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Posts Tagged ‘Southern writing’

NCPS Program VP Chad Knuth

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NC Poetry Society at the Cary Arts Center
[poetry by award winners Mark Cox, Michael Hettich, and more]
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All Right
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The boy doesn’t know what to do. He’s only twelve. And he’s never seen adults weep, not like this at least, so distraught, disconsolate. He can see his grandmother from the kitchen, through her bedroom doorway. Prisoner of her dementia, the old woman lies fully clothed atop the chenille bedspread, her floral house dress faded, her shoes scuffed and worn, light from one window cutting her in two. Her good dishes have disappeared, the piano is still in the old farmhouse, the cows need to be milked, her young sons are still in France at war. The boy sits at the breakfast table, adrift in a sunlit swirl of dust motes. He understands none of this is true, but how is he to help? What can anyone say? To live is to leave, the boy thinks; we make our way, but lose something always and wherever we go. Our shoe soles wear down, our hair thins, our bodies diminish and so we travel always through galaxies of our own shed lint and skin, the leavings of once known things. Finally, at a loss, he just lies down next to her, his sneakers alongside her purpled ankles. He knows nothing ever is going to be all right, but he says it anyway.
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Mark Cox
from Knowing, winner of the 2025 Brockman-Campbell Book Award of the North Carolina Poetry Society
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Mark Cox is chair of the Department of Creative Writing at University of North Carolina, Wilmington. He also teaches in the Vermont College of Fine Arts MFA Program. His six previous books include Sorrow Bread: Poems 1984-2015 (2017) and Readiness (2018). Read more about Knowing and purchase your copy at Press 53 HERE.
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Claudine Moreau is second place finalist for the 2025 Brockman-Campbell Award, for her book Demise of Pangaea. Visit this site on October 3 for more about her book and a sample poem.
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Mark Cox

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Each September at its fall meeting the North Carolina Poetry Society features readings by the winners of the following contests:
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Brockman-Campbell Book Award (NCPS): best book of poetry published by a North Carolina author in the preceding year
Lena Shull Manuscript Award (NCPS): for a manuscript by a North Carolina author; the winning book is published by NCPS
Susan Laughter Meyers Fellowship (NCPS): a one week residential fellowship at Weymouth Center for the Arts and Humanities for one North or South Carolina poet
Randall Jarrell Poetry Prize (sponsored by North Carolina Writers’ Network): for an individual poem by a North Carolina author
Jaki Shelton Green Performance Poetry Award (co-sponsored by North Carolina Literary Review at East Carolina University and NCPS): for an individual poem recited / performed
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For information about North Carolina Poetry Society contests VISIT HERE:
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In 2023 the September NCPS meeting was held at the NC Museum of Art in Raleigh, in 2024 at the NC Arboretum in Asheville, and this year’s meeting on September 13 celebrated the Cary Arts Center, formerly the Cary High School (1939), listed on the national registry of historic places. Today’s and next Friday’s posts feature some of the poetry shared at the meeting by the 2025 contest winners; return to this site on October 3 for more offerings!
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The Meadow
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++++ I woke in a tall-grass field at first light,
and listened to the birds, and hummed with a dream
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++++ ++++ I made up from wisps
++++ that ran through my body
++++ ++++ shivering marrow, making me notice
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++++ the dew that dampened
my face and the spider webs
++++ starting to shimmer the trees.
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Everything was breathing; the long night echoed
++++ in the dawn-light: stars
++++ ++++ and vast migrations
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++++ as the breeze stuttered a moment, then stilled.
++++ Across the field, my companion was singing
++++ ++++ her own perfect song, which was silence. Still
++++ ++++ ++++ I could hear her somehow, so I got up and set off
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++++ ++++ ++++ ++++ to thank her for sharing this beautiful place
++++ ++++ ++++ she’d known all her life, this place where she’d always
++++ ++++ ++++ ++++ felt happy, the place she yearned to stay
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++++ ++++ as long as she breathed. And then, she’d told me,
++++ she’d turn into something more perfect: the vast
sky, so blue it hurt the eyes,
++++ or a meadow like this one, that stretched to the horizon.
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Michael Hettich
from Waking Up Alone, winner of the 2025 Lena Shull Manuscript Award of the North Carolina Poetry Society, to be published later this year by Redhawk Publications.
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Michael Hettich

