New Poem by Conway: “Comfort-ward”


My prison pen pal “Conway”, who is serving 25-to-life for receiving stolen goods under California’s three-strikes law, has been reading Dag Hammarskjold’s Markings. He sent me these quotes to help me as I struggle to sort out true faith from legalistic obedience:

“A task becomes a duty from the moment you suspect it to be an essential part of that integrity which alone entitles a person to assume responsibility. While performing the part which is truly ours, how exhausting it is to be obliged to play a role which is not ours. The person you must be, or appear to others not to be, in order to be allowed by them to fulfill it. How exhausting but unavoidable, since mankind has laid down once and for all the organized rules for social behavior….

“How am I to find the strength to live as a free man, detached from all that was unjust in my past and all that is petty in my present, and so, daily, to forgive myself? Life will judge me by the measure of the love I myself am capable of, and with patience according to the measure of my honesty in attempting to meet its demands, and with an equity before which the feeble explanations and excuses of self-importance carry no weight whatsoever.”

Conway
also enclosed the poem below, “Comfort-ward”. It was written on the back of a document titled “Department of Corrections and Rehabilitation INFORMATIONAL BULLETIN”. Conway re-titled it “Fractured Form o’ Bull” and extracted a found-poem from it by underlining selected words and fragments of words. For instance, part of the original text (with Conway’s emphasis added) read:

…An inmate who is deemed a program failure by a classification committee is subject to having his/her personal property/appliances disposed of in accordance with Departmental procedure.

3315(f)(5)(P) Violation of subsection 3323(f)(6) shall result in:
1. Loss of visits for 90 days, to be followed by non-contact visits for 90 days for the first offense.
2. Loss of visits for 90 days, to be followed by non-contact visits for 180 days for the second offense.
3. Loss of visits for 180 days, to be followed by non-contact visits permanently for the third offense.

No text was deleted or changed, only misplaced by the publisher…

Thus, this section of the found-poem would read something like this:

…who is deemed a failure
subject his/her person
disposed in a dance with mental Violation
Loss followed first Loss
followed by offense
followed by non-contact
permanently misplaced…

I sent Conway some writing prompts and resources about Oulipo. Experiments with found texts may seem like a parlor game for academics, but when texts are generated by the oppressor and used to shore up a dehumanizing system, these literary methods reveal their politically subversive potential. I look forward to seeing what he does with these exercises. Meanwhile, enjoy his latest poem:

Comfort-ward

Timelines encircle this prisoner’s eyes
   mirroring shelves of eroded bone
      while arrest was left unexpressed.

This stone tongues talk has become useless.
   I would shave my head, if that
      could convey, all the words left unsaid.

This struggle has deposited scars
   but awakened me cleared by stars-n-gripes
      though my world may appear to be fallen stripes;

These verse’ feel somehow protective…

Online Poetry Roundup: Wordgathering and Others


This past week at Reiter’s Block has been heavy on reprints, hasn’t it? Well, you all already know what I think about everything. And when you figure it out, could you please tell me?

From time to time I like to share links to my favorite online journals and poetry sites. One of the very best is Wordgathering: A Journal of Disability Poetry.  Published quarterly, Wordgathering features poetry, essays, book reviews and artwork by disabled authors and/or about the intersection of disability and literature. The blurb for their upcoming workshop at the AWP 2010 conference in Denver is a good summary of their mission:

This panel will discuss how the poetry of disability seeks to tackle and refigure traditional discourses of the disabled around an interrogation of “normalcy” and of the notions of beauty and function that have been so foundational to Western culture and aesthetics. The panel will focus on poetic strategies, including the subversion of historical discourses and the decentering of the subject through which a range of disabled poets have sought to address these issues.

Highlights of the December 2009 issue include Paul Kahn’s essay “The Deepening Fog (Part 2)”, about how his perspective as a disabled person helps him advocate for his parents in the nursing home; a review of Zimbabwean poet Tendai Mwanaka’s new collection; Rebecca Foust’s poems about her autistic son, which find beauty in what the world calls errors and mutations, without negating her maternal pain and anger; and other poems by Michael Basile and my friend Ellen LaFleche.

