New Writing by Conway: “City Elegy IV”

Back in August I posted the previous installment of my prison pen pal “Conway’s” series of prose-poems celebrating urban car culture, whose freedom contrasts with the living death of incarceration. He returns with this political lyric that I’m fortunate to share with you. Read it aloud and you’ll hear the cell doors clang.

City Elegy IV

   Do the streetlights still bleed, through the leaves of me? Where my memory remains, in my family tree’s falling shadow.

   A tree grows not here, on the middle of this tier, stone cold center of my universe. In the Heart of America this sanctified cell only records the heartbeat of the meat wrapped in its possession.

   A continuous tape-loop snakes its way through the years — of going nowhere. Except when the transport bus appears, wrapped in freedom’s faffling flag of Hypocrisy.

   Pilgrims transfer daily to more oversourced humidors, stone-n-steel honeycombs of human bondage, buzzing away. As sodium-lamps illuminate this treasure, like a billboard display. Like a halo glowing bright off any highway, wrapped up tight in a crown of barbed wire thorns, or thistled horns.

   Some say that the Lord’s blessing is amongst us. I only see shackles and chains wrapping our pains in the shroud of injustice. Redemption contrived, commercialized for profit.

   Does God Bless the Commerce of Incarcerated America? This Holy shrine of abundance, a multitude of souls of candidates standing on street corners seeking futures, but finding no path. Beware! Don’t get snagged in this trap of the one way bus trip right to here. Here, far away from contact, in the Hall of a million steel doors slammed shut. Locked away tight from another cool September night, no relief in sight.

   Here, where even the strongest arms and minds tire, struggling against this brazen green money machine.

   Here, amidst the husks of what Justice has abandoned.

   Here, where the clamor withers to silence without contact.

   Dulled by neglect, the aftertaste deepens the hunger.

   Harsh sentencing schemes darken the overtones of truth.

   In this tidal wave of injustice that seems to have no end, even at oblivion.

   Again-n-again this massive chain drags another generation down and in. To get slammed down, for being so bold as to remove the unnecessary gold, that decorates the watch dangling from the Liberty master’s pockets…

Poetry for Veterans’ Day

This morning I was reading the daily poem to Shane from our Alhambra Poetry Calendar for Young Readers, a superlative anthology of classic and modern poems that are written on an adult level but safe to share with younger folks. I often follow the reading with a little interpretation, pointing out interesting things about how the poem works, or reflecting critically on its message. Maybe it’s silly to get into this with a 19-month-old, but I feel it’s never too early to introduce the idea that he can think for himself about what Mommy and Daddy read to him. He can appreciate a book without agreeing with everything in it, or with us.

Because it’s Veterans’ Day, today we read the well-known poem “In Flanders Fields” by John McCrae, who was a Lt. Colonel in the Canadian Army in World War I. The text and history of the poem can be found on the Arlington National Cemetery’s website.

I remarked on McCrae’s conclusion that continuing the battle was the proper way to make the fallen soldiers’ sacrifice worthwhile: “To you from failing hands we throw/The torch; be yours to hold it high./If ye break faith with us who die/We shall not sleep…” Other war poets, I observed, have drawn the opposite conclusion, that these tragic deaths ought to motivate us to seek peace.

My favorite war poem of all time has to be Wilfred Owen’s “Greater Love“, also from World War I. Owen was a passionate critic of the war’s carnage, yet this poem (unlike, for instance, his “Dulce et Decorum Est“) resists reduction to a pro- or anti-war interpretation. He is simply moved by the holy suffering of the dying soldiers, which is undiminished by questions about whether it was necessary or effective.

For more great poetry on this theme, visit the War Poetry Contest archives (2002-2011) at WinningWriters.com.

Greater Love

by Wilfred Owen

Red lips are not so red
   
As the stained stones kissed by the English dead.
Kindness of wooed and wooer
Seems shame to their love pure.
O Love, your eyes lose lure
   When I behold eyes blinded in my stead!

Your slender attitude
   
Trembles not exquisite like limbs knife-skewed,

Rolling and rolling there

Where God seems not to care:

Till the fierce love they bear

   
Cramps them in death’s extreme decrepitude.

Your voice sings not so soft,—

   
Though even as wind murmuring through raftered loft,—

Your dear voice is not dear,

Gentle, and evening clear,

As theirs whom none now hear,

   
Now earth has stopped their piteous mouths that coughed.

Heart, you were never hot

   Nor large, nor full like hearts made great with shot;

And though your hand be pale,

Paler are all which trail

Your cross through flame and hail:

   
Weep, you may weep, for you may touch them not.

