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Archive for March, 2013

By the ankles
he would hold me
at the end
of the long, white pier.
“Don’t fall in,”
he would say.
“Whatever you do,
don’t fall in.”
His enormous,
generous hands
gripped my small legs
and he’d dangle
my sun-bleached hair
toward the water
till it dipped in the lake
and began to drip.
“Don’t fall in,”
I’d be squealing by now,
not out of any real fear,
more with the thrill
of being held at the edge,
knowing there was not
a thing I could do to save
myself, nor was there any
real danger. God,
he was strong.
And big. And so full
of love. And play.
“Don’t fall in,”
he would say,
the release me.

The water always colder
than I’d want it to be.
I’d come up all splutter
and dripping, somewhere
between happiness
and surrender. I’d clamber
back up the old wooden ladder
and beg him to do it again.
What did I know then of falling?

It is not the falling that hurts.
It’s the landing that can be so awful.
Tear of skin, fracture of bone,
terrible thud of flesh. He taught me
the joy of falling when it ended
in a splash.

I come to tell Dad I’m falling.
This time it is by my own hand.
I am falling even now
at the table where we sit.
Falling through the water glass.
Falling through the words as they fall
from my lips. Falling through lies I told.

He offers me his thick fingers, his enormous palm,
still so much bigger than my own.
He reaches for me. I am falling.
He would catch me if he could.
What do I know of falling?
I fall right through his hands.

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There are doors
we never see.
Just this morning
I failed to find
the door that would have led me
to a deeper understanding of your heart.
Sometimes it’s hidden
because we do not find the handle.
Sometimes because we try the handle once
and the door sticks,
a trick into thinking
it is locked.
And sometimes,
distracted by a leaf, a siren,
a blue, blue sky, the door
stands wide open
and still we walk by.

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Readiness

Readiness looks
a lot like emptiness.
Not only the sage brush
beside the road, nearly void
of its thin green leaves, waiting
the warmth to fill out,
but also the blank shelf
where the stories used to sit,
locked in their hard covers.
All that weight. All that dust.
Look at the field, the gray mat
disappears into the earth
even as the green licks
push toward the light,
jockeying to reconstitute the field.
Are we ready for real love?
Everything leads me
to this question.
If we are, it’s not because
we can answer .
This is not a test.
That old cottonwood,
not a leaf on it yet,
has a lot it can teach us
about patience. About wait.
About emptiness.

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These days are a mad gamble,
winter or spring, snow storm or sunburn,

though there is no mistaking
who’s leading the dance.

Overnight the pond ice
is gone. A bird we can’t name

dives below the open water
and we gasp, wondering how long

he can stay under there.
How long have we been under,

holding our breaths, fishing
for something, we know not what.

How long has it been winter?
There is frost in my hair.

Coming up for air, is that what we
are doing? It is hard to not notice

the spells that spring weaves
on the wind—scent of thaw,

scent of emergence, scent of divulgence,
scent of almost green. What are we becoming?

The tulip, it knows what will blossom
at the end of its stem. The jonquil,

the chokecherry, the avens. Are we,
too, predetermined in our unfolding?

I used to think I knew something about
how our story goes. That was before

the spine fell off the book and the pages
fluttered away like so many swooping starlings.

Let’s not try to answer anything. The ground
itself is breaking. The buds are breaking.

The vine is pushing life through what looks dead.
It is not that the prayers worked. It is spring.

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Even while she is singing,
her mask comes off—the cheeks,
the brow, the lips still moving

even after they’ve been discarded
on the tray beside the brown hair.
Beneath that face, another face.

Its lips sing the same quiet song.
The mirror is not surprised.
Into the new face, the scalpel slips

and the next layer pulls away.
Eyebrows, nose bridge, chin, jaw.
And the lips keep singing

as they away they fall.
The woman is no less herself.
She is not who she thought

she was. She is being sung.
The mirror lets slip
the passing layers.

