Posts Tagged ‘Southern writing’
Generosity
Posted in family, Imagery, poetry, tagged Bill Griffin, family, imagery, nature photography, NC Poets, Night Talks, poetry, Press 53, Southern writing, Terri Kirby Erickson on November 29, 2024| 8 Comments »
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[with 3 poems by Terri Kirby Erickson]
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In the Midst of Grief, a Heron
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Healing begins with the blue heron hunting
in the frigid water of a shallow pond.
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Wings folded, neck tucked into its feathered
breast, it stands motionless in a shelter
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made of branches, alone save for its shadow.
What would it hurt to loosen our grip
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on grief? To allow the soft gray-blue
of a heron’s body to soothe our eyes, tired
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of shedding tears? This day will never come
again and the heron will soon fly. Already,
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the light is fading, taking with it all the time
that has ever passed. Let this peace soak
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into our skin like medicine, remain with us
long after the heron is gone.
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Terri Kirby Erickson
from Night Talks, New & Selected Poems, Press 53, Winston-Salem NC; © 2023
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Mike and Johnny Slattery would have been there, from three doors down on Marcia Road. My little brother Bobby, of course. I can picture the house right now as if standing there, the shape of our living room in that L-shaped ranch in the square-grid new-built neighborhood in Memphis. There’s the door that leads into Mom’s kitchen, to the right the little hallway to the front door, outside another ten steps to the carport and driveway where we played marbles or rode our bikes down to the street. Beside me is the corner cupboard Nana gave us, before me the cherry table Dad broke last year when he fell.
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Most everything else from my nine-year old birthday party has faded. How many other boys Mom invited and gathered in from the homes around, what kind of cake, the candles and singing – all now clouded and indistinct.
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One moment, though, remains untarnished. It’s been polished these sixty years hence by recollection and reflection. Mom thought to include one boy the rest of us didn’t play with very often. Maybe there was something a little different about him. To this day I can’t tell you his name. As the other boys present their gifts, brightly wrapped in colorful paper, he gives me a big smile and hands me his – a lump of crumpled tin foil. I peel it apart. Inside are six quarters.
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I don’t remember any of the other presents I received that day. Why has this one stuck with me? I can testify I was surely no less selfish and self-absorbed than any other nine-year old, but with some vague child’s awareness I realized in that moment the boy was giving me all he had. Maybe he didn’t have a mom with time to go to the store or wrap a present. Maybe he’d never been invited to a birthday party. Today, writing these lines, I still feel a strange heaviness when I think about his gesture, a forlorn sadness but also a rich touch of awe and gratitude.
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That smile – he was so happy to hand me that gift. From him to me. Thank you, thank you, little boy.
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The Letter
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Northing is ordinary – not condensation on a pane
of glass – that streak of sunlight, yellow
as lemons, in the neighbor’s backyard. Trees
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are rustling tender new leaves, and our lawn
is as thick as a wool rug. Even the scent of coffee
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wafting from the kitchen is a miracle,
a woman walking her little dog down the sidewalk,
its leash as taught as rigging. Yet, every house
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hides something that hurts, even as we call to one
another, good morning, good morning –
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our faces open as a letter lying on a table, the kind
that makes our hands shake when we find it
in the mailbox, that we only read once.
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Terri Kirby Erickson
from Night Talks, New & Selected Poems, Press 53, Winston-Salem NC; © 2023
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We can be generous giving money and things, and this week in the USA we generously give thanks, but where else does generosity slip in? Generous with advice, oh my yes aren’t we all, and woe to those who don’t take it. Generous with encouragement and acceptance, and who gets to decide what’s worthy of encouragement and what acceptable? Apparently it’s actually quite easy to be giving without being generous at all. We’ve had to make a rule at our house to keep the after-school peace: Pappy doesn’t try to eat Amelia’s snacks. Last week, though, Amelia had a sweet she really wanted to finish herself but offered me a bite. Generosity – it doesn’t have much to do with deserving or keeping score; it has more to do with making sacrifices and sharing the joy.
