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Posts Tagged ‘ekphrasis’

Since You’re Gone


 
 
My heart is like a well-used couch,
the kind with a dent where your body
once curled in, the cushions threadbare
from years of use; the kind of couch
that remembers every time you gave
it your weight, that recalls every story
that spilled from your mouth,
your words now woven into its upholstery.
Since you’re gone, the picture of me looks
like less like a picture of me and more
like a picture of where you used to be.  

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                  with thanks to Rob Schultheis
 
 
 
She is beautiful, the woman
on the wall with one long braid
and an owlet perched on her hand.
Not beautiful the way young girls dream,
but beautiful in the way old women dream.
which is to say she is deeply seen.
Sometimes I swear she watches me
as I slice the shiitake, as I chop the kale.
Her eyes are serious and always keen.
Her gaze makes me beautiful, too,
beautiful the way a morning is beautiful—
because it arrives every day as if
night cannot contain it; beautiful
the way the sun is beautiful, because
it needs no praise to share all its light.

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Please, don’t paint me today.
Maybe sketch me in pencil,
arms dangling soft by my sides.
Perhaps another day
I will gaze at the world
straight on, chin up,
eyes full of challenge
lips curled in risk.
Perhaps another day
I’ll stand with defiance,
long hair tossed back,
hands on my hips.
But today, dear man,
keep the eraser close.
I’m more paper than gesture.
more blank than bold stroke.
Today I have no mask,
no message, no need
to be seen. In fact,
Gustav, close your eyes.
Let me ask you about
when you met Typhon
and the Gorgons
and how things changed
from snakes to angel choirs
from skulls to golden kisses.
Here, good man.
Show me your face.
Please, hand me the pencil.

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We learn to love by being loved.
            —Rafael J. Gonzalez, personal correspondence


There are days now when I feel so embraced by life
it’s as if life itself is pulling me into its great, strong arms,
surrounding me with warmth, tenderness, radiance,
as if life is whispering into my ear, loving and low,
I’ve got you, sweetheart, I’ve got you.

Not that I’ve forgotten how fear enters in
with its wide-eyed hunger, how grief gnaws at raw flesh,
how the heart’s walls fall down in cacophonous descent,
but there are, I must tell you, golden hours sparked with joy,
love-dappled days steeped in flowers and song

and I can’t pretend it’s not beautiful,
can’t not share how the same life that ravages us
also gathers us in so gently, so surely
that we, too, become golden, become sun and moon,
become rapturous bloom, become kiss.


inspired by The Beethoven Frieze (1901), Gustav Klimt

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What the Mermaids Sang

            after Mermaids (1898) by Gustav Klimt
 
Truths are hidden from the surface.
            —motto of Carl von Rokitansky, head of the Vienna School of Medicine, who influenced Klimt
 
 
We’ve traveled to the waters dark and cold
where the only light to be found
is the light you learn to make with your own body.
We have traveled to the depths
where we were crushed by pressure,
where the only way to move is slow,
where the only nourishment is what is dead,
and now we arrive on shores of gold.
 
There are seas in you, deep trenches
you’d rather perhaps not explore.
But you must meet the mystery—
must be changed by all you cannot know.
It will widen your eyes forever.
Dear swimmer, this change is the treasure.

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           after Gustav Klimt’s “Tragedie
 
 
even now beneath
the stony gray mask of control
I feel it growing
a shimmering flower of purest gold
the naked truth
 
*

To sign up for the class that inspired this poem (and yesterday’s, too)–it’s not too late!–see below. Though the three-week class began last Friday, you could watch the recording of the first class and join us for the next two sessions. 

Love, Sex, Death and Everything: A Creativity Playshop with Gustav Klimt
Nov. 3, 10, 17, 11a.m. -1 p.m. MST
 
Three weeks of exploring what lurks in the depths of humanity. Each class consists of a deep Jungian-oriented dive into music and myths behind Klimt’s images led by Kayleen Asbo, interwoven with Rosemerry leading an exploration of mortality, passion, terror and beauty in your own creative writing practice. For more information and to register, visit here.

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In a Downpour

On an uphill slog
of a day,
your real smile
is like a single
red umbrella
in a long pageant
of black umbrellas.
Suddenly,
it’s all I can see.