Poetry by Ruth Hill: “Cast in Bronze” and “Wild Celery”

A loyal subscriber to our Winning Writers website, Canadian poet Ruth Hill has been among our most-awarded poets since she began her career only a few years ago. This year she counts 24 wins and placements in journals (so far), following 36 last year. She kindly shares two recent poems below. “Cast in Bronze” appeared in Rose & Thorn Journal (May 2012) and Silver Bow Publishing (November 2013). “Wild Celery” appears in the debut issue of Perfume River Poetry Review.

Cast in Bronze

Afternoon storms
having opened their black velvet pouches
and thrown down their burden of diamonds
often give way to evenings of magnificent
   bronze
Come out and see the hibiscus brazing
pigeon necklaces burnished with maize
brass bells tinkling off glittering leaves
yellow sequined arches in the village square
Evenings whose warm respites of joy
are made brief by the longitudinal shadow
We are spinning away from the sun
as it appears to be spinning away from us
Newborn bees share our view through
   topaz honey
hive’s hum a kazoo, dripping raindrops
   a xylophone
amber windows everywhere
Rocks and roads and trees all trimmed
   in tortoiseshell
are strewn with chestnuts and chrysoberyl
Citrine evening with soap bubbles in the air
mist of bronze others see as not there
freckles on thrush, blush on the pear

Like well-oiled athletes, golden hills flex
   their muscles
A single robin’s silver flute calls the universe
   to order

****

Wild Celery

…and didn’t God layer it nice, twice,
first in its Spring Fling,
then for this Fall Ball,
with doilies of lace
and dollops of diamonds and pearls,
embroidered popcorn silk,
and braided cord
dripping with tassels of icicle dough,
spiraled peaks of whip cream snow,
with sun to warm and melt,
and sprinkle sparkles to twinkle so,
white under blue for a bride like you.

Someday lay me down to die
under wild celery, heaving its
exploding fireworks into the sky,
toes in the mud, musing,
sweet compost effusing,
second bloom from the tomb,
this glory the story of
what’s already gone by.
 

Halloween Poetry: Marsha Truman Cooper’s “A Disregarded Pumpkin”

This seasonal poem is reprinted by permission from Marsha Truman Cooper’s new chapbook, A Knot of Worms, released this year by Finishing Line Press. This collection gives voices to our non-human neighbors on earth, reminding us of our interconnectedness and our obligations to one another. As you can see from the poem below, Cooper skillfully uses humor and fantasy to recall us to empathy.

A Disregarded Pumpkin

I’ve lived in this field too long.
Nobody has chosen me to be carved
or turned into pie. My face,
never a marketable commodity,
has begun to separate from its old
expression. Even children
trudge along the rows and leave
my odd skull behind to go soft.
Look. My seeds go crazy, twisting
in their oval sleep. I see the future—
a fade of reddish yellow, my regular
features lost to rot. I wonder
if the jack-o’-lanterns are enjoying
their candles, if spices make
my fellow vegetables feel sexy
while they bake. Alone here
on the night’s cold ground, I can
suddenly sense my good luck.
I predict that the farmer
will wake before dawn to plow
everything under, open my bright
head and, whether he likes it or not,
plant another season of my dreams.

Poetry by Lawrence Kessenich: “Meditating with a Dog Named Vasana”

Earlier this month we held a ceremony at our house to welcome our 18-month-old, Shane, into my husband’s Buddhist meditation community. We shared some spiritual readings and poetry that celebrated young children’s ability to abide in the present moment, without pretensions or superimposed storylines.

I was reminded of this when I read Lawrence Kessenich’s poem below, which won the 2012 Spirit First Meditation Poetry Contest. Sponsored by a meditation center in Washington, DC, this free contest awards prizes up to $175 for poems on the theme of meditation, mindfulness, stillness, or silence. The current contest is open through January 31.

Like the dog in the poem, the Young Master is very fond of his stuffed squirrel, but he is especially delighted with the singing bowl we bought him for the ceremony. Each morning he reaches for it with a smile, and we have a mindfulness moment as we listen to the ringing echoes fade away. And then he bangs on it and chews on the stick!

Meditating with a Dog Named Vasana*
by Lawrence Kessenich

The mind is not easily ignored.
Told to sit in the corner like
a good little dog, he disobeys
bringing thoughts like toys:
a green rubber block, a stuffed squirrel,
an old, slimy, gnawed-over bone.

Take this simple mantra, I tell him,
and play with that. But he wants to do more.
He barks, licks my face, sniffs my crotch,
drops a brightly colored ball at my feet.
Vasana! I say sharply.
But to no avail. He is my dog
and requires my attention.