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I think of myself as a reasonably generous person, and then I read Terri Kirby Erickson’s poetry. These people, these moments remembered and shared, these talks over breakfast or long into the night that leave each speaker that much richer, these also leave me richer, fuller, more human. In Night Talks, Terri presents about sixty new poems along with grateful selections from her six previous books, combined and swirled like the best layer cake you ever set fork to, perfect for morning on the porch with coffee or with evening lamplight leaning back into the sofa.
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After returning to this book over and over, I can finally name the spirit that suffuses Terri’s work and that warms the reader – generosity. There is harm and hazard in Terri’s writer’s life, there is grief and loss and no denying them. These poems look into the darkness and discover light, even if only the pinpricks of stars overhead. These poems never overlook a radiant dawn – they always expect it. And it doesn’t hurt a bit that Terri is the impresario of image, the titan of the turn of phrase: summer wants [to] / hitch a ride on the back of a broad-winged hawk / to places where the stars feel like chips of ice / sliding down September’s throat.
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How does her poetry restore and replenish its deeply generous spirit on every new page? Try on this bit of spiritual etymology: From gratitude comes generosity; from generosity comes giving. With recollection and reflection, let me polish up my gratitude. Let’s see where it take me.
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Moon Walk
++++ for my brother
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Sunburned, bellies full of fried pompano, sweet
corn, and garden tomatoes purchased at a roadside
stand manned by a farmer with more fingers than
teeth—my family huddled around a rented black
and white TV set the shape and size of a two-slot
toaster, watching Neil Armstrong and Buzz Aldrin
hop like bunnies on the rough surface of the same
waxing moon that shone through our beach cottage
windows. I was eleven years old, bucktoothed and
long-legged—my brother a year younger and, most
days, followed his big sister like Mercury orbiting
the sun. Mom and Dad sat side by side on the faux
leather, sand-dusted couch, and Grandma, never one
to hold still for long, stood by her grandson’s hard-
backed chair, her hair a nimbus of silver from the soft
glow of a television screen where a miracle unfolded
before our eyes. But grown men wearing fishbowls
on their heads, bouncing from one crater to the next,
seemed less real to my brother and me than Saturday
morning cartoons. And all the while, we could hear
waves slapping the surf and wind whipping across
the dunes—and the taste on every tongue was salt
and more salt. So when I picture the summer of ’69
at Long Beach, North Carolina, as history rolled out
the red carpet leading to a future none of us could
foresee, my heart breaks like an egg against the rim
of what comes next. But let’s pretend for the length
of this poem, that my brother’s blood remains safe
inside his veins, Grandma’s darkening mole as benign
as a monastery full of monks, and our parents, unable
to imagine the depth and breadth of grief. Here, there
is only goodness and mercy, the light of a million stars,
and the moon close enough now for anyone to touch.
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Terri Kirby Erickson
from Night Talks, New & Selected Poems, Press 53, Winston-Salem NC; © 2023
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Night Talks, New & Selected Poems, by Terri Kirby Erickson, is available at Press 53 in Winston-Salem NC along with five other collections by Terri.
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Wanting to Be a Forest
Posted in family, Imagery, poetry, tagged Bill Griffin, Civil War, family, Frank X Walker, Load in Nine Times, nature photography, poetry, Southern writing, USCT on November 22, 2024| 6 Comments »
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[with 3 poems by Frank X Walker]
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Grove
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This was the first time
we really look at each other
and not be able to tell
who master the cruelest
who sorrow the deepest
who ground been the hardest to hoe.
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We was lined up like oaks in the yard
standing with our chins up,
proud chests out, shoulders back,
and already nervous stomachs in.
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We was a grove wanting to be a forest,
ready to see what kind of wood we made from.