The Dirty Napkin is a literary journal whose content is available online for subscribers only ($16 per year). However, in each issue they feature a cover poem that can be read on the site. Their latest offering, an untitled poem from Simon Perchik, is a free-associative meditation on impermanence and beauty. Read and listen to the audio version here.

The Pedestal Magazine, edited by poet and songwriter John Amen, celebrates its ninth anniversary this month with Issue #55. The theme for this issue was speculative flash fiction. Notable contributors include Jane Yolen and Liz Argall. I also can’t resist poems about dolls, the creepier the better. Check out “The Doll After Play” by Rebecca Cross.

Charlie Bondhus: “His Sunday Morning Blues”; Plus, Upcoming Reading Jan. 14


Charlie Bondhus and I will be giving a poetry reading at 7:30 PM on Thursday, Jan. 14, at the Green Street Cafe, located at 64 Green Street (no surprise there) in Northampton, MA. This cozy neighborhood bistro cooks with home-grown herbs and vegetables; I recommend the Sri Lankan vegetable stew.

I’ll be reading some of my newer poems and selections from Swallow and A Talent for Sadness. Copies of these books will be on sale, along with my freshman effort, Miller Reiter Robbins: Three New Poets (Hanging Loose, 1990), which features a lovely picture of fierce 17-year-old me.

Charlie’s first full-length collection, How the Boy Might See It, was released last month by Pecan Grove Press. He kindly shares this poem from the book below. It exemplifies the combination of sensuality and spiritual depth that I appreciate in Charlie’s work.

His Sunday Morning Blues

Then the Lord God formed man out of the dust of the ground and breathed into his nostrils the breath of life, and man became a living being [and] the man knew Eve his wife.
-Genesis 2:7, 4:1


Woke up this
morning cold
kicked the
blankets last night
saw her gone
must’ve stolen out
with the boys
another gathering
lesson, though this time
didn’t wake me up
with a kiss and
touch on the head
like usual.

Don’t feel like checking the fields,
guess I’ll spend the day
in our camel hair bed
and hash this whole thing out.

Funny how
everything I remember before the
sand and the crag looks the way a deer
does, vague behind the gloss
of fog.
I do remember monkeys and mountain goats who
spoke in a voice
similar to our own;
toucans and thrushes that
screeched and warbled in
what must’ve been friendship;
a sense
that everything existed
indefinitely.

As for the woman, she
sometimes talks about tinctured
fruit, every color of a
blush, and uncured leaves–
of peppermint, thyme, rosemary–
something sharper, maybe wiser
that used to float
in the flavor of papayas and kiwis.

Also something more for her
in the sound of the river–
the entire streambed maybe
covered with flutes and shells,
rather than mud and papyrus.

These days though,
everything sounds and tastes
blurry as the dog looked
when we found him
at the bottom of the oasis,
as if we touch and eat
only the colored shadows
of grape, apple, grain–

as if life were lived
forever in twilight.

And still other things,
called to mind by
the branches of a tree–
something in the twist or
the pull, the sober tinge of
bark–

the slope of a leaf–
wondering whether the color is really
green or something that’s not quite
green and if
the edges are really as
pointed or smooth as they
appear.

The gravid clouds that shuffle,
dazed and vapid,
like the feet of an aging God,
across a monotonous sky,
wondering whether or not one could tear
their flimsy substance
between hands or teeth.

Always too, those objects that we
cannot see but still perceive more
readily than rocks and sand,
many of which
I haven’t gotten around
to naming.

Sometimes the woman
cries and throws
herself on the bed
refuses to talk and
I know she’s in pain because
of the blood but we’ve both
cut ourselves before, like once
I tore open my shin on a rock while
climbing after a
goat, and she ripped open
the palms of her hands when she
lost her grip, attempting to pull up
a stubborn vegetable in the garden,
but both of us were still able to speak then
so I know that when she bleeds unbidden,
she must be
stuffed full of
one of those crazy compound things
that we fear
for their power, persistence, and
lack of a name, and that’s
what really hurts.

My greatest fears
stand taller than wheat
when the ground isn’t fertile,
the animals go into hiding, and we
take Cain and Abel,
move to a different place,
and the woman and I find
in each empty, unbreathing land,
no matter how distant,
that the unspoken
is a little more real.

