Category Archives: Book Reviews

Chapbook Spotlight: Two Poems from Roberta Beary’s “Deflection”

June is poetry chapbook review month at Reiter’s Block! I’ve been catching up on my large collection of small press gems, some newly published, some winners of contests from a few years ago. Like an exquisitely arranged plate of sushi, the chapbook is a perfect way to savor the bold, exotic flavors of poetry in a manageable portion size. The thematic interplay among the poems can be more apparent in a shorter, focused collection.

Roberta Beary’s Deflection (Accents Publishing, 2015) is a resonant, poised collection of free verse inspired by Japanese poetic forms. The book embodies the haiku aesthetic of saying much with little, of self-restraint as testament to depth of feeling. The majority of the poems deal with loss: the end of a relationship, the death of a parent, a son’s transformation into a stranger who makes risky choices. Yet the austere poetic style gives the reader a breathing space to assimilate each stab of insight before the next comes. The haiku-like three-line stanzas that interrupt or close certain narrative passages offer a welcome shift, a moment to be mindful of beauty that exists apart from our personal dramas.

Follow Roberta Beary on Twitter @shortpoemz and visit her website for more sample poems and “photoku” (haiku paired with images), bibliography, and schedule of upcoming readings.

She has kindly allowed me to reprint the following poems. I was particularly struck by the final image in “Before the Outing”, which sheds a more sympathetic light on the parents’ discomfort with their son’s orientation. Whether the narrator’s perception of danger in this partnership is true or a projection, it suggests that homosexuality unsettles people because male sexual desire makes its object vulnerable.

BEFORE THE OUTING

i

my son’s boyfriend
three words i practice saying
alone in my room

ii

rainbow flag
father pretends
not to see

iii

not something
that’s contagious
still you step back
from my son
and his boyfriend

iv

rainbow flag
mother tiptoes around
the subject

v

with knife in hand
my son’s lover dissects
the last white peach

****

MEMORARE

May is the month of Mary every day in May
be sure to wear something blue in Mary’s honor
that never was it known that anyone who fled
to thy protection implored thy help or sought
thy intercession was left unaided patent leather
shoes are not allowed because boys must be
kept free from temptation to thee do I come
before thee I stand sinful and sorrowful always
remember your guardian angel despise not my
petitions but in thy mercy hear and answer me

meth addict
the baby face
in my wallet

Workers and Lovers Unite: Bracha Nechama Bomze’s “Love Justice”

Bracha Nechama Bomze’s beautiful debut book, Love Justice (3Ring Press, 2015), is a book-length love poem, a family memoir, and an epic of social change. The title’s multiple meanings are the seeds from which each of the book’s themes branches out and blossoms.

As an imperative, “Love justice” recalls the Hebrew prophet Micah’s summation of God’s will: do justice, love mercy, and walk humbly with your God. This idea is reflected in the history of Bomze’s and her partner Carol’s Jewish immigrant families. Their ancestors bravely escaped Eastern European tyranny and contended with poverty and prejudice in America. The Jewish tradition of labor activism is one of Bomze’s chief points of connection with her heritage. In one of the most powerful passages in the book (read it here), she describes the 1911 Triangle Shirtwaist Factory fire, a notorious industrial accident where 146 young women workers died because the bosses had locked them in to prevent theft. Carol’s grandmother was almost one of them, but had been denied the job because of her reputation for union organizing. Bomze asks, “What if, somehow, Triangle bosses had chosen Sheindl?/Then never could I have chosen–you.” All victims of injustice are the poet’s spiritual ancestors, laying a charge on her to treasure life and to work towards tikkun olam, the healing of the world.

This leads into the second meaning of “Love-justice”, namely the right to love as we choose. Woven throughout the narrative are sensual, joyful love poems to her life partner. If one of the book’s story arcs is a journey of loss–the deaths of their parents, the historical shadows of the Holocaust and September 11–the other arc culminates in Bracha and Carol’s marriage in Provincetown in 2008. It’s hard to choose just one section to quote, but I especially relished the imagery here:

1983:
In the hot July of your persistent seduction
after our race across Boiberik Lake, which I win,
in your moist purple swimsuit you entice me to a macramé hammock
split in a way that flips me toward you.
To avoid falling through the tear in the weave
I reach my twenty-six-year-old thigh through the opening, my tanned foot swings us
gently swings us
toward one another
My nostrils press into sweet perspiration, silken nape hairs enticing as cherry blossoms,
enticing as peach rose petals, mimosa, freshly-juiced guava.
I imbibe flowing drafts from your satiny-wet neck: I do not drown.
Day after night after month after year I drink from the glossy garden
blooming at the top of your spine.
You humor me, joke that I’m obsessed, you have no idea why, until when
one day, we hike a rainforest trail–bromeliads, wild orchids, fronds shaking with monkeys.

