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Posts Tagged ‘ars poetica’

One in Deep December

 

 

the night asked me

to read its poetry, all that ink

scrawled across the world—

 

reading late without the light,

I, too, become page, poem

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and we will go

to the haiku cottage

in the mountains

where there are no roads

and there are no pens

and there we let ourselves

be written, the seasons

will shape our syllables,

the moon shall be

our cutting word,

and every time we think

we know what line comes next

we will thrill at how new

the world can be, sliding,

escaping, unswirling,

and calling follow me,

bring only wonder,

follow me

 

 

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pulling on my mask

as my nom de plume

unbuttons her blouse again

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It’s not so much because

poems make things better—

don’t heal the sick, don’t

stop a war, don’t make the bread

any less stale, don’t bring

people back from the dead.

But poems do have a way

of making me feel more

okay with the world not

being the way I wish it were.

They say yes to the world,

again and again, telling it

like it is. And then,

like a dandelion

already gone to seed,

they wait for the gust

that will strip them bare

until all that’s left

is a hint that once

there was something

lovely here.

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When I met Amadeo Modigliani,

I knew of hunger

what did I know of love?

I was in Paris. On my honeymoon.

As my new husband met with other women

i met with Amadeo, an impoverished Italian Jew.

His paintings not yet famous.

We would walk Parisian streets

in the warm summer rain

and snuggle under his black umbrella

and recite by heart poems from Verlaine together.

He begged me, don’t go back to Russia.

Russia? I said, where is that? It’s Russiya.

Don’t go back to Russiya, Anna.

I did.

 

That winter he wrote me in Petrograd:

Vous êtes en moi comme une hantise;

You are obsessively part of me.

I knew it was true,

that he was more myself

than my own familiar hands.

Back in Petrograd,

I would touch my lips in the mirror

and say my own name

and believe my voice was his.

 

I think of Lot’s wife.

How they told her not to turn,

to not look at Sodom, her home

even as it was being destroyed

but how could she not

turn to the green fields where she had sung,

turn to the bed where her children

were made, turn to the place

of her blood?

 

When I turned back to Paris

because his love felt like home

even though i knew it would be destroyed,

I was not transformed into salt

but into chalk, black chalk, his chalk on paper.

 

I did not know then

how that I would come

to treasure his vision,

how I would tape his drawing

on the wall in every house

i ever lived in so I could live again

between those lines in a time

of wild honey, scent of beeswax candles,

his amber eyes.

 

Amedeo always drew me naked

in long spare lines—

Always from memory when he was alone.

With me, his hands

were too busy for chalk.

 

He’d slip off my dress,

and in my breast,

he’d visit my beloved Russian steppes,

in my waist, he buried himself

in Siberian snow,

and between my thighs,

he was baptized again and again

in the floodwaters of the Neva River.

 

They’d not yet made

a corset that will fit me—

how could it when I

am all of Russia?

 

Oh I loved him. Wrote him poems.

Left red roses strewn on his studio floor.

How airy the light was then.

How I loved being what they would later call me,

 

 

polovina monakhini, half nun,

polovina shlyukha, half whore.

 

 

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I want to give you words,

as if they might do what

the body can’t do—

 

as if with verb I could

meet the place in you

that most wants to be touched,

 

as if with noun I could

know the parts of you

that most want to be known.

 

I want to give you

the most faithful adjective,

the one that cradles you

 

before you even realize

that you need to be held—

once I heard a song

 

written by a man

for another man, a song

that swelled, then took

 

two steps back,

then swelled again, then

took two steps back

 

before finally rising

to an unsteady ledge

and my heart

 

beat outside of my body

and my eyes wept

with tears that were mine and not mine,

 

and I want to give you words

that will find every ache in you

that longs to be soothed,

 

words that will seek out

each lonely place, that will find

every branch of you—

 

not like a wind

that is here and gone, no, more like

the bark that gives everything

 

to protect you,

the bark that grows as you grow

and takes its shape from you.

 

 

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Damn Thirsty

 

 

 

Scent of Darjeeling

escapes through

the poem’s cup—

from miles away

you smell it,

twist of citrus,

muscatel—

try telling your thirst

it’s just words,

the delicate

flowering in the air,

the warmth

of the cup,

the fruit

making merry

on your tongue.