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The only thing taller or straighter
than us be the boards
holding up the barracks at our backs,
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though most our feets feel pigeon-toed
and powerful sore
from marching back and forth, every day,
for what seem like more miles
than we walked to get here.
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It take more than pride to stand still
‘neath these lil’ hats not made for shade.
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Soldiering ain’t easy, but it sure beats
the bloody leaves off a bondage.
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Frank X Walker
from Load in Nine Times, Liveright Publishing Corporation (W. W.Norton), New York, NY; © 2024
[based on a photo taken at Camp Nelson, Kentucky, of troops standing at attention outside the Colored Soldiers Barrack]
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1861 One month after Confederate forces fire on Fort Sumter, South Carolina, Kentucky’s Governor issues a formal proclamation of neutrality, but he retreats from any denunciation of slavery, which he believes is not a “moral, social, or political evil.” Four months later Kentucky decides to end neutrality and enters the Civil War on the side of the Union; 200 delegates vote to secede from the rest of the state and form a separate Confederate Kentucky with Bowling Green as capital.
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1862 Abraham Lincoln’s EMANCIPATION PROCLAMATION declares freedom for all enslaved persons in states which are in rebellion against the United States. This leaves slaves in Union-aligned Kentucky still the property of their masters, however.
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1864 The U.S. government’s progress towards making universal emancipation a war aim has caused support for the war and the government among White Kentuckians to dwindle. Military recruitment ebbs. On June 13, U.S. SPECIAL ORDER NO. 20 allows enslaved persons to enlist in the U.S. Army without their owner’s consent and be granted their freedom, the first pathway to legal emancipation in Kentucky. That summer and fall, 14,000 Black men enlist.
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Only Black men who are fit for military duty are emancipated, however. If they are ineligible, they are returned to enslavement, and there is no offer of freedom for their families. Camp Nelson, Kentucky’s largest recruitment and training base, becomes a haven for refugees from slavery, whether escaping from Tennessee, Virginia, and North Carolina or arriving with their newly enlisted Kentucky husbands or fathers. Freedom seekers from the South are considered “contraband of war” and granted freedom, but slaves of White Kentuckians remain legal property of their masters with no formal protections.
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On November 22, 1864, in the midst of a winter storm, Brigadier General Speed S. Frye orders all refugees surrounding Camp Nelson expelled and their shacks destroyed. Of 400 people immediately displaced without shelter or recourse, at least 102 die of exposure and starvation. Frye’s order is quickly rescinded by his superiors in Kentucky but headlines cause an outcry across the States. On December 15, Adjutant General L. Thomas issues ORDERS NO. 29 to require that “all camps enlisting Negroes provide suitable housing and provisions for their families.”
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Within months, the War Department creates the Home for Refugees at Camp Nelson. On March 3, 1865, the US Congress passes laws to emancipate the wives and children of United States Colored Troops soldiers.
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Camp Nelson, Kentucky, is now a National Monument, and includes a memorial obelisk to honor the 102 African Americans who perished in The Expulsion.
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We Will Prove Ourselves Men
++ Sewn on the regimental flag
++ of the 127th U.S. Colored Troops
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I don’t look the stars and stripes
nor the eagle for mustard
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like the white officers
and some of my free brothers do.
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I think on the slender fingers
that stitched our proud colors
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snapping in the wind,
the same steady hands
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that last held me close,
and pray they hold me again.
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That’s why I’m willing
to trade bullets in a cloud.
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Some confuse our bravery and courage
with our love for our women,
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but many of us just eyeing that flag
and trying our best to get back home.
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Frank X Walker
from Load in Nine Times, Liveright Publishing Corporation (W. W.Norton), New York, NY; © 2024
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My Grandpop died when he was 67 and I was 5. Our families lived hundreds of miles apart – we in New York, then Tennessee, he and Nana in North Carolina – so we visited only two or three times a year. I can’t recall the sound of his voice, I’m not sure if he ever hugged me, but I know a story about him and me that I have retold myself so many times that it is tangibly real. Totally, unquestioningly, personally real:
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We are in the dining room of his house that overlooks Bogue Sound. He, a surgeon, is holding my fingers in his. In the pressure of his fingers I am aware of the bones beneath my skin, and he is teaching me: Carpals, Metacarpals, Phalanges.