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After years in New York, Colorado, Florida, and Vermont, Michael Hettich now lives in Black Mountain, North Carolina. He holds a Ph.D. from the University of Miami and taught for many years at Miami Dade College where he was awarded an Endowed Teaching Chair. Over five decades he has published more than two dozen books of poetry and received numerous honors, including several Individual Artist Fellowships from the Florida Division of Cultural Affairs, The Tampa Review Prize in Poetry, the David Martinson/Meadowhawk Prize, and a Florida Book Award.
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Additional Finalists for this year’s Lena Shull Award are Becky Nicole James and Charles Wheeler.
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Michael Hettich

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Feathers
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When September slips in the window like a forgotten lover,
Reaching for me from my burrow
+++++++++++++++++++++ With its hands of feathers
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In the early morning croak of crows, and I can smell
That someone has lit a fire,
+++++++++++++++++++++ An utterance of feathers,
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Such that I can’t remember if I’m seven, in a log house my father built,
And he’s kindled the first autumn fire,
+++++++++++++++++++++ Fanned the feathers,
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Or I’m twenty-five in the wooded hollow alone
But for the cats, dogs, and calls of coyotes, having lit the fire myself
+++++++++++++++++++++ That spanned feathers,
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But no, when you roll over
In a twist of sheets,
+++++++++++++++++++++ In a band of feathers,
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And I hear a young tail thump softly on the floor, a brief whine-
When someone else’s woodsmoke slips through the window
+++++++++++++++++++++ Like sanded feathers,
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And I am here with you, and we’ve struck our own match-
When you reach across and slip your arm around my waist,
+++++++++++++++++++++ With the sustenance of feathers-
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Narya Rose Deckard
from her debut poetry collection Wolfcraft (Broken Tribe, © 2025), available from Bookshop.org
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Narya Rose Deckard

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Narya Rose Deckard teaches writing at Lenoir-Rhyne University, where she earned her MFA in poetry at the Thomas Wolfe Center for Narrative. Originally from the mountains of Maryland, she currently lives in Valdese, NC with her husband, dog, five cats, and a few chickens, but she also spent ten years in Asheville studying literature and philosophy at UNCA. As winner of the 2025 Susan Laugher Meyers Fellowship, she receives an honorarium and one week writing residency in Southern Pines at Weymouth Center for the Arts and Humanities.
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Susan Laughter Meyers was a widely published Carolina poet who mentored many rising poets and promoted literature across the South for decades. She served at different times as president of both the South Carolina and North Carolina Poetry Societies. Her family, friends, students, and other admirers of her life’s work have endowed this Fellowship in her name for the North Carolina Poetry Society. Many thanks to Weymouth Center, as well, for donating space and support for the poet residency.
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Begin With Me
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I got up
off the ground
near some graves—I share
the last name with.
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I begin,
with what I was handed,
a mama, a daddy I saw a few times,
because he hid
in the hues he knew.
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My little brother full of love
like the corner store in heaven. I knew
his lying like I knew our daddy’s lying,
same song, but a higher key.
My mama taught me to
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ask my dead plenty of questions—
to let the moon touch me on the mouth,
to ring my black bell.
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Tyree Daye
from a little bump in the earth, Copper Canyon Press, © 2025
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Tyree Daye