I toss his ball across the room
again and again and again.
He brings it back to me
again and again and again.
Until, finally, he drops it,
lays down in his corner, and falls asleep,
dreaming of sticks thrown into rivers.
Good dog, Vasana. Good dog.

*Sanskrit word for concept “monkey mind”

Lawrence Kessenich is an accomplished poet living in Massachusetts—he won the 2010 Strokestown International Poetry Prize, and his poetry has been published in Atlanta Review, Poetry Ireland Review, Cream City Review, Ibbetson Street, and many other magazines. His chapbook Strange News was published by Pudding House Publications in 2008. Another chapbook was a semi-finalist for the St. Lawrence Book Award and finalist for the Spire Press Chapbook Contest. His current collection, Before Whose Glory, was a semi-finalist for the Off the Grid contest. His poem “Underground Jesus” was recently nominated for a Pushcart Prize. Kessenich has also published essays, one of which was featured on NPR’s This I Believe in 2010 and appears in the anthology This I Believe: On Love. His play Ronnie’s Charger was produced in Colorado in 2011.

Poetry by Lynne Constantine: “Confiteor”

Lynne Constantine is on the faculty of the School of Art at George Mason University in Fairfax, Virginia. An interdisciplinary artist and writer, she has, in other moments of her varied career, taught medieval English literature; headed two nonprofits; freelanced as a journalist, speechwriter, ghostwriter and book reviewer; co-authored a book on migraine; and co-founded a communications consulting firm.

I met Lynne earlier this month at the Ollom Art Festival in Northampton, where she gave a lecture on aesthetics that concluded with the wise and funny poem below. In her lecture, Lynne described the shift from classical aesthetics, with its idealized representations and universal theories of beauty, to modern aesthetics, which honors wabi-sabi, “the perfection of imperfection”. With the advent of photography and film, we no longer need art to establish a consensus on how things look or should look. Art can turn inward to express the artist’s psychological response to her environment, without having to hold up that response as the sole correct one.

This lecture reminded me of my own turn towards experience-based theology, and away from the arguments over the one “right” interpretation of doctrine. So it seemed fitting that Lynne ended with this creative reworking of her Catholic upbringing. Rituals and images remain stubbornly embedded in our subconscious despite our conscious rejection of the belief system where they originated. Perhaps this unresolved tension is one of the imperfections that our art must express, accepting that the rift between these parts of ourselves may never heal.

Confiteor
by Lynne Constantine

Confiteor deo omnipotenti
I am here to confess

I do not know how long it has been
Since my last confession
But I’m here now
And I’m hoping for absolution
For whatever can be absolved

I confess
that I am not the person I want to be

I confess
That I have made up statistics
In the heat of an argument
Which have turned out to be true
Because so much of this shit is predictable

I confess
To pretending not to understand
what the homeless vet in the street asks
   me for
and for that I am grievously sorry
and for the fact that he’s in the street I am
   grievously sorry
mea culpa

I confess
To making up sins when I went to confession
   as a teen:
“I laughed and talked in church six times,
I took the Lord’s name in vain two hundred
   times.”
I made them up so I could get absolution for
   all the other sins
That I wasn’t going to be telling the priest,
   that old pervert.
For this one I’m not really sorry
But I probably need forgiveness anyway
For something
Mea culpa

Absolution is a beautiful concept
But I confess
That I am not very forgiving
Especially when forgiveness is not followed
By a sincere effort to amend your life…

…Congress
…the Federal Reserve
…AIG
…Fannie Mae
…banks too big to fail
Are you making a sincere effort to amend
   your lives
After screwing the entire world
And then getting paid?
Do they make a penance for that?

I confess
That as a child I cried for hours
when I found out
that people don’t really turn the other cheek
I am noisy when I am inconsolable
I may cry right now
Mea culpa

I confess
That I want to believe in hell
For racists
I confess that I would like to pick their
   punishment

I confess
That I want to believe in heaven for
   the poor
And for my dogs

I confess that I hate the concept of
   purgatory
It’s a do-over for mean, petty people
Who should have turned the goddamn
   other cheek
And amended their lives
While it could have done somebody
   some good.
But that’s just me.
Mea culpa.

I confess that I am stubborn and proud.
I confess that I cry at stupid capitalist
   manipulative commercials.
Damn you Hallmark.
I confess that I can have a nasty mouth.
I confess that I am not as kind as people think
Nor as generous as I could be
Nor as ready to forgive
As I would like to be forgiven.

And yes, I would like to be forgiven.