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One Because

 

 

 

Sometimes

nothing

happens

 

still we arrive

to be wrestled

by a poem

 

sometimes

what emerges

has wings.

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I could tell you it doesn’t hurt, but

that’s a lie. Still, I choose

to dive into what’s frozen,

 

entering the cold with no armor.

Naked and alone. I could tell you

I want you to join me,

 

and that is partially true.

After the shock, the shudder,

the clench, we can stretch

 

our limbs on a warm flat rock

and let the sun write its blushing graffiti

across our skin.

 

It is not our toughness

that will save us here, but

our curiosity.

 

Let us not come for answers,

and if we find some, let’s not

fill our pockets. Let’s toss them

 

like stones into the lake,

and let’s not dive in after them

no matter how strong we are,

 

no matter how deep

the water, no matter

how clear.

 

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Into the Poem I Tuck

 

 

 

a left turn,

a river stone,

straw,

the moon,

an empty frame,

the scent of books,

a wide-brimmed hat,

a question mark,

ripe peach juice, maps

to nowhere,

unfinished songs,

a trunk, blue mornings,

fields of gold,

uncertainty

of what comes next,

the promise

I will try

again.

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One Unfathomable

 

 

 

this ornery pen

even when I tell it I’m too tired

it keeps writing love poems

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Muse

Muse

 

 

It’s like the absence

where the cat used to come

and rub against your leg

 

and you had some hope

there was real affection,

perhaps she even favored you,

 

you were, after all,

the one who fed her—

no wonder she nuzzled your shins—

 

but that was before you tried

to pick her up and rub

her belly. Eager fool.

 

It was days before the cat

let herself be seen again,

though you set out cream,

 

though you promised loudly

not to pick her up.

God, just to feel her

 

rub against your leg.

That would be enough, you

tell yourself, but you

 

and the cat both know you’ll try

to pick her up again, your hands

desperate as a blank page.

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But you got it all wrong,

I wanted to say to that gift horse.

You brought me what,

stubbornness, devotion and persistence?

What kind of gifts are those?

I wanted to be a poet.

The gift horse reared and ran off,

leaving me with a thousand thousand poems

to read, a pen that will never run out,

and a whole lifetime of blank pages

just waiting to be written.

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Dear Reader,

Thank you for joining me

in this practice. It’s not easy

to write a poem every day.

In fact, it is not easy to write a poem at all.

As one of my heroes, A.R. Ammons once said,

why would anyone sit alone in a room

picking away at their own liver?

It’s not always easy to read poems, either.

But you do. Thank you.

Part of me would like to tell you

that I write every day because I can’t help it,

because I am driven to do it.

That sounds romantic and chosen.

The reality is much more practical.

It would be so easy to stop writing.

The reason I write every day

is so that I keep writing.

And the reason to write at all

is that it invites me to unlearn

whatever I think I know, to be curious

and look for connections

and remember to be more present.

And, though it sounds dramatic,

poetry has saved my life.

When I sit down to write a poem,

I make myself four promises.

One: I will write. Two:

I will write something true

(that does not mean factual).

Three: I will not know the ending

before I begin. Four:

I will send it to you.

Why do I send it to you?

Accountability. And because

at some point you invited me to.

And because when I share a poem with you,

I feel as if we enter together

into this big conversation

that has been going on between poets

and readers across continents and centuries

and cultures and languages, an ongoing

conversation about what it means to be alive.

Though we may not know each other,

I trust that we, like all humans,

are more alike than different,

and I believe that you, like me,

both long for and rail against connection.

As if we had a choice. As if we aren’t

already deeply connected

in ways that poetry suggests and physics

proves.

Though I write every day, I would never

consider what I’m doing an exercise,

though perhaps it’s making me stronger.

It’s a practice that I know I will never get right.

I am always too much in the way,

but that doesn’t stop me from trying again

the next day.

If I lived alone on an island with no computer,

no paper, no pen, I’d like to think I would still

be composing poems, perhaps in sand, perhaps

just in my head. I love the art of it, the way words

can sing when strung together just so.

But it wouldn’t be as much fun as sharing them,

which is why I am writing to thank you.