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Tyree Daye led the writing workshop for the afternoon session of this NCPS meeting, He focused on breath: within and around a poem; what it might reveal and what it might hide. The writer can strive to become more conscious of their own breath as they splice syllables and thump out the poem’s rhythm. The reader can strive to slow down and feel their own breath as they silently speak the words. Breath can hold the meaning and feeling that the poem wants to birth into the world. Hold it, and let it out.
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Tyree Daye grew up in Youngsville, North Carolina. He is the author of three poetry collections, including River Hymns (winner of the APR/Honickman First Book Prize), Cardinal, and most recently a little bump in the earth. He has been a 2017 Ruth Lilly Finalist and Cave Canem fellow. He serves as Assistant Professor at the University of North Carolina, Chapel Hill. Tyree Daye teaches. Not just reading and writing, not just poetry – he teaches what it means to be human, a human with a past and with a future. One reaction to his new book: Poem by poem, Daye is honoring the people of Youngsville and “bringing back the dead.”
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Tune in next week, folks . . . in our October 3 post we will continue to celebrate the riches of this September 13 meeting in Cary with poetry by Claudine Moreau, Becky Nicole James, Charles Wheeler, and more.
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Tyree Daye

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Joan Barasovska and Kathy Ackerman, Membership VP and NCPS Secretary

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[for my mother]
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Liminal
crepuscular
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You take my hand and lead
me from the porch, leavings
of sticky watermelon rind,
half-eaten hotdogs, out into
the yard where the older kids
whoop in the descent
of darkness almost too deep
to see through; at its edge
grownups in folding chairs,
the orange winks of their cigarettes
like lightning bugs.
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Too dark. You feel me hanging back
but here around the corner
real fireflies guide us, cool green,
silent. You catch one
in your hands, Like this . . .
when I was a girl, laughing
in the twilight; you pinch off
its tiny ember and smear
the glowing on your eyelids
so that when you close your eyes
its faint gaze assures
that you still see me.
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And the truly wondrous thing,
besides this moment together while
the luminescence fades
and I am able too to laugh,
is that once you were a girl.
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All stories are true. The story’s facts may get a bit smudged & skewed, a bit shuffled & stretched, a bit jiggled & juxtaposed & conflated, but the story’s truth is undiminished. Good stories know their truth. The best stories know your truth. You discover it in their pages. Perhaps it was always in you, smudged & skewed – now you are following its trail into the open.
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A poem has its own particular way of telling its story. Planed down until you can see the grain. That burl is a metaphor for the winter storm when something cracked. The curly maple echoes laughter you can still hear tinkling faint from the past. Storms and laughing are metaphors for what you’re facing this morning when you roll out of bed. The poem rolls you out of bed. It won’t feed you lying down.
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And in a poem the story lives on its own fine edge. It balances the limn between nothing and everything. Wait here, breathing slowly, at the transition between dusk and night. Or between darkness and dawn. The poem’s story may seem at ease but in the silence beside the swift river you can hear the rush, the flow, the movement. The poem taps the shoulder of awareness – look ahead, look back, live right now in all those moments that coalesce to make a life. Your story is unfolding, and don’t you know it’s true?
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Liminal
riparian