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I have many photos of Grandpop, his enigmatic smile. I have copies of articles he published, things he crafted with his hands, an oil painting. I have photos he took of me, even an old 35 mm. silent movie. But the most real, the most present, is this story I keep and hold. Perhaps the artifacts helped me create the story. Perhaps hearing the story as it was told to me by Nana and Mom. However the story comes into being, into life, it brings reality with it.
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So it is with Frank X Walker and his poems in Load in Nine Times. Frank was already deeply involved in resurrecting and creating the stories of Black Civil War soldiers in Kentucky and their families, using scant artifacts to create short biographies and allow these men and women to live (for a project at Reckoning.com). Then he thought to ask the archivist to research a possible relative of his own. And the sky opened.
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Frank’s dedication for the collection of some 100 poems reads thus: For my ancestors, Mary and Randal Edelen, 125th U.S. Colored Infantry and Elvira and Henry Clay Walker, 12th U.S. Colored Troops Heavy Artillery. These folks speak and are joined by dozens of others who lived and suffered and sometimes triumphed. Through poetry they have all come to life, along with the middle decades of 19th century Kentucky. Slave and slave owner, soldier and widow, parent of despair and parent of hope – Frank has honored them and exposed them, judged them and sometimes forgiven them, given them sharp tongues and sharp features and brought their years into sharp, sharp focus.
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And our years as well. What did I know about Civil War Kentucky, USA? As soon as I laid down the book I had to know more. More! Frank educates with timelines and resources but his greatest gift is to enlighten me, in the sense of casting light into dark corners where I had never thought to look. When I discover online some of the photographs he must have used for his own inspiration, those slightly blurred faces now suddenly stand out to me – real men, real women. We each owe it to ourselves to continue to tell our stories and to listen to new ones. Somehow, in this harsh and enervating world, perhaps this is the way we will become more real to each other.
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Read the excellent interview with Frank X Walker by Jacqueline Allen Trimble as she explores with him the creation of Load in Nine Times, in the Oct 19, 2024 edition of Salvation South.
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A Black Father Dreams a Son
++ Brig. Gen. Charles Young,
++ 9th U.S. Cavalry Regiment
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It was twelve miles to Maysville and the Ohio River and another
ten to Ripley. A runaway could escape from Mays Lick,
at night, head north, follow the smell of the river and make
the entire distance and crossing by sunrise. A determine one,
on horseback, like Gabriel Young, could make it in half the time.
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Ignoring racism at West Point was easier knowing
my father survived slavery. He joined the 5th and risked his life
so our people would know freedom. I risk mine to protect it.
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If his sacrifice and commitment freed my body, my mother’s books
free my mind. Her skirt was my first classroom.
Every big and small thing I’ve done began at their feet.
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Though born into slavery in Kentucky, I learned to play piano
and violin, speak French and german, before becoming a teacher,
before graduating from West Point, before a career in the military,
and public service.
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Growing up in Ripley showed me what this country could be.
What my parents instilled in me, and Wilberforce proved it.
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I am America’s promise, my mother’s song,
and the reason my father had every right to dream.
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Frank X Walker
from Load in Nine Times, Liveright Publishing Corporation (W. W.Norton), New York, NY; © 2024
[Charles young, born in 1864 into slavery to Gabriel Young and Armenta Bruen in Mays Lick, Kentucy, was the first Black man to achieve the rank of colonel in the Unites States Army, and the highest ranking Black officer in the regular army until his death in 1922. In 2022, in recognition of his exemplary service and barriers he faced due to racism, he was posthumously promoted to brigadier general.]