Sincerely,

r

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She is still sitting there at the green counter top.
Her white screen is still blank. In the last 14 minutes,
I’ve seen her type and delete a few words at least nine times.
I don’t think she has ever ironed that dress she is wearing.
Oh! Look! She got up and walked to the fridge. Got out
the eggnog. Ah, and the Southern Comfort. Swirling them
together in a glass. Gosh, her shelves sure are a mess.
Oh, some nutmeg on top. Nice touch.
Must be stiff, that drink. She winced a little before she smiled.
Okay, and she’s back to sitting down at her blank screen.
Twisting her hair. Nope. Chin in her hands.
Poor thing. I’ve gotten all my laundry folded, my dishes done,
my shelves organized and my windows washed
and all she’s managed to do is delete and get a drink.
Wait, is she typing? Yes. A couple lines, a stanza break,
and she’s going into the next couple lines, no, no,
her right pinkie finger is going for the delete button again …
and she’s up. Looking for something in the cupboard.
Potato chips. The kind with ridges. Is she really going to eat
that whole bowl? She didn’t even look at the nutrition panel
to see how many calories and how much sodium there might be
in those, what, five servings? And she’s about to sit, wait, no, that’s it?
The show is over? Some eggnog, some chips and a whole
lotta blank? Dang, I can’t wait to tune in tomorrow.

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Some days we can’t find
the poem, at least not
the one we want to write,

the one about purple wisteria,
for instance, or the one
in which the raven appears

a sign that magic is present. Instead
the poem waits to be found
on the back of a paint sample card

or it’s cracked inside a blue glass ball.
You can glimpse it, there!
and it’s beautiful, dewy, but when

you find the pen, the poem
is as missing as the tin man’s heart.
Each time you get close,

it dives into the swimming pool,
though there is no diving allowed.
It tells you there is no happy hour

on Saturdays. It invites you to a dance party,
only you don’t have a car and it is much
too far away to walk.

For a moment, the poem was
a red tailed hawk, but the circles
it made were too high to read.

For a moment, the poem
pulled like turquoise wool
through your fingers, but then

every turquoise stitch you knit
uncounted itself and unraveled.
It is hard not to think it’s something

you’ve done. It is hard not to think
you’ve let yourself down, or even worse,
that you’ve let down the poem.

I’m here, you say, to the air, to the hawk,
to the purple wisteria blooms.
I’m here, you say to the raven, the road runner,

the blue, blue glass of the blue glass ball.
But you’re too in the way, and the more you try
the more it’s like trying to catch a cat that knows

you want to clip its claws.
And the poem slips out of the dragonfly wings
you found on the path this morning,

and it steals the silver from the nightshade leaves
beside the Rio Grande, and it walks out of the room without you.
Even it doesn’t know where it is going.

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No words so perfect
as the crow.
Although I try.
to verbalize
the changing color
of its eyes,
the widening circles
of its calls,
the syllables
deny me. Only
crows can fly
on wings so black
they’re light. And words,
well I adore
those, too, the wrestling
with, the humbling
by, but moreso
I do love
(oh hush)
the crow.

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Dedication

I wish you were writing this poem
about those two days you hid in the woods,
partially scalped, your legs broken, your two kids
with you, hiding from the man who promised
to kill you when he came home.

I wish you were writing this poem
about the places you go in your mind
when the men mount you and start
their furious pumping.

I wish you were writing this poem
about the day you knew for sure
that you were not beautiful.

I wish you were writing this poem
about the look on your child’s face
the moment you slapped her
for calling you Bitch. And another
poem about the moment after.

I wish you were writing this poem
to the woman who slept with your husband,
asking her everything you know
you will never understand.

I wish you were writing this poem
about the way the light hit the empty room
just after you packed all your things to leave,
and how in that light for a moment
you thought you could stay,
loving in that moment the room, the potential,
and still you knew you would go.

It would not comfort you, this poem
that you are not writing, would not make
one thing better. Would not fix, not heal,
not redeem nor transform.

But something would happen,
something unnamable and mysterious—
and from that broken, torn,
shredded place, you might create,
surprising yourself, a little more space.

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for Valerie

implausibly balanced
on strappy bright pink heels,
the poem shows its scars—
I long to touch them gingerly
but they touch me

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