For these and all the sins of my past life
And all the sins I will be committing
And repenting
And committing
And repenting
I ask absolution.
I promise to go forth and amend my life.
Amen.

New Writing by Conway: “City Elegy III”

While my prison pen pal “Conway” waits for news on his petition for early release, he’s been dreaming of returning to work on those motorcycles and racecars he loves. It’s been almost a year since California repealed its harsh “three-strikes” sentencing law for nonviolent offenders, but my friend’s case is languishing due to the usual bureaucracy and the slow and inconsistent work of his public defenders. The prose-poem below comes from his ongoing series of odes to urban car culture.

Meanwhile, in prison reform news, the FCC finally capped the exorbitant phone rates that were preventing many prisoners from maintaining contact with their families on the outside. Such connections are crucial to keep them from re-offending. Donate to the Campaign for Prison Phone Justice at Nation Inside to thank them for their decade of work on this issue. (Don’t be put off by their unfinished website.)

City Elegy III
by “Conway”

No musical sound true as traffic, has moved these senses so strongly.

Lost songs echo endlessly in this ear’s memory.

Low rumble at idle, or burn-out then roar away.

How can one hand, or foot, hold back the temptation of acceleration, without testing all limits?

I have dared to invoke those hidden horsepowered reins just straining to be released.

*

What does anyone know. Anyone who has not conspired to call upon an unstrained throttle. Especially the song. A mechanical throat that’s been closed for too long sings. (A reborn derelict.)

Oh to behold the hollow night growling. Deep as an empty stomach. As another restored machine announces its hunger.

An ancient frame vibrates in anticipation, twists as it shakes off the crusted rust of ages. Then unleashes the force of factory-born flame harnessed free-wheelin’ thunders voice, as it bellows out loud a groundpounding — Move!

*

Momentum begins, as adrenaline purges each driver to quicken forward movement. Pushing gravity beyond simple attraction. Like: an ancient call into battle.

A charge on horseback towards the final clash of combat, or competition. When Hannibal’s men came tramplin’ in on elephants. To crush all those who dared to oppose.

But, even those beasts proved their flesh, to be almost as weak as man.

So, man made machines, cherished steeds became formed from metal. Each iron horse or motorized chariot was forged of stronger stranger magic.

One machine can release the sound of a thousand horses, hooves pounding at full charge.

Or, cruise by slow with the rhythmic thump of drumbeats parading by, like armored knights in their glory, celebrating a victorious return.

*

This is what I imagine; This is what I hear.

During another power-filled night of hot rods and motorcycles.

The music of oil pans dragging down hard streets and avenues.

*

I salute all those passengers, who have lost their lives, in the ultimate pursuit of velocity. Those who have sacrificed their flesh to a crush of twisted mangled metal.

I do not count your sacrifice in vain. You! Who knew the danger and felt the pure rush of living unstrained.

You, who attained the last great flash of life without regret.

You, whose headlights form a constellation of stars, up above the Earth and everywhere else.

*

I cannot see your vehicle, you’re now too far to recognize.

But your light shines down, like the traffic I still hear.

*

I wonder; Are you still racing up there? Is this the sound the Cosmos creates. Is that just one huge Avenue of cars, trucks and motorcycles?

Are all those demolished vehicles polished and rollin’ again — Rolling into view, down the Avenue. Cruising with the Gods…

 

Two Poems from Marsha Truman Cooper’s “A Knot of Worms”

I discovered the work of Marsha Truman Cooper when her poem “You Had to Be There” won third prize in our 2004 Winning Writers War Poetry Contest. Since the judging was anonymous, I was quite surprised to learn that this searing account of a young man’s tour of duty in Vietnam was not autobiographical, so convincing was her first-person storytelling.

Cooper’s poetry chapbook A Knot of Worms was published this summer by Finishing Line Press in their New Women’s Voices series. These quiet poems are charged with a sacred attention to healing the wounds sustained by our bodies and ecosystem. In the aftermath of war or illness, the human spirit finds wholeness by recovering our common bond with whales, dragonflies, and yes, even worms. She kindly shares two sample poems below. “Ashes” was first published in Poetry Northwest.

Ashes

She will not do
what you expect, not even
if you make love to her.
She can never tell
what she has learned,
no matter how safely
she rests under your arm.
But one day, she may open a jar
she brought from that place.
She will say
it holds the burnt bones
of hands, just the hands,
of people she has known.
Though it cannot possibly
be true, you’ll believe her.
You’ll pour out
her pieces of calcium
as if they were uncut jewels.
You’ll sort through them,
wondering which bone
was the finger of a thief,
which held a violin,
and how the tiny ones
could have belonged to anybody
but a child.
Then you will see
why she can be so positive
that we are all joined.
There will never be a way
to separate these friends.