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On your head,
the first of the blackbirds sits.
Another alights
on my shoulder.
Another on your shoulder.
My head. Your lap. My lap.
My other shoulder. It is
a dark, uncomfortable weight,
though there’s also
the shock that it’s happening
at all. Where did
these birds come from?
And how is it they happened
to land here?
And so who could blame us
for laughing out loud
when what had begun
to feel like a burden
turns into a riot
of wing and black feather
and careless cawing,
oh hell, let’s join them,
it makes no sense,
whee! caw, caw, caw.

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Stubborn is another word for it,
like water beaded on a leaf,
like red wine that clings to the side of a glass,
like milk poured just beyond the volume
of a cup that does not spill, rather
builds itself up. Surface tension, the scientists say,
is the force along a line of unit length, where
the force is parallel to the surface but perpendicular
to the line. But you and I, not trained
to speak of life this way, might call it
cohesion or contraction. Or stubbornness—
resistance to an external force. Like when
the missionaries come to knock. Like when
your lover says you’re wrong. Like how when we
feel the tears rising we hold them in, let them well
in our ducts and then pull them back.
Sometimes I wish I were better
at letting things in. Life resists that.

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walk this way

It is cold, oh,
it’s so, so cold,
and still the lover
says find the door,
walk out and come
to me. My breath
hangs in the air
between us, then
disappears. I shiver,
and the lover says
take off your clothes
and walk to me.
There are no promises
of warmth. Come here,
says the lover,
and take your time.
This is not how
I pictured it.
Why is it I’m sliding off
first one sock,
then the other,
my skirt, my slip,
my definition of bliss,
and letting them fall
in a heap to the floor.
Where’s the door?
Oh woman, be brave.
And if you cannot
be brave, be foolish.
And if you cannot
be foolish, then
hush and let the legs
just start walking.

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Merely Players


Time, thou must untangle this, not I. It is too hard a knot for me t’untie.
—Viola, Twelfth Night, Act II Sc. ii, William Shakespeare

Here, love, is my music,
here, my song,
play on, play on,
be sick of me.
And here the ropes
I’ve used to tie
our lives together.
Here the knots
and here the knife
to cut them.
Any anchor
I tether to you,
snap the lines.
Any claim
I make on your body,
your name, erase it.
And let’s meet
again, impossibly free,
as innocent as strangers.

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Mom picks over the blues to find
the barely discernable line
where sky meets clouds. I push

around the reds of the Indian Paintbrush.
She slides me an odd-shaped piece,
mostly green, with the tiniest ruby tip.

Those, she says, are often the hardest
to find, but make the biggest difference.
We have done this for decades, traded

tessellating bits of flowers or castles
or horses or sky. We have interlocked
the bodies of wolves and assembled

mountains and rivers, all the while chatting back
and forth about whatever subjects rise—
which is often something falling apart,

a dream unmet, a breaking heart.
We always begin with the straight edges,
creating the puzzle’s frame. Perhaps

it’s a comforting pretense—that the world
can be edged in. Tonight, the reds
get the better of me. I can make nothing fit.

I try and retry to piece them together
and the holes and knobs resist. But
our conversation surges on despite my

ineptitude. It blossoms in the puzzles cracks,
all those holes unfilled—our talk spills
across whatever boxes we might want

to catch it in. Our losses and wonders
slip from our lips like the clouds
in this jigsaw scene, from blue into deeper blue.

It all seems the same somehow, the sorrow,
the gladness, the then, the now, the doing,
the not doing, the borders, the holes,

as if we’re all part of an infinite,
uncontrollable, ever-changing weather,
but what do I know of forever.

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Unutterable

She slumps at the table. It is shiny,
and like everything else here, it looks new,
everything else except the bodies, gnarled
and sloppy, hunched in and frail.
I cry in an instant, when, from across the room,
I see her, her face sunken,
her eyes closed, as if she is dreaming
she is somewhere else, beyond this room
with its scent of cabbage and medicine.
I do not want her to see me cry, but I walk
toward her table as fast as I dare, coming
to stand behind her wheelchair and kissing her on the head.
I say her name, I say it soft as the kiss that lands
in her short white hair. I say it soft as if the syllables
will break, or perhaps as if I will break in the speaking
of them. I tell her my name, not sure she’ll remember it.
Please, don’t let her see me cry. She opens
her eyes and finds me, and though English
does not have an elative case, we translate
with our eyes. She says my name, with what?
Surprise? And her signature gratitude. I notice her hands,
swollen and blue. And I kiss her head. And I kiss
her lips. Perhaps words will come later. I kiss her again.