A hummingbird, in shimmering iridescence,
insistently follows you down the leaf-strewn path
dipping its thirsty proboscis again and again and again, wanting the nectar of your nape.
The vibrations of its eager buzz tickle your skin
until, confused, frustrated, the opalescent jewel speeds away to a flower it can sip.

Bliss after bliss after bliss

The third significant meaning of “Love-justice” relates to a topic close to my heart, adoption. Bomze relates a heartbreaking story about her young birthmother, forced to relinquish her child because of social stigma in the 1950s, and the “closed adoption” system that prevented mother and child from discovering any identifying information about each other. In her 40s, the poet finds out her birthmother’s identity and story, but is never able to speak to her directly because the other woman can’t bear to open up those old wounds. On top of that, her adoptive mother couldn’t give her the love or the answers that she desperately needed. (In the excerpt below, Zadie is Yiddish for grandfather, and yahrtzheit is the anniversary of the person’s death.)

I remember, terrified, in the way,
waiting for death but not knowing it,
struggling to comprehend Daddy’s kind but much edited explanation
of Grandma Leah Blima’s agony
incomplete, mystifying, yet whoppingly clear.
I’m just a little girl
a perplexed, questioning, mortified adoptee
from the shaming 1950’s system of locked secrets–
My mother,
caregiver and only child to hospital years, hospice months
My mother,
a woman of scant patience
and wild temper,
never forgave herself her infertility,
hurled her grief and rage at me,
“substitute” child for the “natural one, never born.”
Female, like herself,
not the male first-born she told me she’d have preferred,
to the girl child she never could quite scrub clean–
even in a way-too-hot bath
even if she had to use her nails…

Decades later, a stooped woman, still an admired holiday chef
she blurts out, weeping to me in her Rosh Hashanah kitchen,
between wooden-spoon stirs of chicken soup with garlic and dill,
she shrieks and shakes, determined to rip open another secret:
Someone in the family…somene
violated her body when she was a girl…
“It was…it was…No, no, never mind!”

I stopped lighting candles on her Zadie’s yahrtzheit.

Through all these personal and political traumas, the poet continues to praise the natural world that feeds her soul, and the life partnership that comes as a fairy-tale happy ending to a lonely childhood. This book inspired and delighted me, and I hope it will do the same for many other readers.

Leah Umansky’s “Mad Men” Inspired Poetry

The final season of the AMC TV drama “Mad Men” begins this Sunday, filling me with anticipation and some first stirrings of withdrawal as I contemplate saying goodbye to my idol, Peggy Olson (above). How to keep the magic alive?

Leah Umansky’s poetry chapbook Don Dreams and I Dream (Kattywompus Press, 2014) sustains that lingering atmosphere of cigarette smoke, perfume, and unfulfilled dreams. Though the book makes more sense if you have a general idea who Don, Peggy, Roger, and Joan are, it’s not only of interest to fangirls like me. Rather than recapping events from the show, the subject of Don Dreams is the cultural ambience of the 1960s advertising agency and the America it created. Catchphrases, images, and snippets of dialogue are layered atop one another like the collage of peppy poster girls and noir silhouettes in the show’s opening credits. The voice, or should I say voices, of this book mimic the subliminal background chatter of television.

Umansky understands that “Mad Men” is fundamentally about how our identities are constructed by what we desire. And what we desire–such is the promise of advertising–links us to whom we desire. Or, as Peggy said in her career-defining pitch for the Burger Chef fast food chain at the end of last season, “We can have the connection that we’re hungry for.” In the poem “Don Discovered America”, the lonely ad man ends his seductive plea thus:

     [Here’s a fact from Don: 45% of people see the color
blue as the same color.]

