five years before his death, and his son and friends had it published in 2005, all of the poems, as they say, “exactly as Ammons wrote them.” I am always surprised by Ammons. Throughout his life as a writer he demonstrates that poetry is everywhere, and everything. There is nothing mundane or unworthy of being noticed. That itself can be surprising, especially if you have the idea that poetry exists on some elevated plane, but I’m also often taken off guard, like a snow ball to the face, by his sudden deep connections that reveal the reality of our existence.
 . 
from Mouvance
. . . so if you are to get any passion out
 . 
of life, you’ll have to dig it out of narrow
spaces or squeeze all you have into slender,
 . 
if deep, circumstance: I myself have never
known what to do about anything: as I look
 . 
back, I see not even a clown but a clown’s
clothes flapping on the clothesline of some
 . 
tizzy: . . .
 . 
A. R. Ammons and Fred Chappell have been my enduring poetic inspirations. They are alike in that their poetry can be complex and difficult, but they both always return to the earthy assurance of our humanity. Perhaps because they both grew up in rural North Carolina, Archie in the sandhills and Fred in the mountains? This book, more than most any Ammons collection I’ve read, is personal and intimate, and of course as always irreverent, but even more than usually hilarious. He demolishes any grand notion of his greatness (he, one of the greatest 20th century American poets). He crushes any sentimentality about aging or his own approaching death. He invites, I guess he requires, his reader to just look around and really look within and stop for a minute to think about what’s going down. Yeah, it’s bosh and flapdoodle. Yeah, it’s life.
 . 
 . 
More about Archibald Randolf Ammons HERE
Purchase Bosh and Flapdoodle from Bookshop.org HERE
 . 
❦ ❦ ❦
 . 
Way Down Upon the Woodsy Roads
 . 
Don’t you think poetry should be succinct:
not now: I think it should be discinct: it
 . 
should wander off and lose its way back and
then bump into a sign and have to walk home:
 . 
who gives a hoot about those big-Mack trucks
of COMPRESSION: what are the most words for
 . 
the least: take your cute little compact and
don’t tell me anything about it: just turn me
 . 
loose, let me rattle my ole prattle: poetry
springs greatest from deepest depths: well,
 . 
let her whistle: how shallow can anything
get: (rhyming on the front end): I do not
 . 
believe that setting words to rhyme and meter
turns prose into poetry, and having written
 . 
some of the shortest poems, I now like to
write around largely into any precinct (not
 . 
succinct) or pavilion (a favorite word) I fall
in with: I have done my duty: I am a happy
 . 
man: I am at large: life sho is show biz:
make room for the great presence of nothing:
 . 
do you never long to wander off: from the
concentrations: for it is one thing to fail
 . 
of them and another never to have intended
them: the love nest, men becomes a solid
 . 
little (mortgaged) colonial: duty become your
chief commendation: the animal in you, older
 . 
than your kind, longs to undertake the heavy
freedom of going off by himself into the wide
 . 
periphery of chance and surprise, pleasure or
terror: oh, come with me, or go off like me,
 . 
if only in the deep travels of your soul, and
let your howl hold itself in through all the
 . 
forests of the night: it’s the shortest day:
the sun is just now setting behind the branch
 . 
of the crabapple tree it always sets behind
this day of the year. . . .
 . 
++++++++++ DRAB POT
 . 
A. R. Ammons
from Bosh and Flapdoodle, W. W. Norton & Company, New York, NY; © 2005
 . 
 . 
❦ ❦ ❦
 . 
2020-03-07 Doughton Park Tree
 . 

Read Full Post »