I tremble at these times
when the truth looks the way
that apple grape and grain taste–
should we fall the way some
animals have, stricken by neither
stone nor spear, and the sand were to cover
the crops and the caves crumble to
soil, as they have in the lands we have left,
with no creature capable of maintaining things
as we have, would we be judged unworthy
to return to the place of
sharp taste, musical river, and speaking beast?

St. Teresa of Avila: “God Desired Me”


This poem by St. Teresa of Avila (1515-1582) was handed out to us at Timothy Palmer’s “Sexuality and Spirituality” workshop at the Soulforce Anti-Heterosexism Conference. To me, it expresses what original sin really means: not some flaw in ourselves that actually estranges God from us, but a mental block that deludes us into believing in that estrangement. God’s love is unlimited, but clouded by our limited perceptions.

God Desired Me, So I Came Close

God desired me, so I came close.

No one can near God unless
He has prepared a bed for you.

A thousand souls hear His call every second,
but most everyone then looks into their
   life’s mirror and says,
“I am not worthy to leave this sadness.”

When I first heard His courting song, I too
looked at all I had done in my life and said,
“How can I gaze into His omnipresent eyes?”

I spoke those words with all my heart,
but then He sang again, a song even sweeter,
and when I tried to shame myself once more
   from His presence
God showed me His compassion and spoke
   a divine truth,

“I made you, Beloved, and all I make is perfect.
Please come close, for I desire you.”

Jelaluddin Rumi: “Where Everything Is Music”


This poem arrived in my inbox from Washington Poets Association president Victory Lee Schouten, who often forwards such gems to the folks on her email list.

Where Everything Is Music
by Jelaluddin Rumi

Don’t worry about saving these songs!
And if one of our instruments breaks,
it doesn’t matter.

We have fallen into the place
where everything is music.

The strumming and the flute notes
rise into the atmosphere,
and even if the whole world’s harp
should burn up, there will still be
hidden instruments playing.

So the candle flickers and goes out.
We have a piece of flint, and a spark.

This singing art is sea foam.
The graceful movements come from a pearl
somewhere on the ocean floor.

Poems reach up like spindrift and the edge
of driftwood along the beach, wanting!

They derive
from a slow and powerful root
that we can’t see.

Stop the words now.
Open the window in the center of your chest,
and let the spirit fly in and out.

from Rumi – Selected Poems (Penguin Classics)
Translated by Coleman Barks and John Moyne

Stephen Philbrick: “Don’t Try So Hard”


A member of our local Buddhist meditation center shared this wonderful poem at the center’s winter solstice party. I wrote to Stephen Philbrick, who lives nearby in Cummington, and he’s kindly given me permission to reprint it below.

Don’t Try So Hard

It comes in a shiver sometimes,
Sometimes in a winter windowpane
Wild with the unseeable frozen there:
The shapes above clouds,
The score of wind and the words, too;
The plot of waves and the brain that
   lays and abandons them:
Don’t try so hard.

Sometimes it falls,
A flake at a time,
Into your life when you’re asleep.
Sometimes it comes as a winter blankness,
Waiting for storm, or ice, or thaw,
   or even wind.
And then the air by itself groans
And the trees speak out of themselves;
The swamp shudders and the woods come to.
Sometimes it comes when you least expect it;
And sometimes it doesn’t.
Quiet, still, no voice (not even small),
No whirlwind, no reply, no burning.
Just a bare winter bush.

The space between stars,
Where noise goes to die;
And the space between atoms,
Where the charges thin out:
These are places, too.
The moment in the movement of the soul
When it all seems to stop, seized up.
This is true, too. Ice is, also. And dormancy.
I don’t mean the stirring of seeds beneath
   the snow,
But the place between and the moment
   before.
And I don’t mean a lightning bolt,
But what it passes through.
I don’t mean a dream, but dumb sleep.
After the end and before the beginning
Is time, too.
Let it alone, don’t try so hard.
This is God, too,
All of you is.