I want you to see what I see. My blue. See my blue.
I want to be the 55%. Be with.

Try one on with me.

The author has kindly allowed me to reprint the following poem. After reading, you’ll want to check out the “Mad Men” episode recaps and fashion analysis at style mavens Tom and Lorenzo’s blog. They’re counting down the days till the next episode with photographic highlights. My favorite, of course, is 8 Badass Peggys.

It’s the Selling

The most important word is N-E-W !! And, in the face of optimism

It’s all about getting things done. You need to feel
something

That’s what sells. That’s what steals over you, across your face,
down the back of your neck; into the flush. It’s the selling.

Some part wanders off and actually likes the remembering.

The remembering of being told what you like and what you don’t.

It is almost-precious the way the back of the head is both cushion

and target [and I’m aiming]. You can feel after it, but the
reality of the sale

is there: you want to be told. Your personal territory is

harvested [Some would argue deforested] but remember the feeling

right before you put your finger on it; right before you knew

what it meant to want. It was delicious. It was savory.

It was: pure. Now. Quickly now.

Go brush away those crumbs—

That remembering.

               [or are you saving those for later?]

Lenten Reading: “The Passion of Christ: A Gay Vision”

 

 

gay_passion_cover

In Holy Week, which begins next weekend with Palm Sunday, Christians all over the world meditate on Jesus’s suffering and death. Catholics and some Episcopalians enact the liturgical drama of the Stations of the Cross, depicting the events leading up to the crucifixion. There are many ways to find ourselves in this story, a large cast of characters with whom to identify, both guilty and innocent. And sadly, there are many LGBT people who feel crucified by the church itself, cast out and forbidden to imagine a Christ who is for them and of them.

Douglas Blanchard’s 24-painting series “The Passion of Christ: A Gay Vision” stretches loving arms across this divide. A new book by Kittredge Cherry (Apocryphile Press, 2014) brings these images together in book form for the first time. Cherry, who curates the Jesus in Love blog about LGBT spirituality and the arts, here gives invaluable in-depth commentary on the paintings’ inspiration and their place in art history. Each chapter includes a prayer to say while contemplating the image, like a Stations of the Cross liturgy. Toby Johnson, formerly of Lethe Press and White Crane Review, closes the book with reflections on new directions in gay spirituality.

This suite of paintings is radical by virtue of its traditionalism. Inspired by 15th-century master Albrecht Dürer’s woodcuts of the Passion, and visually quoting famous works such as the Isenheim Altarpiece, these paintings boldly situate themselves in the mainstream of Christian iconography. At the same time, Blanchard transforms the meaning of those scenes by placing them in contemporary urban settings that include LGBT characters. The Jesus figure, a clean-shaven, simply dressed, handsome young man, could be (but does not have to be) read as gay. There is no doubt, though, that his followers include people of diverse sexualities, gender identities, ethnicities, and class backgrounds, while the crowds attacking him bear close resemblance to the hellfire-spouting protesters on the fringes of Pride marches.

I found this book very helpful for my own prayer life. I would love to have a stronger heart-level connection with the person of Jesus, but often struggle to connect with the ubiquitous beard-and-bathrobe representation of the Savior, which feels cliché and remote from my experience. I felt a stronger bond with Blanchard’s Jesus, who could be a divinized version of my imaginary gay best friend/novel protagonist, or simply a safe male friend and ally to my queer family. I also loved the depiction of the Holy Spirit as a female angel.

Whether or not I picture Jesus as the man in these paintings, this book gave me permission to imagine “my own personal Jesus” in the way that speaks to my soul. What makes him Christ is not his gender, his archaic clothing, or the straightness and whiteness that Western orthodoxy has attributed to him, but his works of love: speaking truth to power, creating community for outcasts, laying down his life for his friends. By that measure, the Jesus in this book is the real deal.

Get your copy here!

Watch the video “Introduction to the Queer Christ” at the Jesus in Love blog. It includes a selection from Blanchard’s “Passion” and other artists featured in Cherry’s book Art That Dares: Gay Jesus, Woman Christ, and More.