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Let’s tube the Brandywine: you
are brilliant, my kids so fractious,
lucky to keep them for an hour
in the same room with Grandmommy
much less engaged.
All the lazy afternoon
watched over by staid sycamores
of summer, the splashing,
the dunking, and through smooth
passages you get them talking
about yesterday’s museum, Howard Pyle
and the Wyeths, art, its stories,
how if we can only imagine
something strongly enough
we may make it so.
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Imagine: all things flow,
the benevolent stream, its clarity
every possibility of color
and everything it collects,
benediction of damp
on our bodies, water and salt,
half-adrift in the dailyness
of life and where
might this meandering take us?
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At the takeout toweling off
you touch my shoulder, point:
a tree swallow’s looping masterwork
has knit together river, forest, sky,
metallic blue . . . brilliant.
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A story about Mom: when I was five we lived in a little house on Marion Road in Memphis. Mom had made a special cake for my birthday surprise, German chocolate with thick gooey coconut and pecan frosting. She hid it in the little closet pantry until after supper, but when she brought it out for five candles, she wept. It was covered with ants. Don’t you think my brother and I were able to pick off the little crawlies and eat it anyway? And every year at birthday time we piped up, “Mom, make us another Ant Cake!” It was years before she could laugh.
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Another one: Mom and Dad moved away from the South before I was born, but her friends in Michigan or Ohio or Delaware could still detect the remnants of her North Carolina accent. I believe they always thought her a bit prim. When I was fifty I happened to visit Mom in Wilmington DE around Halloween. She said, “Let’s go trick-or-treating!” I figured we’d just walk down the block and say Hi to the neighbors, but she came out of the bedroom wearing a cape and hunchback, an old wig pulled all the way down over her face, and stark staring eyes painted on her cheeks. A wooly booger. None of the neighbors knew who the hell she was and they flinched visibly when she cackled.
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Last story?: Mom was the czarina of crosswords, and she could finish the entire Jumble in the morning paper while I was still juggling the first word. The last few months of her life, at ninety-six, she would sit on the couch after breakfast and I would bring in the paper, sit down beside her, and hand her a pen. Sometimes, I admit, I had to offer her hints (assuming I myself could figure out the words). But at times she would put pen to paper, hesitate just a moment, and fill in the blocks with faint, spidery letters. Just right, Mom. Just right.
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Liminal
nonagenarian
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Every Sunday after church I knock
at your kitchen door then forge on through
to the living room before you can struggle
from your favorite chair, milky tea
half-finished, The Times crossword
and a few spaces you’ve saved me,
78 down, wings, four letters, and today
I’ve brought my grand-daughter,
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your great-. We’ve taken to calling her
Sister like your brother and all
the cousins called you,
and while she cuddles your old doll
almost ninety itself and explains
to it the universe of her three years
you settle your pad across your lap,
charcoal on your fingers, capture
the purity of her which is the closest
we will ever come to defining love,
the three of us a grand alignment
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of planets in some untrammeled
system, and although the scratch scratch
on paper binds me to this moment
I see you luminescent, intangible,
the halo of fine white hair that limns
your face, your wings, alae,
strong enough to lift us all.
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Bill Griffin
first appeared in Grey Sparrow Journal  –  Issue 32, Summer 2018
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2020-06-11a Doughton Park Tree