****
Stephen Philbrick has been the minister of the
West Cummington Church for the past 15 years. Before this he raised
sheep in Cummington for many years. His books include: No Goodbye (The Smith); Up To The Elbow (Adastra Press); THREE (Adastra Press, 2003); and Backyard Lumberjack (Storey Publishing, 2006) a prose collection co-authored with his son, Frank.

Videos from the PEN Prison Writing Program


The PEN American Center mentors incarcerated writers and publishes the best of their work in the annual Voices From Inside series. On this page, you can view video clips of notable writers such as Marie Ponsot and Patricia Smith reading prisoners’ work at a November 2009 presentation in New York City.

In this five-minute video, Patricia Smith reads Christina MacNaughton’s “Just Another Death,” first-place winner for memoir in PEN’s 2007 Prison Writing Contest.


On a related note, the Jan/Feb 2010 issue of Books & Culture contains Jason Byassee’s article “Prisons and the Body of Christ”. Byassee surveys several new books concerning conditions on the inside, and calls on Christians to spend more time ministering to prisoners. I’m not sure if the article is available to non-subscribers, but here’s an excerpt (boldface emphasis mine):

…In Crossing the Yard, Richard Shelton writes about prison from the perspective of a volunteer teacher of creative writing over a period of thirty years. (Ken Lamberton was one of his students.) Shelton, a prizewinning poet and professor at the University of Arizona, says that much of what he knows about teaching was learned behind bars. When asked why he goes into the prisons, he replies that he’s selfish. The men teach him too much to stop. When asked if he’s not ever in danger there he replies affirmatively—from the guards, one of whom passed him a basket full of drugs by mistake once, while others have harassed, menaced, and generally thumped their chests around him, while trying to exterminate his massively successful writing program. The prisoners have protected him.

Shelton’s initial motive for volunteering, he recalls, was hardly noble. An infamous kidnapper and serial murderer, Charles Schmid, wanted to send him poetry. Shelton the writer sniffed promising material. He wanted to be a “voyeur,” looking in on a “monster.” But as Schmid learned about metaphor and went to war on sentimentality, harnessing the rage inside him, he began to change. He wrote to Shelton, “Something’s happened to me. Something wonderful and frightening. I can’t explain it. But I feel like somebody else.” Shelton concurred. “My God,” he thought. “He even looks different.”

Shelton has witnessed many such transformations. One writer won a National Endowment for the Arts grant—for which his entry was judged blind. Another, Lamberton, won that Burroughs Prize. Another took a PhD in history and became a college professor. Another designed a system to store solar energy while still in prison. Another became a preacher. Another, Calvin, grew so adept at speaking on the prisons’ “scared straight” circuit that he won his pardon and opened a rehab program.

You don’t have to be a cynic to recall the counter-examples over the years, of prison writers championed by celebrated outsiders (as Norman Mailer, for example, took up the cause of Jack Henry Abbott), with a bleak end to the story. But the point isn’t to add up literary honors or highlight the most dramatic instances of change, set against the most publicized failures. Rather, Shelton’s account of his writing classes should remind us of the humanity of the prisoners, whether talented or not. When a student would publish a poem or chapbook, the entire class would share in that success. Charles Schmid wrote his teacher on his first publication, “I have a kind of dignity.” Even more impressive, in a place that is strictly racially policed by gangs such that races do not mix in the chow hall, writing class turns inmates into friends. Perhaps it is the quasi-liturgical effect of being left breathless together by the beauty of words. Or of sharing unspeakable pain in words that point beyond words: in poetry. Or perhaps it is the bootcamp-like atmosphere of Shelton’s workshop—he pushes them hard. “I suppose it is caused by the fact that you can’t discuss and criticize someone’s most cherished ideas and creations without coming to feel some empathy with that person …. Actually I don’t know what causes it, but I know it happens and it violates the established norm of any prison.” It’s a bit like church is supposed to be, isn’t it?

Yes, all too often, inspiring success can be followed hard by devastating failure. Would-be successes re-offend upon release. The rate of recidivism for sexual predators is particularly discouraging (and this is equally true of those who are routed into the mental health system rather than to prison). Statistically speaking, Ken Lamberton is a very bad risk.