Two Poems from Ellaraine Lockie’s “Where the Meadowlark Sings”

Widely published author Ellaraine Lockie is known for narrative poems that capture the unique character of a place and its people. In her eleventh chapbook, Where the Meadowlark Sings (Encircle Publications, 2015), she returns to her native Montana to honor the land that her parents and grandparents farmed. This prizewinning collection includes humorous character sketches, elegies for towns hollowed out by economic collapse, and love songs to the landscape that revives her spirit. In “After Montana”, a poem near the book’s end, she begins, “The guys in the California coffee shop/say I look like I’ve been with a new lover,” which prompts a tour de force of erotic descriptions of her communion with the prairie:

…I could tell them how annual equals cutting-edge new
When wind licks with different tongues each time
Runs a reborn hand over your hills and gullies
And a bee with black lingerie wings humps the blossom
of a Canadian thistle…

Lockie reveres but doesn’t sentimentalize her local history. In “Facing Family Tradition” she recalls her family’s racist slang for Brazil nuts, and suggests that although it was due to ignorance and inexperience rather than malice, it’s still a legacy she has to atone for. Several poems explore the isolation and hardship faced by prairie women, as well as their resourcefulness. She kindly shares two of these poems below.

Abandoned Garden

Lying on the long side of time
a partially buried Meissen vase
Crackled like paper crunched in the fist of an accident
Its mouth growing sweet peas and pansies
A pioneer woman’s attempt to civilize an untamed land
As though she were out gathering a bouquet
for a quilting bee in her homestead house
when some tragedy befell her

The house now as much a ghost as she
Yet she lingers in these immigrant flowers
that survive encroachment from native clover
blue flax, sage and morning glory
Butterflies that pollinate from one to the other
arbitrating the struggle
Like the diplomacy of a woman
caught between a hardcore German husband
and the America around them
Between their children and the razor strop
that hung on a toolshed door

She lives in the flames of poppies she planted
that have burned through a century
of hailed-out crops, drought and grasshoppers
Today the prairie breeze breathes the same scent
as her heirloom handkerchiefs
The sweet violet toilet water sacheted in drawers
and splashed on after a well water wash

She lives in the pressed purple yellow
pansies that look out from
a grandmother’s diary and recipe books
Butterflies, as they take flight
in the draft of turning pages

 
Winner of the Women’s National Book Association Poetry Competition, 2013

****
Seasons of Extreme

The husband tells her
she can buy the coat when an 8 fits
But her 14 can’t do the math
fast enough for this fashion season
She dreams of the hood’s faux fur trim
haloing the Very Berry lips
she wears to her women’s book club
When he thinks she’s visiting a rest home

He prefers the company of his old pickup truck anyway
Craves that control with the flex of one foot
But his hands, how they turn tender
at the touch of steering wheel
Unlike high octane’s stranglehold on the environment
which he considers liberal bullshit
Believes what his bar buddy said in the Mint
That cosmic rays from the stars cause global warming

He’s as out of touch as the antique tools he collects
Even the apple tree is budding in January
The cedar waxwings already mating
And the mountain bears haven’t yet hibernated
They all know without TV, newspapers
or computers that things are drying out
heating up, bubbling over

There could be Missouri River floods
County water rationing by summer
A winter wheat fire any day now
An ice storm in the bedroom

 
Winner of Chicagoland Social Conscience Award, 2013

Poems from Pamela Uschuk’s “Blood Flower”

Pamela Uschuk is a shamanic poet, invoking the spirits of animals, mountains, and forests, to heal a world that humans have spoiled with war and greed. Her latest collection, Blood Flower (Wings Press, 2014), also gives a voice to her family’s ghosts, starting with her Russian immigrant ancestors, and moving on to her late brother and first husband, who were permanently scarred by their service in Vietnam.

I love the specificity of the nature images in Uschuk’s writing. These are not stylized, sentimental birds and flowers. They are “cliff swallows taking needles of twilight/into their open beaks, stitching/sky’s ripped hem.” They are the “red velvet vulva of roses” and “yellow ginkgo leaves/waxy as embalmed fans warm[ing] grave stones”. I can believe that they are just as real as the scenes of atrocities that surround us in the news media. Their beauty pulls a bright thread through the darkest stories she tells.

Among her many accomplishments, Pam is the editor of Cutthroat, A Journal of the Arts. Three of the poems in this collection won our 2011 War Poetry Contest at Winning Writers. She has kindly allowed me to reprint two more poems from Blood Flower below.