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This morning, first day
of spring, it is gray. The snow
is not done with its melting.
Green is still a not yet thing.
I wake with the words of Anthony
de Mello tangled in my dream.
Enlightenment, he says,
is absolute cooperation
with the inevitable. I know
what he means, and I
do not. I have my ideas.
That is the problem.
Like this morning,
how before the sun rose,
I saw, lacing the turns
of this narrow river canyon,
the blue heron, his arced
wings glancing the negative space
where the leaves would be
in the crowns of the cottonwood trees.
Because I had never
before seen one here,
I thought it never would be.
Anthony would suggest
I just say yes to what is,
which is to say yes
to the dull brown mat of the field
and yes to the mud, and yes
to the pushy wind, and yes
to the longing in me for green.
And yes to the wanting not
to want. And yes to the unlikely great
blue wings. And yes to the way
the bird disappeared around the bend.
And yes to the longing that rose
in me then—just one more
glimpse. No? And yes to the absence.

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Someday

For so long I’ve been telling myself
the same thing. Someday, I say,
as if Someday were a fat striped cat.
When I’m paying bills, Someday

comes to the legs of my chair
and tries to leap up into my lap. Someday
comes to sleep at night on my pillow
and purrs in my ear. Someday

hisses at the window when it’s dark
and she senses something’s there.
Someday always wants to be stroked,
except when she doesn’t. And when

I am lonely, distracted by clouds,
Someday curls into my side
and nuzzles my hand as if to say,
though I ignore her, I’m here.

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A woman to celebrate--long live the Karen Chamberlain Poetry Festival, such a beautiful gathering in the name of a beautiful human

A woman to celebrate–long live the Karen Chamberlain Poetry Festival, such a beautiful gathering in the name of a beautiful human

TRTC’s 3rd Annual
KAREN CHAMBERLAIN POETRY FESTIVAL
March 29-31

Thunder River Theatre Company’s third annual Karen Chamberlain Poetry Festival will be held at Thunder River Theatre in Carbondale, Colorado, March 29 – 31, 2013. Everyone is invited to join us as we honor the inspiring life of Karen Chamberlain, who passed away in September 2010.

The theme of the third installment of this annual series is “Poetry Everywhere!” The first evening of the festival, poet Reg Saner will be awarded the Chamberlain Award for Lifetime Poetic Achievement., along with performances by Kit Kalreiss Muldoon, Patrick Curry, Eric and Jacob Walter, Rosemerry Wahtola Trommer, Jeff Spahr-Summers, Debbi Brody, Ellen Metrick, Trinity Lafey, and SETH.

Saturday will feature an award ceremony naming the new Western Slope Poet Laureate, along with performances by M.D. Friedman, Uche Ogbuji, the Word Horde, Jimi Bernath, Barbara Ford, current Western Slope Poet Laureate Art Goodtimes, Roseanna Frechette, Bill Kight, Jared Smith, and Judyth Hill.

Performances and open mics will take place Friday and Saturday evenings beginning at 7 p.m. Sunday morning’s continental breakfast begins at 10 a.m., followed by a gourd circle led by Art Goodtimes.

Saturday workshops, more than a dozen of them, include Open Mic 101 with Kit Kalreiss Muldoon, Uche Ogbuji’s Poetry from the Heart’s Far-Flung Places, Contemporary Music and Poetry: Creative Connections taught by Rick Kempa, Writing the Political Poem with Debbi Brody, Stewart Warren’s “Collaborations: the muse everywhere,” Art Goodtimes and Rosemerry Wahtola Trommer’s Loosening the Knot on the Robe, among others.
One of the highlights of the festival is an art show in the lobby of the theatre featuring the artwork of Kim Nuzzo and Wendy Videlock.

The Days Inn of Carbondale is helping TRTC by giving poetry festival attendees a special rate for the weekend. The Days Inn can be reached by calling 970-963-9111.