Some reformed prisoners aren’t even given a chance to fail on the outside. Charles Schmid was jumped and stabbed repeatedly by fellow inmates. After struggling in intensive care for a week, he died. Shelton blamed himself—perhaps his literary conversion left Charles (who’d changed his name to Paul) soft, inattentive, vulnerable. Another student, a Latino, refused an order from the Mexican mafia to leave the integrated class. He was also murdered. Another died due to neglect. The prison’s medical officer neglected to treat his hepatitis C, and instead tied him to his bunk. The talented young poet died in agony, with plentiful men behind bars as helpless witnesses. “Each death is less shocking,” Shelton writes. And after death? Prisoners were buried in a trash-filled, unmown yard with only their prison number over their heads.

Of course, victims of crime, or their surviving relatives, will reply that criminals have taken away their or their loved ones’ identity. And they would most certainly be right. One cannot talk about the barbarity of our prisons without talking also of the barbarities many prisoners committed to get in. Shelton reflects on the fact that Charles Schmid had become like a son to him. Then he has a start as he remembers that other parents lost their children at Schmid’s hands.

And Shelton assigns blame for violence in the prison more evenly than does Lamberton, seeing inmates’ culpability as well as the guards’. One comes away from his book with a greater sense of the depravity of those in prison than Lamberton’s account provides. Not that the two books don’t agree on much. Both argue that cynical prison administrators stir racial animosity, even hoping for occasional riots, so they can appeal to state legislatures for more weaponry and funding. Both compare our prison system to slavery—a massive, profitable system that depends on the conveyor belt of bodies into its maw. Both see subversion as the way to survive and writing as the way to thrive. Shelton pontificates more loudly. Lamberton prefers to show the quotidian.

Shelton spares no quarter for those who defend what T.S. Eliot called “Death’s other kingdom.” Prison holds up a mirror to our society, and what it shows is ugly. We are a violent and fearful people, on our way “toward the point where half of our society will be spending most of its money to keep the other half in prison.” Shelton marvels at the claim of one prisoner that life inside isn’t so bad: “For the first time in my life I have a bed to sleep in and three meals a day and we all sit down to eat together.” Prison has become a surrogate family for millions of people—a place with greater community than back home. (Would it be more punishment to release them, then?) Reflecting on Karen Lamberton’s heroic effort to stay with Ken, Shelton writes, “Incarceration is probably the quickest and most effective way to destroy a family permanently. And mass incarceration, as it is practiced in this country, is the quickest and most effective way to destroy the social fabric of entire communities, especially poor and minority communities.”

What is Shelton’s proposed solution? Dogged, committed volunteerism. Millions of volunteers could make prison more transparent, ease the transition from jail to free life, and leave, he thinks, “only a fraction of the present number of inmates incarcerated.” The more people who know the inanity of our current system, the more will see the wisdom of counter-proposals—like electronic monitoring. Shelton’s own work has born enormous fruit. We can only hope others will follow….

Maybe we should do what Jesus said, and visit those in prison. When I first did, I was struck how ordinary prisoners are. I don’t know if I’d been habituated into expecting them all to be snarling monsters bent on my destruction. But they seemed like guys I might play basketball with, or go to church or school with, or share a bus or sidewalk with (not likely a neighborhood—people in my social class rarely wind up in prison). On a later prison visit I met with my friend Jens Soering, a convict who writes that, if every Christian congregation would adopt two former inmates a year, we could greatly reduce recidivism. And if we flooded prisons with visits of the sort the Bible commands, the abuse to which many prisoners are subject would largely dry up.

Liz Davies: “Tropical Christmas”


Many of our current Christmas traditions originated in Anglo-Saxon countries, so the standard imagery for the holiday season reflects a Northern climate: snow, pine trees, holly berries, and the like. Winning Writers subscriber Liz Davies, currently living in Manila, sent us this different but no less festive depiction of Christmas down south. “Happy Holidays–Maligayang Pasko–as they say here in The Philippines,” Liz writes. Enjoy more of her work at Winning Writers here and here.