BLACK SWAN

Inside the photo’s tapestry, your silk sleeves
don’t reveal the slit wrists of madness
or the raw cortex of gang legends I loved—
police bullets slugging your car’s backseat
over my father’s young head as you ran
whiskey from Canada for the Purple Gang.
No one talks about your stints
in Joliet and Jackson Prison after you roped
concrete to a corpse you sank in the Grand River.

Who was he, Grandfather?
I feel cheated. Kto vui?
Who are you? I cannot find
your pauper’s grave.

Like Bogart’s in a film noir
your mouth is a tightset scar.
Did it elide vowels
fluid as trout in a cold stream
tearful over the Firebird’s Tale, or sneer
remembering your father’s ultimatum—
     leave Russia or join the Tsar’s army—
after your tantrum murdered his valet?

Charming pariah pitched across the Atlantic’s green remorse,
you vowed to send back your first son. But,
what promise did you ever keep?
Ellis Island misspelled your name,
deloused you like everyone else.
Russian was the official language
in your American house built with secret
hideaways beneath hollow attic steps, false
bedroom walls, as you tithed
gang money to Orthodox priests.

Grandfather, what purpose can you discern
now your entitled eyes are soil,
your heart going to anthracite?
Through the ghosts of your manicured hands
that never picked up a hammer or saw
pierce my curious roots.

Even in this distant pose, you glide,
the gorgeous black swan that rules
with fierce stiff wings
curled above a charred back, terrorizing
mallards with his hiss—
irresistable bully of the pond.

Cursed by indelible longing
for birch groves, balalaikas, whirling
Mazurkas, despite a day like today when the earth sinks
to its hips in the rare currency of peace, when
chickadees and finches bask
in the season’s final leaf-lit fling,
when squirrels nap after cannonballing
walnuts to the yard, when
nothing,
     nothing in particular
disturbs one molecule of the afternoon,
you smothered your future in Grandma’s yellow kitchen.

What is it in this decaying loam
that makes me cry? What impossible longing,
deformed as swallows reflected in a gazing globe,
when sun seems to illuminate the most stubborn shade?
The same chink in the genes?

Ya Ruskaya, Grandfather; look at the icons I keep—
an inlaid jewelry box from Siberia,
Minsk enameled knives,
the Orthodox cross or your portrait
arranged before the samovar
I carry from house to house.

Thirty-three, you died at thirty-three, syllables
shrill as ax blades sunk into a maple tree,
the same age as your savior
when he was crucified. Horosho.

Grandfather, tell me what fist beat
blue as lacy veins
trapped in our temples,
when you reached for the oven door,
blew out the pilot
     to suffocate our lives?

********

REMEMBERING THE TET OFFENSIVE AS TROOPS SHIP OUT FOR A U.S. ATTACK ON IRAQ
for Roger C. Frank

A fighter jet etches ink white as sperm
on the stark sky while January troops deploy
from Camp LeJeune, just like my first husband
did in 1968 on his way to Viet Nam
to wipe the Commie Gooks off the map.
Before he could spell Khe Sahn, think
massacre, he was machine-gunned
then bayoneted, left to die two days
in a jungle valley of shimmering green bamboo
near the clear stream he couldn’t reach
before the chop chop of the Medevac arrived.
One of three survivors of a whole company
of young marines slaughtered, he wanted to toss
the Purple Heart in the trash.
I remember during the long Michigan winter
his night sweats, the way
he’d shout the apartment walls awake, shake
to the screams of his buddies as they choked
on their own blood, clotted by indifferent flies,
some disemboweled, legs,
arms, faces blasted as frosted poppies.
He’d point to the mean hieroglyphs of red scars,
a pinched cummerbund of bullet
and stab wounds cinching his waist,
then ask me, new bride, too young
to be a Sphinx, the riddle I couldn’t reason out.
What was this for? What for?
as he headed to the kitchen for anesthetic beer,
the amber mattress of whiskey straight.
In three years he joined his company underground.

He was handsome, gung-ho like these teen soldiers
interviewed on CNN, cocky
as oiled M16s, proclaiming
their belief as each generation before them
that they will fight the war to end all wars.
Behind them, wives and girlfriends wave
small American flags that break
in the brittle wind.