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[with 3 poems by Sarah Small]
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Dad, Peeling Apples
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++++++ The color of wheat
bread speckled
like the skin of a Golden Delicious,
freckles on top of freckles
and tiny nicks
from his knife, dots of blood
turned to brown scabs.
My father’s hands
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have never changed. Every night
a different apple
skinned naked,
split and seeded without him
ever looking down, loving the fit
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of apple
in the left hand, brown-handled
knife in the right.
He licks the tip of his finger
where the juice runs clear
and skewers a slice
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for me, which I take
regardless
of whether I want
an apple or whether
the flesh has begun to brown
around the edges.
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When he is done,
knife set down and fingers wiped
clean against the legs
of his beige corduroys, I will take
the leathered back
of his hand to my cheek
and hold it there, begging
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his weathered roots to spread
their soil-caked fingers
long and strong
as deep as the generations will go.
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Sarah Cummins Small
from Stitches, Finishing Line Press, Georgetown, Kentucky. © 2025
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Last week I was out on the Mountains-to-Sea Trail with Bob and Steve digging ditches. “Erosion mitigation features” – yeah, ditches. Along one stretch we kept turning up huge earthworms, dozens of them, fat and long as little snakes. As we rescued each one and chucked him/her off the trail, Bob turned to me, local naturalist, and asked, “Say Bill, can you tell which is male and which is female?” Smirk on, Bob. If I recall correctly from Mrs. Schilling’s high school biology, every worm is both. One end is boy and the other end is girl, hermaphrodites. When they want to make little wormlets, they line up parallel head to tail and exchange genetic material. Slimy but exciting!
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Thank you Hermes, Aphrodite, and Mrs. Schilling, whose motto was, “There’s no place in the world for weak women!” Everybody, now, hands on! as we dissected our earthworm. And each 9-week term Mrs. Schilling also sent us out collecting: leaves, insects, fungi. In mid-winter Ohio it was bare bud identification time, each labeled per Linnaeus. I’ve never forgotten Acer rubrum and Quercus alba. My lab partner Dave tried to foist off the bare tip of his defunct Christmas tree as one of his collected buds. Just before he turned his project in, I replaced its label (Pinus pinus?) with Gluteus maxiumus. It was exactly five minutes before Mrs. Schilling’s menacing contralto penetrated to our back row table: “Mr. Mason, come forward!”
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Mrs. Schilling was one of my three most memorable teachers (Mr. Geigel, English, and Herr Watt, German, the other two). I am still in love with Latin binomials and squishy things thanks to her. Mrs. Schilling would certainly never shrink from describing in the most squirm-inducing detail the reproductive habits of earthworms. And at age 15 who is not obsessed with sex in all its varieties, manifestations, and practices? I can’t in all honesty confess that the mystery has even now been fully dispelled, although I think I may have finally figured out the convoluted sex life of ferns. (Listen up, y’all, that’s pronounced Thallus.)
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When I was 12, Dad never sat me down for THE TALK. He just handed me a slim pamphlet, mysteriously titled Where You Came From, then sent me off to read it somewhere my little brother couldn’t peep. “When you’re finished, let me know if you have any questions.” I returned it to him later with the 1965 equivalent of “All good,” but for at least the next two years I still confused female anatomy with British monarchy (Elizabeth Regina). And now I’m supposed to be the one to sit Dad down at 98 and explain to him the facts of why he can’t be asking his physical therapist out on a date? I think I’d rather just stick with the earthworms.
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War
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++++++ Our mother is beautiful
Without makeup, with the round balls
Of her cheekbones like crabapples
Or plums, and her crooked front
Tooth. But with a little
Pencil to shade in the sharp arch
Of eyebrows and bright red lipstick, she becomes
A black-and-white
Photograph hung in a young man’s barracks
Where in the early evening before dark
And after a green supper, one soldier lies
Sideways on his cot facing her,
Tracing the soft outline of her cheek
With one knuckle, three fingers from his lips
To hers and back. We will never be
So carefully memorized.
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Sarah Cummins Small
from Stitches, Finishing Line Press, Georgetown, Kentucky. © 2025
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We will never be / so carefully memorized – Sarah Small begins her collection Stitches with a portrait of her parents in the 1940’s, deeply imagined, drawn deep from her heart. Poem by poem she pieces a quilt of memory and legacy, reverence and longing. This is one poetry collection that left me wanting more when I had turned the final page. Its beautiful pattern gradually emerges, on each page so carefully felt and conveyed. The simplest things conceal the greatest mysteries. Within the simplest the greatest is revealed.
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The poet’s eye and ear, her imagery and music, each delicate detail and meticulous observation, all the lives shared, every secret revealed: the colors and textures arrange themselves until we recognize not only the poet’s family but our own place among the tribe of humankind. These are indeed the stitches that gather us into a single human family.
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Stitches is Sarah Cummins Small’s debut collection and is available HERE.
The book’s cover art and design are by Summer Small.
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Unstitched
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I am held together
by tiny stitches
on small scraps of feed sack,
snatches of wool, snips of gingham.
A patchwork of pastels—
a slipshod collage of cotton.
I’ve been silk, satin, taffeta;
I’ve been flowers, polka-dots, and plaid.
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Thin white thread
++++ ++++ zig-zags
++++ across
++++ ++++ the decades
++++ hemming me in, keeping me
from ripping.
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I’ve been zipped.
++++ Buttoned.
++++ ++++ Unsnapped.
I’ve been bumblebunched, twisted,
and straightened. Held pins in my mouth,
pricked fingers, and calloused
my thimble-less thumbs.
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I am done.
Unravel me now:
Rip out the seams
one by one, untwist strings
and untangle knots. Fold me gently.
What I haven’t finished—
take now.
Begin again.
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Sarah Cummins Small
from Stitches, Finishing Line Press, Georgetown, Kentucky. © 2025
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Just a reminder that I m leading a naturalist hike the morning of Friday, September 12, 2025 on the Mountains-to-Sea Trail near Elkin and you are invited. During the month of September we celebrate the birthday of the MST! It’s an easy walk, 2 hours or so, lots of stops to check out flora and fauna. Sign up at:
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And if you can’t come on the Friday, we will probably repeat the hike on Saturday, September 27. Sign up with Elkin Valley Trails Association at Meetup.com to receive notices.
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2014-06-30a Doughton Park Tree

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