Tropical Christmas

Night falls early now, on a cool breeze
After a clear salmon and silver evening.
Little bats caper, stitching the skies
With carefree parabolas, and twittering
With the joy of mosquitoes for supper.
The roads light up one by one in the dusk
Colours deepen as night falls, and old Manila
Awakes; the ancient socialite adorns herself,
Drapes herself in glittering, flashing gems.
The parols*, like freewheeling rose windows
Seem to float and spin along the roads
As concrete falls away in the velvet dark,
And waterfalls of cool fire fall,
Fall on trees in icicles and stars.
Fleets of electric reindeer fly, legs flailing
And getting nowhere, and the malls deck their halls
With giant spiral crystals of styrofoam, so strange
For people who have never seen the snow.

*Parols are round stained glass effect lamps

New Poem by Conway: “Oak Leaf”


Oak Leaf

Beyond the certainty
   of a grave
or burdened song
   of a wandering star;
A firefly in flight–
  retains a tight grip,
on the approaching slip of dawn.

Dancing among ancient memories
   hidden in burgundy wine
coolly scissoring through air
   gliding to the tune of time
but seemingly going nowhere.

As an old note is struck
   from some familiar song of woe,
one that has clung to memory
  like an affectionate parasite
that wraps around its host,
   to strangle it in scorn,
stifling the unfulfilled dreams
   of an acorn…

********

My prison pen pal “Conway”, who’s serving 25-to-life under California’s “three strikes” law for receiving stolen goods, is facing unfair new restrictions on his status. Although his disciplinary record was clean, he was transferred from the prison where he was mentoring at-risk youth, as part of a prisoner trade arranged by officials. In his new location, officials are considering reassigning him to the segregated housing unit until he’s paroled, which could be years from now. In the SHU, he writes in his Nov. 27 letter, he will be limited to “window visits only, caged exercise, cuffs, kickers, no music and one 30 lb. package per year.”

Conway loves books; he’s reading Bleak House right now. He has adult children and grandchildren whose visits keep his spirits up. These lifelines are at risk if he’s permanently reclassified to the SHU. If you’ve been inspired by his poetry and letters on this blog, please email your testimonials to me at jendi@winningwriters.com and I’ll pass them along.

Knowing that our family had suffered a loss this year, Conway sent me this quote from Dag Hammarskjold in his Christmas card:

A happiness within you–
   but not yours.
Only that can be really yours
   which is another’s,
for only what you have given,
   be it only in the gratitude
   of acceptance, is salvaged
   from the nothing, which
      some day
  will have been your life…

The Poet Spiel: “Odds”


My husband and I have just returned from the Soulforce Anti-Heterosexism Conference in West Palm Beach, where we met some of our favorite bloggers, heard a fantastic sermon by Rev. Deborah Johnson of Inner Light Ministries, and felt completely welcome as the token straight couple. I’ll be posting a complete report here after the holidays. Meanwhile, enjoy this poem from The Poet Spiel, whose new book is forthcoming from March Street Press in 2010.

Odds

Flesh-hued cotton panties over their heads,
    covering their ears
and topped off by orange and green party hats
    from that carousing
in 1944 on army leave in Paris where they were
    rightfully
thrilled at the revelation of one another in
    dark shadows.

Now these two old men are fixtures faded as
    wallpaper,
unable to recall why panties and hats had been
    so hilarious
in their steamy bathroom mirror one
    way-back-when drunken night;
only that the panties keep their ears warm,
    reason enough.

They piddle their aches from threadbare
    tapestried chairs,
facing so their feet meet to keep track of
    each other;
each half-deaf, fearing he cannot hear the
    other breathe.
Yet they also fear dead silence, so they kill it
    with classic vinyl,

spinning I get no kick from cocaine. But it’s
    not the lyric
that lulls their hearts, it’s the familiarity of
    old tunes;
how they used to hug-dance in their
    lard-laden kitchen,
brittle Woolworth’s shades drawn down
    against a world

that might not tolerate two such battle-weary
    soldiers,
peacefully withdrawn. Alone, together: Edward
    crocheting
dainty doilies to keep his knotted knuckles nimble,
    Rodney knitting
acres of the cutest afghans for those virile young
    boys in Iraq.

Long ago, they had to abandon thoughts of ever
    going back home,
just tucked them away in their root cellar to gather
    fungus and mouse turds,
but they agree noises rise from there, like sharp
    cracklings
of their battalion on the front lines of The Big War.