Poetry by R.T. Castleberry: “Leaving Alexandria”

R.T. Castleberry’s chapbook Arriving at the Riverside (Finishing Line Press, 2010) sings the ballads of a wandering man, that uniquely American character who is by turns a prophet, a drifter, a lover, and a wounded warrior. As he writes in “An Arrangement of Necessities”: “Tomorrow I travel,/see my headlights on the car ahead, lay my pallet in the dust ruts by the road…Leaving is easy.”

Yet, although he may journey from Memphis to Santa Fe to Canberra with little more than a classic book and a brandy bottle, the speaker of these poems also carries the burden of wartime memories, the unwelcome knowledge of how we destroy ourselves. “A morning sun slices leaf-flooded lanes,/curves choked with sites/of church grounds, schoolyard, first house…I watch high-striking jets dissect the compass rose.” (“The Traveler at a Loss”)

In a time when free verse has become weakened by talky informality, Castleberry restores the muscular rhythms of poetry informed by what T.S. Eliot called “the ghost of meter”. The poems’ strong forward motion is balanced by a meditative attention to the landscape’s sights and sounds.

Castleberry kindly shares this poem from the book, which he says was inspired by the Michael Caine movie “Alfie“.

LEAVING ALEXANDRIA

From a balcony above the Eastern Harbor
I treat the scene as photographs for a file:
horizon’s passive line of curving bay, anchored ship,
bathers splashing in the early surf,
a seaplane’s banking turn from the water.
I take Tom Stoppard’s plays, a Fodor’s guide, a map case
and place them beside the pistol in my pack.
Open on the bed is a letter.
“Tell me what was said,” is the only line.

I have wandered my history, to no good purpose—
every mistake I’ve made crowds me in my sleep.
I recall every grievance, each discourtesy,
rooms I’ve entered to win or wound someone softer.
I’ve loved 3 women
all married, and lonely in the world.
I never meet the children. I sometimes know their friends.
I enjoy their confidence, my detachment,
the skilled and hungry sex, a little drama.

There is a seasonal pleasure in waking with a lover—
the sleepy tangle of bedclothes and bodies,
a bath and brunch, a kiss to set another date.
There are other, private times I prefer
the challenge of a married woman’s mind.
A wife who’s known
the comforts and discomforts of a child,
long years, lingering moods beside her husband.
I lean to listen
for wise advice on healthcare and clothes,
business manners, the public polish.
I know the taste of her,
the rise of her mouth to mine.

As we walk the Montazah Palace Gardens
she tells me some snoop,
some over-eager officer has seen us at an inconvenient hour.
“My husband’s home. He’ll want to see you.
He’ll be cool. Calmer still, as you talk. Don’t trust it.
I don’t imagine that will happen. Can you handle him
when I leave for Lisbon later in the week?”

The serial life has stripped me. It poisons as it protects.
I bear no malice, as I can bear no bitterness.
A steamer leaves for Tunis in an hour.
When I land, I’ll make a choice for Marseilles or Montreal.
On my desk the jumble of a Cairo newspaper reads:
“Attempted Murder/Officer’s Suicide.”
The photo spread shows a body beside a car,
another wounded behind the wheel.
I have no faith in explanations, in truth told to pain.
Strangers before, we are strangers from now on.

Two Poems from Amanda Auchter’s “The Wishing Tomb”

Winner of the 2013 PEN Center USA Award in Poetry, Amanda Auchter’s exquisite new collection The Wishing Tomb (Perugia Press, 2012) surveys the cultural history of New Orleans over three centuries, in poems that quiver and shake with music and surge with the violence of floods. End-notes provide background on the incidents that inspired each poem.

About those notes: At first I found it distracting to flip back and forth between the storyline unwinding in the lyric poetry and the factual squibs at the end of the book. Should I break the flow and spoil the surprise by checking the notes first, and risk only finding what I already “know” the poem is about? Should I read the poems first, and endure the disorientation of not comprehending their context? I just had to read the book twice! And I’m sure it won’t be my last visit to these steamy, sad, gorgeous pages.

Upon reflection, I understood that the unreconciled duality of form was part of Auchter’s commentary on New Orleans, city of masks, oppressive and beautiful. A number of the poems hinge on the tension between the official story and the suppressed voices within it. Slaves speak here, and criminals, the dead, the polluted landscape.