 . 
[with poems from The Ecopoetry Anthology by
Gary Snyder, Evie Shockley, Adrienne Rich]
 . 
For the Children
 . 
The rising hills, the slopes,
of statistics
lie before us.
the steep climb
of everything, going up,
up as we all
go down.
 . 
In the next century
or the one beyond that,
they say,
are valleys, pastures,
we can meet there in peace
if we make it.
 . 
To climb these coming crests
one word to you, to
you and your children:
 . 
stay together
learn the flowers
go light
 . 
Gary Snyder
from The Ecopoetry Anthology, edited by Ann Fisher-Wirth and Laura-Gray Street; Trinity University Press, San Antonio, TX; © 2013
 . 
❦ ❦ ❦
 . 
In the cook tent behind the Big Top, the carnies are eating breakfast together. One rowdy slurps coffee with the spoon handle jutting up from his cup. His buddy hollers, “You’ll put your eye out!” but he just ignores the danger and goes right on drinking.
 . 
Young Toby Tyler and I just gape, he at the jostling men and me, age eight, at the black & white TV. Both of us are convinced it’s going to happen any minute, spoon into eyeball. No matter what happens during the rest of that movie, we keep watching the guy with the doomed eye.
 . 
Sixty years of foreboding later and I still can’t tell you much else about the film (wasn’t there a chimp?), but it doesn’t take much for me to still feel that gut tug of imminent blinding: the teaspoon of Damocles. “Putting your eye out” was one of the more graphic horrifics that dogged my childhood. When it became the tagline for “A Christmas Story,” I couldn’t laugh with quite the same gusto as my wife. As readers we’re admonished to be vigilant for foreshadowing; as writers we’re taught to incorporate it; as kids we’re just scared into behaving ourselves.
 . 
Turns out the rowdy never even poked his eye. It wasn’t foreshadowing at all, just a one off Disney gag. Can you even call something foreshadowing if it never connects to the unwritten future, if there isn’t some aftshadowing of destiny that confirms the prophesy? Am I trying to tell myself to quit worrying so much about a future that may never arrive? Standing in the TSA line at the airport – oh no, do I have a weapon in my pocket, nail file of Damocles? Dad speeding toward his 95th birthday with driver’s license in his pocket, gleam in his eye, and in his ignition the key of Damocles. What could possibly go wrong?
 . 
Alas, I’m afraid that eight-year old kid already had thinking about, planning for, and worrying about the future inscribed deep in his psyche. In the fable about ants and grasshoppers it never even occurred to him to identify with anyone but the ant. Here I am now, all grown up, carefully rinsing the teaspoon and putting it in the washer. But what the hell: gimme another cuppa coffee!
 . 
❦ ❦ ❦
 . 
notes for the early journey
+++ for j.v.k.
 . 
somewhere along the way you will need to lean
over a bluff’s edge   drop you shoes and keep moving   use
the feel of greening grass under your feet as a guide   if a
rainbow confuses you   which end   go the third
way   on the mountain you’ll remember   climb on
up to where the aspens tremble   you will be alone   these
high winds can knife some lungs to gasping rags   but for you
 . 
there’s nothing to worry about   breathe   sniff the air like
a bloodhound and head the opposite way   find the
place where the land dissolves into sand   keep walking   when
that sand becomes sea   speak a bridge into being
I know you can do it   your father’s son ain’t
heard of can’t   follow the song   don’t stop until you’re south
of sorrow and all yo can smell is jasmine   I never
once stumbled on such a place   hard to say if a brown child
is the last four hundred years has had such
a luscious dream   day or night   but this is your mother’s
lullaby   I know she meant you to sleep sweet
 . 
Evie Shockley
from The Ecopoetry Anthology, edited by Ann Fisher-Wirth and Laura-Gray Street; Trinity University Press, San Antonio, TX; © 2013
 . 
❦ ❦ ❦
 . 
At Christmas we celebrate the past and resolve to be worthy of the present – to give life to the divine presence within our own hearts. At New Year’s we look to the future. In recent years that gaze forward has generally been accompanied by a soto voce “Oh, shit.” Yeah, pretty bleak outlook for 2024: politics, race, climate, war. Party’s over.
 . 
This is the best time to open a book of poetry. Not to escape to some idealized past but to connect to another human being who is also muttering, but who hasn’t yet given up hope. And this is especially the time I open my Ecopoetry Anthology, all hefty 0.9 kg of it. I’ve read many definitions of ecopoetry (as differentiated from nature poetry), some of them requiring thousands of words,  but here’s my personal take: poems that observe the world as it is, life and geology and physics without rose-colored glasses; poems that put is in our place in the world, in the literal and figurative connotation of that phrase, no holds barred, no punches pulled; poems that, even in the face of reality, still hold onto hope that we creatures might understand, appreciate, and love every particle of it.
 . 
And each other. Love each other. This is the best time to read a poem, connect with the poet, and connect with every other reader of that poem. Past, present, and future. What the hell: gimme some love and hope!
 . 
 . 
More information on The Ecopoetry Anthology, and where to order,  HERE
 . 
. .
❦ ❦ ❦
 . 
What Kind of Times Are These
 . 
There’s a place between two stands of trees where the grass grows uphill
and the old revolutionary road breaks off into shadows
near a meeting-house abandoned by the persecuted
who disappeared into those shadows.
 . 
I’ve walked there picking mushrooms at the edge of dread, but don’t
+++ be fooled,
this isn’t a Russian poem, this is not somewhere else but here,
our country moving closer to its own truth and dread,
its own ways of making people disappear.
 . 
I won’t tell yo where the place is, the dark mesh of the woods
meeting the unmarked strip of light –
ghost-ridden crossroads, leafmold paradise:
I know already who wants to buy it, sell it, make it disappear.
 . 
And I won’t tell you where it is, so why do I tell you
anything? Because you still listen, because in times like these
to have you listen at all, it’s necessary
to talk about trees.
 . 
Adrienne Rich
from The Ecopoetry Anthology, edited by Ann Fisher-Wirth and Laura-Gray Street; Trinity University Press, San Antonio, TX; © 2013
 . 
 . 
❦ ❦ ❦
 . 
IMG_0768, tree
 . 

Read Full Post »

Older Posts »