TRTC thanks our underwriters Bob Chamberlain, Days Inn- Carbondale, Sarah and Marty Flug and The Thrift Shop of Aspen.
Don’t miss this incredible opportunity to honor a great lady and to grow the poetry in your soul. Tickets are available online at http://www.thunderrivertheatre.com. TRTC is offering financial assistance scholarships to high school students and college students in need for the 3rd annual Karen Chamberlain Poetry Festival. E-mail lonw@sopris.net for details. For more festival information, e-mail karenchamberlainpoetryfestival@gmail.com.

Tickets & Information: thunderrivertheatre.com

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Twelve Reasons

For now, the newspaper strips.
For now, the glue whisked from flour and water.
For now, the long shape of a great blue whale made of crinkled paper
and cardboard and tape.
For now, my son and I crouch on a green tarp in the garage. It is cold. The glue is cold.
For now, my pointer and middle fingers run the long length of the paper to scrape off the excess glue, scraping over the story about another boy. Scraping over ads for big houses and bagels and help wanted. Scraping over half-completed crosswords and the story of the snow that didn’t fall.
For now, we sing the word violin, over and over. Violin, -lin, -lin, violin, -lin, -lin.
For now, we are quiet. I prepare strips. He lays them on the whale, creating the flippers, the great body, the forked tail.
For now, he says, “Mom, This is so much fun.”
For now, I am only here, glue on my hands, glue in my hair, glue on my shoes, glue on my new blue pants and glue dripping between me and this boy as we reach back and forth.
For now, he spreads his palms across the whale, smoothing the headlines across the long back, the head, inside the gaping mouth.
For now, he tells me facts, such as, “Did you know the baby of the great blue whale is bigger than a Volkswagon Bug?”
For now, there is only now, with its cramping leg and its laughter and glue, though outside the garage, the wind is blowing in spring and someone is knocking and already some part of me turns away toward what perhaps comes next.

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Six Noticings

heart in the wall in Colorado National Monument

throwing open
the heart, surprised to find
another heart

*

six months later
dead is more dead
than before

*

the long road
to you not long
enough

*

cracked by joy
stars leak through my layers
an infinite spilling

*

trapped on barbed wire
the scrap
of a red balloon

*

even leafless
the old cottonwood perfect
in every moment

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Selenium

All those worries
with their ragged edges,

all those nights
tossing in their beds,

the fevers, the shivers,
the dreams torn,

the falling, the jammed flow,
the empty bowl,

I would soften the world
if I could for you,

But it softens us,
over and over,

turning us, tumbling us,
scraping away

the layers,
even the one

our names on it,
even the one

we thought
we could never

do without.

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Not one puff,
not one wisp,
not one high
cirrocumulus,
no altostratus
no cumulus whorls
just blue, just blue
no cirrus swirls,
and could a girl
become a wing,
become a word,
or anything
that moves through blue
like arrow wood,
like zephyr, breeze,
I would, I would.

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Grace

Spring comes to the sidewalk
in the longer days of March.

The sun warms the slab, and beneath
it the seeds of old weeds start to stir.

They are tiny. And who knows how,
but in the dark, they begin to grow

and put down roots and,
though it seems unlikely,

begin to push through the concrete itself.
First a hairline crack. This fissure is somehow

sufficient to provide light and water enough.
Soon there are tendrils, then whole leaves,

then the yellow blooms of new weeds.
What is it in us that knows to push?

I, too, have wintered in a dark, thick cast, one
of my own making. Cramped and dormant,

I had stopped believing in hope.
But it was not hope that cracked the shell.

Nor was it anything that I did.
It was life’s longing for itself.

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Swell, stutter,
tremble, flutter,
stumble, grasp, contract,

waddle, falter,
rise up, wither
wander, linger, gasp,

squat, break,
spread, quake,
writhe, clench, fall, breathe, groan,

wrestle, shake,
push, unmake,
release, arch, push, hum, moan,

shudder, sweat,
quiver, let,
crown, push, open, tear,

cradle, hum
unfold, undone,
stare, wonder, weep, revere.

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