The poems below, “Harriet Beecher Stowe at the Cornstalk Hotel, 1850” and “St. Louis Cathedral, 2005”, are excerpted from The Wishing Tomb, with the permission of Perugia Press, Florence, MA. Copyright 2012 by Amanda Auchter.

Harriet Beecher Stowe at the Cornstalk Hotel, 1850

A man and a woman arrive together

in chains. His voice surfaces—
I shall try to meet you there—but I cannot

hear what follows. Tea cools in white china.
I think of horses, the way they walk back

and forth, hold up their heads. Horses,
the way a man in a coat turns them about,

   
opens their mouths, checks their teeth. Scars

on the flanks. A chimney gasps smoke
into the afternoon. The body looted. A child

plays a violin outside the stalls, watches
as women remove their handkerchiefs,

      
show their hands. A whip

weaves close to the ears. The balcony overlooks
a narrow street, a cart and driver.

   
The voices drift out, an edge

of an outline. The voices say, I hope
you will try to meet me in heaven.

      
I shall try to meet you there.

****

St. Louis Cathedral, 2005

The marble Jesus opens his eyes to the violence
     
of wind shaking bananas from tender stems,
  
the crack of two oak trees falling

in St. Anthony’s Garden behind their ornamental gate.
     
Rivers fill his mouth and in each
  
he tastes a shipwreck: torn boards, canvas,

drowned bodies. The slap of purple beads
     
against his bare feet. His arms
  
spread out as though he could cradle the city

inside him, as though the water that rises
     
above porches and windowsills,
  
above attics could abate with his strange light.

While the city darkens, he continues to turn each palm
     
skyward, an offering of damp stone,
  
a leaf caught in the crack of his right palm. Water

falls from his eyes and behind him, the wind
     
tears a hole in the roof of the church.
  
The rain enters the roof, floods

the Holtkamp pipe organ until everything is silent
     
of music. His hands are quieted
  
of their pale prayers—the left forefinger

and thumb broken off by a brick spinning its red stream
     
into the air. They push away
  
from his body. He watches

the city float past with its shattered glass, shoes,
     
telephone wire. How the debris of his
  
broken fingers swirl away from him, then point back.

Two Poems from Diana Anhalt’s “Lives of Straw”


Poet and political historian Diana Anhalt moved to Mexico with her family in 1950, where her parents joined a community of left-wing expatriates who’d left the U.S. to escape Senator Joe McCarthy’s anti-Communist persecutions. She would live there for the next 50 years. The full text of her nonfiction book A Gathering of Fugitives: American Political Expatriates in Mexico, 1948-1965 (Archer Books) is available online here.

Her new poetry chapbook from Finishing Line Press, Lives of Straw, movingly depicts Mexican cultural traditions and characters from the economic margins. The opening and closing poems are from her perspective, first as a young girl adapting to a foreign country and language, and then her equally disorienting return to America half-a-century later. Within that frame, Anhalt lets her Mexican characters speak for themselves, in colorful, musical, yet often blunt persona poems that show many facets of the struggle for survival. Fortune-tellers, street vendors (including one selling poetry), herbal healers, death-defying construction workers, and con artists must devote all their creative genius to earning their next meal. Diana has kindly permitted me to reprint the poems below.

Dancing Alone

A summer’s night in Veracruz. The Rico Perez band plays a bolero
in the plaza principal. Lanterns thread the trees. I thread my way
through the sidelines. Edge past an ice cream vendor, girls in silk
and denim, dog walkers, two bald babies in headbands–to the center.
Couples shake and shuffle to the music. Some women dance alone,

reminding me of women in Pinochet’s Chile who danced the cueca,
partnered with snapshots of their desaparecidos–husbands, mothers,
sons. Here, an elderly woman in a pearl gray dress, struts, twirls
to the music, flexes her hands, nods her head, pauses to tighten
an earring. I suppose that everywhere, after violence, illness, divorce

women congregate on dance floors, raise their arms above their heads,
swing their hips to a merengue, beat out the rhythm of a cha cha cha,
and dance alone. This woman in gray resembles my mother-in-law,
now dead, who never would have. Me? I only pray, should–
dios no lo quiera–heaven forbid–that day come, I would.