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This Land


Grieving is a wilderness.
—Tara Brach, “Being with Love, Death and Grief,” July 13, 2023
 
 
Grieving is a wilderness I wear,
a long flaring coat
with cuffs of deep water
and hems lined with deserts
and birds that migrate
across my chest.
As soon as I think grief is one thing,
it’s another, vast expanses
with no known paths—
cracks to fall through,
cliffs to climb.
Sometimes, I slip from grief’s heavy silks,
and gaze at it as if it’s art.
There is terror in its folds.
But with buttes of gold
and storm-blue skies,
grief is also, my god,
so beautiful.
 

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When she opened the door,
she could not have known
how the winds would enter, too,
how soon the sands of loss
would blow across the hearth
until drifts filled every corner,
rising in every room,
rising until she knew
the door would never close again.
All she had wanted
was to let in the light.
She could not have known
how the sands of loss
would bury the shovel,
bury the broom,
bury even her will to believe
she could ever again
lock out the world.
How gently now they hold her,
these silken dunes she once
tried to exclude.
She curls into their drifts like a nest.
So easily now the moon enters
spilling shine across the sand.
No longer needing to knock,
it offers her all the light it has.


This poem was inspired by a work of art by fine art photographer Marisa S. White, “Drift into the Unknown.” BY THE WAY!!! (I wasn’t going to tell you about this yet, but what the heck!) … this image is also the cover art for my new poetry album (!!!) Dark Praise, 14 poems of “endarkenment” with amazing guitarist Steve Law. More on that soon. This image will be paired with another poem for the album, but when Marisa asked me to write a poem specifically for this image, how could I refuse!? It haunts me, this image–in the best way. 

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Oh Vincent,

There is in my heart
a small yellow room
with a small wooden table
with a dull yellow cloth
and a rounded clay vase
with your name scrawled in blue,
and it’s bursting with sunflowers,
all of them open, all of them turning,
turning toward the light,
which is to say the flowers face every which way.
There is light everywhere we dare to turn.

Consider this a love letter, Vincent,
a letter sent back in time,
a letter that impossibly arrives
just when you despair,
just when you believe no one cares about your art,
the letter that reaches you to say you are loved
in that exact moment you feel unlovable.

Let this be the letter in which you see
the sunflowers you sowed a hundred thirty years ago
have re-seeded themselves in me
and now grow rampant in my days,
golden petalled and flagrantly lovely.
And your stars, swirling, your wheat fields goldening,
your cypress reaching, your church bells unsinging,
you will find them all my words.

This is how love replants itself—
more love, old friend, more love.
Because you were so truly you,
so full of hope, so full of fear,
because you risked your everything,
I, too, will risk, will dare.

Consider this a love letter, Vincent,
the one that helps you see
how your life is linked to eternity.
Let this be a letter that says thank you, Vincent,
for teaching us new ways to see beauty.

Perhaps this letter will arrive
when you are in the yellow room,
or perhaps the asylum, perhaps in Neuwen,
and you, surprised to find it addressed to you,
will receive it and let the words in,
then hear your own startled voice saying,
It matters? as you pick up your brush
and begin again.  

*

My dear friend composer/pianist/historian Kayleen Asbo and I want to offer you the video recording of our hour-long conversation about Vincent Van Gogh, loss and The Art of Creative Collaboration– click here.This project has been such an important part for each of us in holding on to hope and beauty during a dark and challenging time. If it speaks to a part of your own aching soul and you want to share it, you have our blessing to forward it to whomever you wish.

If you want to offer a donation in support of our work so that we can professionally record our project in both audio and video format, click here for our Go Fund Me account. And we have an anonymous donor who will match all funds donated before July 30! 

If you want to engage in the full collaboration–Vincent’s paintings, Kayleen’s music, and my poems–I hope you will join us in “Love Letters to Vincent” on July 29, the day Vincent died, at 11 a.m. mountain time. We will present the entire collaboration, sending love letters back in time to honor this man who changed the way we see beauty. There will also be a chance to participate in a group creative activity, responding to his work, creating a giant love letter for Vincent. Sliding scale. It will be recorded and sent to all who register.

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