[these addenda are taken from the Author’s notes]
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Panta rhei
Posted in poetry, tagged Bill Griffin, Dropping Sunrises in a Jar, imagery, Melinda Thomsen, nature, nature poetry, NC Poets, poetry, Southern writing on November 1, 2024| 7 Comments »
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[with 3 poems by Melinda Thomsen]
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11. Colorado Springs
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In a breath, the sun emerges unfurled
behind the hangar, and the sky turns gold.
It burns like an ore, as nearby grasses roll
in a breeze, and rows of sunflowers twirl
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and flex. The Queen Anne’s lace slowly maps
the sun’s route west. A magpie somewhere
near the playing field squawks. Dawn appears
in shades of granite wearing a mica cap.
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Let me put on the sky’s sapphire chains
and earth’s necklace of headlights from the cars
winding to Denver in their jeweled train.
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When headlamps dim, sunshine shoots like stars
off the cargo bays of arriving planes,
and daybreak shows its wealth by reaching far.
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Melinda Thomsen
from Dropping Sunrises in a Jar, Finishing Line Press, Georgetown KY; © 2024
[this poem is one segment of the poet’s sonnet redoublé]
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The sentinel sugar maple stationed above us on the roadway is first. Each day we park at the track and look up to its expansive globe outstretched in meditation. Preceding all other trees, it affirms change. In the swelling conflict of its upper limbus butterscotch and sulfur, sweet and harsh become the beginning of leaving behind the green of summer. Green we might have convinced ourselves to be eternal and foundational. But all things flow. You can never stand twice beneath the same tree.
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Last night a brief gusty squall; this morning the lone sugar maple has relinquished all but a few scattered flags and tatters. As we enter the woods, however, all the other trees in this progressive congregation are industrious in their competition. Who can display the brightest color? Who the most varied, the most novel? The southern slant of sun penetrates as if through stained glass; streaming light proclaims its gospel of chlorophyll, abscission, anthocyanins, carotenoids. Linda and I drop our worries along the trail like a trail of breadcrumbs – we can at least hope that the birds and chipmunks will devour them all in the hour before we return this way.
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And now we’ve reached the last straight segment before the walking trail offers to climb the ridge and lead back down to the river. We can see the turning where it beckons. Before we reach it we will cross the high bridge over Crooked Creek and look down to see if our fat water snake is sunning herself among the south-facing rocks as usual. Just beyond the bridge we will enter the final high vaulted cathedral. Overleaning trunks and branches, pointed arches familiar in the minds of trees long before Sumeria or Samarra, clad with brass and jade, they invite us now to share this space in reverence.
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This cathedral of flux. The never-changing God this world worships is the God of Changes. The crimson Michaux lilies that celebrated here in August today merely nod a few dry, creased, tri-partite pods, but what do they hold? A celebration of seeds. And beneath the springy duff the roots gone dormant have not forgotten their desire to rise again next April.
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Linda and I stand here for a moment, in the moment. The memory of red blossoms is not what we worship. The anticipation of future blooming is not what we worship. Right here right now is the only real thing – the only real thing is all things that have come before and all that may yet become. We hold a single thought, we hold all thought. For one brief moment approaching joy we are engulfed, we merge with the flux.
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Panta rhei. All things flow.
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Dropping Sunrises in a Jar
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When daybreak edged the earth,
++++ I would roll over – unlike the birds.
It was as if we lived in separate jars.
++++ Wrens whistle and chirp about flames
blooming into a ball at sunrise
++++ then hush with the sun’s full burning.
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I used to sleep through the daily burning
++++ for I didn’t care much how the earth
rotated itself into another sunrise.
++++ But years later, I wondered why birds
got so excited about a horizon in flames.
++++ So much time, I’ve spent within a jar.
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The birds, too, live in a sort of jar,
++++ but they focus outward and seem to burn
with a gratitude that fans their inner flame.