****

Querencia,

a word that inhabits my Spanish-speaking mouth,
lies under my tongue and smells of evergreens,
and rainy Mondays, smoke. From the word querer—

to want, desire, wish. It refers to bulls
who seek their place of solace in the ring.
For the waif in every living creature. I think

of the neighbor’s dachshund hunkered under the porch,
the sparrow haunting a fallen tree, the child
afraid to stray too far from his mother’s side.

We took to driving the Cuernavaca highway
and parked in the clearing with that Mexico City view.
As the air turned hazy with cigarette smoke,

we’d drink wine from the bottle, talk and listen to danzones
on the radio. We drove away soon after, took
our memories with us, haven’t returned.

After years away, our key no longer fits
the lock. And our home, grown used to strangers’ feet,
is home no more.

Two Poems from Heather Christle’s “The Difficult Farm”

As April is National Poetry Month, I thought I’d give my blog readers some relief from the theological heavy lifting, and share some excerpts and reviews of the poets I’ve enjoyed lately.

I picked up Heather Christle’s The Difficult Farm at the Octopus Books table at AWP 2011 because of the haunted-looking one-eared rabbit peering out from its acid-yellow cover. He’s an apt mascot for these poems, whose randomness can be both sinister and humorous.

…Dear nasty pregnant forest.
You are so hot!
You are environmentally significant.
Men love to hang themselves
from your standard old growth trees.
Don’t look at me.
…
(“Acorn Duly Crushed”)

The book’s title made me think of “the funny farm”, slang for an asylum, the place where persons deemed “difficult” are shut away, laughed at for the nonsense they speak. But is it nonsense? Christle’s poems are held together by tone rather than logic. They have the cadence and momentum of building an argument, but are composed of non sequiturs. But the individual observations within that stream of consciousness often ring so true that you may find yourself nodding along: Q.E.D.

…I am remembering how yesterday
a falcon landed on the telephone pole
and we stepped out of the car, amazed.
It was the color of somebody’s carpet.
In somebody’s carpet there is a falcon-
shaped hole.
…
(“It Is Raining in Here”)

I had to ask myself whether I perceived the book’s speaker as female because of the author’s name, or whether “she” did indeed sound like the quirky nerd-girl character from indie romantic comedies, who naturally thinks in words like “paraphrasic” and “over-cathected” but acts hapless and adorable in social situations. Whatever the reason, it made her more likeable than John Ashbery, whose technique is similar but never appealed to me. This book displayed an eagerness for connection through talk, while recognizing that we mostly use language for social glue rather than sincere information exchange. So why not serve up a “radiant salad” of words?

Heather has kindly allowed me to reprint the two poems below. Visit her blog to find out about her latest books. Some of my other favorites from The Difficult Farm, including “The Avalanche Club” and “The Handsome Man“, are available elsewhere online. Or you could just buy the book, and help the bunny pay for his plastic surgery.

Barnstormer

I do not have a farm do you have
a farm? on my farm are horses
cows pigeons chickens a dungeon
they tend to themselves it’s so easy!
I do not feel well do you feel
well? my throat’s on fire I mean
missing something crucial let’s say
the filament say filament! everyone
feels really good especially the horses
riding around like a bunch of stupid
chickens those are some foxy
beasts! I think beauty rises from
the dead do you think beauty rises?
like the great retarded sun? like
here comes beauty with its slow
dumb light and it’s touching stuff
& now I’m scattering feed I ordered
from mother nature’s catalog
which everyone knows has the best
pictures that’s why it’s all cut up
& the seed is falling out the holes &
the chickens are falling out
the holes & everyone gets papercuts!
goodbye chickens have a nice
time exploding in oblivion!

****
Stroking My Head With My Deception Stick

Someone shut down the local shimmer
but not the police who thought

it was Sunday and so spent hours
arranging their long and pliant hair.

Constable Jacques is the best man I know
but even he won’t converse with the dead.

The dead are so vain and hungry–
they will straddle your mirrors and swallow

your oak trees with their huge elastic lips.
And then you hear the screaming, not to be found

within the dead, but rather in the tiny
black pot which holds the greater part

of our mass and the difficult
farm where all the hens are black

and black are the wheatfields through which
runs a black and silent wind. Thin teachers

explain to our children: if the farm is a burgeoning
snowglobe, then the screaming’s a legend, like glass.