****

After the Man Who Counted Dragonflies

died, he opened his eyes and discovered
he was still in Oregon, his research tent
still pitched in a forest of pines
near the edge of a snow-fed, mile-high lake.
He took off his clothes and walked
across the beach pebbles hot as coals,
splashed into icy water— a contrast which,
if he did say so just to himself, felt heavenly.
Apparently, it was still July. A blue darner
dragonfly touched down on his index finger.
He saw the indelible ink dots he’d used
to mark the animal, a pattern recorded
by date for an insect whose life cycle
ended long ago. He wanted to ask him,
a male he’d decorated, the question
that had deviled him in life. He raised
his arm skyward, but before he could speak
more of his subjects joined them. By tens,
then hundreds and finally by thousands
his friends flew to greet him. Nymphs
he had saved from extinction cracked
their shells, split open, crawled up a reed
and darted into summer. They all whirled
around the man, a blue darner wind. Then,
they landed in a mosaic of iridescence—
their wing tips touching randomly in what
looked like sunshine— while his spirit
skittered over acres of their humming surface.
As the sun lowered, he realized that there
might be darkness. At last, he thought,
they would show him what nobody on earth
could find— where they go at night.

Poetry from Inside: “Of Father, From Prison”

My prison pen pal “Jon“, who is serving a life sentence in California for a burglary-related homicide, continues his efforts to grow in self-awareness and spiritual maturity through writing. I thought this recent poem was one of his finest, expressing compassion for his child-self alongside remorse for the flawed path he took as an adult. It’s a simple but deep story that I imagine many troubled young men will recognize as their own.

Of Father, From Prison

I used to smile in wonder
at the barb of the fish hook
and however you managed to get worms
so delicately placed and pierced.
Then even when you showed me how
I still couldn’t do it on my own
and sometimes couldn’t bear to look.

I used to sit and wander
as the landscapes became cities
with people beneath the lights of day.
Drifting by in gusts of winds
of mountaintops and Mayberrys
and cow filled fields and stars.
Watching from the passenger seat
while you drove your precious truck
and I waited for my turn
that had finally never come.

I used to be amazed
at all the grand and well told stories
of the life you really never led.
I realized I never even knew you
when I noticed they were lies.
You were gentle, very quiet
always private and reclusive.
You could fix anything inanimate
yet never repair the troubled minds
of yourself or those around you.
And I can think of all the places
you would take me as I grew.
Leaving us with memories
of decaying and joyless days,
of worms, fish hooks and barbs.
And I would be amazed
if you ever came to know
how very much alike
we’ve finally become.

I do not wander in wonders anymore
but sometimes think of who you are.
You living in your solitude
and me stuck within my own.
Where computers are your company,
while books become my best of friends.
Your prison is in a house
and mine within a cell.
Inside the worlds of our own making,
trapped within our mortal shells.

Poetry by William J. Reiter: “Jimi & a hundred & one blue airborne rangers”


I recently got an email from Bill Reiter of Iowa, a poet, Vietnam veteran, and National Endowment for the Arts grant recipient for playwriting. We haven’t been able to confirm whether we’re related, but all Reiters are welcome at the Block. He kindly shares this poem with our readers.

jimi & a hundred & one blue airborne rangers
(the summer of love 1967)

it was a hall
an old movie house really
in the city of saint francis
near the ocean called peace

a grace slick-like chick
was jumpin’ in blue white strobe lights
amorphous light shows pulsating walls
all just a prologue to hendrix

he came out at last
a ‘fro imitation of a black ragdoll
escaped from some absurd beckett cast
surely a tragedy or farce was about to unfold
in the silver screen-less seat-less theater
above a stoned blue clowning crowd

he struck left-handed
upside down strings
a bell-bottomed blue heron
with piercing dark eyes
heavy with one guitar wing

he looked down at us
as if into san francisco’s blue bay
from coit’s tower
as if to jump from another hughes burly bird

i pushed to the front to hear
his voice soft wings
on the wind cries mary
gliding around us
around the statue of saint francis
in the city of saint francis
near the ocean called peace
like a cable car hushing up telegraph hill

i wanted to know about over there
and he played alarums purple haze
murderous intent in hey joe
pain of rejection star spangled banner
with its true blue taps near the end

jimi left the stage that night
prophesying his own end
which came eventually street easy
a barbiturate permanent sleep

he was right-on however about over there
and as he knew coming back was worse