++++ See pelicans fly about the earth?
They dip and lift until the idea of bird
++++ becomes a winged embrace at sunrise.
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When I traveled, I watched every sunrise
++++ to see night leave its door to morning ajar,
and in its wake, I heard the calls from birds.
++++ Each place began with its horizon burning,
though, and I worry our Goldilocks earth
++++ is ending. We choose to go in flames,
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or up in smoke like a moth drawn to flame
++++ when just right gets too hot, but each sunrise
still unleashes warbling tenors upon the earth.
++++ For we don’t see birds flying into bell jars
or coal mines, do we? While forests burn
++++ in the west, in the east, squirrels and birds
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gear up for hurricanes. Notice how birds
++++ of a feather fly from floods and flames?
Instead, I wake to the sky’s daily burning
++++ in these – my sunset – years to collect sunrises.
One by one, I drop then in a jar
++++ like candies gathered from my forgiving earth.
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But this burning keeps flushing out the birds,
++++ who welcome the earth as if an old flame
and add their sunrise songs to its tip jar.
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Melinda Thomsen
from Dropping Sunrises in a Jar, Finishing Line Press, Georgetown KY; © 2024
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Melinda Thomsen lets no sunrise escape her. While the eye notices light returning to the world and the ear may welcome the first emphatic burst of wrensong, the soul delves deeper to discover that the light has never left. Some place where I can untangle myself through flashes of beauty – this is Melinda’s journey and her destination. And as we travel with her across the world and through the universe of Dropping Sunrises in a Jar, this might be the promise we hope to fulfill – One day you’ll shape yourself into the bird your soul holds.
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These poems are woven with recurring images of sunrise and sky, birdsong and sunflowers, but in addition to these enticements Melinda’s use of formality has ensnared me. I am a sucker for a good sestina; this collection’s title poem is a great one. I had pretty much assumed it’s impossible to actually write a Heroic Crown of Sonnets (sonnet redoublé) but here Melinda has mastered it. In just 31 pages, this sequence elevates us and carries us into new worlds.
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Purchase Dropping Sunrises in a Jar at Finishing Line Press.
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The Zoetrope Sunrise of the Taihang Mountains
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Waking in a sleeper car, bunked
with three strangers, I raise the shade
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to watch the sunrise, a pale peach glow,
among the snoring. Cornfields stretch
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beneath gauzy clouds as our train enters
a tunnel and metal sounds reflect
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off its stone interior. As we exit,
the ochre sky lightens, then another
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tunnel and again a waterfall of noise.
Now, the sun glows behind mountain
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peaks, and mist rests in the Taihang
valley of lush shrubbery when a tunnel
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eclipses that view. The train
travels through tunnel after tunnel,
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but between glimpses, the sun rises
and we emerge into a village
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with streams edging the foothills
framed with cornfields and box houses.
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A man feeds his donkey.
The child in our cabin coughs.
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For the Chinese, the road over
Taihang means the frustrations of life.
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Where the sun rises through slits,
this zoetrope carries me home,
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or some place where I can untangle
myself through flashes of beauty.
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I had to get out through stillness;
until bit by bit, the womb opened.
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Melinda Thomsen
from Dropping Sunrises in a Jar, Finishing Line Press, Georgetown KY; © 2024
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[zoetrope: An optical toy, in which figures made to revolve on the inside of a cylinder, and viewed through slits in its circumference, appear like a single figure passing through a series of natural motions as if animated or mechanically moved. – – – bg]
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Three aphorisms attributed to Heraclitus (Greek, ca. 500 BC) declare change and conflict as the fundamental characteristics of reality:
On those who step into the same rivers, different and different waters flow.
We both step and do not step into the same river, we both are and are not.
It is not possible to step into the same river twice.
The central tenets of Heraclitus’s philosophy are the unity of opposites and the centrality of flux (change) as encapsulated in the phrase Panta rhei, all things flow.
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