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MIchael Hettich, Lobby Bar, July 16 (2)

Long-time resident of Miami poet Michael Hettich has been writing and publishing poetry for over three decades now. His friends and students here in South Florida have luckily benefitted from the closeness and dialy-ness of his presence and work, so too have many of his long-time readers here and abroad. As the three poems to be shared here will show, Hettich’s is a poetics of external and internal metamorphosis and regeneration, at once fed by and still feeding from elemental forces many times taken for granted because of their everyday groundedness in time and place. With a powerful impetus that has always seemed to me Ovidian, his poetry is always immediate, action-packed, vivid and engrossingly visceral, even when subjective fancies enter lyrically or narratively mid-stream. In an always trusting and refreshing manner, his poems invite all readers to dwell in them for a little. His are poems to be lived, explored, worn, dreamed or, many times, breathed as mantras.

To prove these highlighted observations I have taken three poems from Michael Hettich’s The Animals Beyond Us (New Rivers Press, 2011), a fairly recent award-winning volume. Because he is readying to publish a new collection in April (tentatively titled Systems of Vanishing), I purposely took three arguably recent poems that deal specifically with a poet still trying to cope with the almost decade-long loss of his father.  And the beauty will be apparent immediately—for they are not poems of morbidity, rigidity, melodrama or woe-is-me lamentation; instead, they are poems of remembrance that have transformed personal loss, change and impermanence into a newfound wakefulness, a here and now celebration and witnessing. In these poems there is no hint of regret, just a new “way of staying present.”

Measuring the Days

My father dives in and swims off across the bay,
tries to swim all the way to the other side,
swims past slag islands of mucky-drift and mangrove
crowded with birds that don’t notice him.
If he makes it to the other shore he will walk home, barefoot
and dripping. This is his weekend routine,
his way of staying present. But of course we miss him,
cutting the grass or walking through the neighborhood,
talking to acquaintances or glancing at the sky.
Even the minnows swim through him now
as he slowly dissolves into the current. And we remember him
like hair and teeth, like skin–if we remember him
at all. He swims as he always did, steady
and relaxed, reaching forward and pulling, kicking hard.

Concrete and Mortar

I dreamed I was running backward, through fields
and woods, feeling as though I was about to
crash into a rock, or a tree, or fall into
a river and be swept away. But still I ran on.
The windows in our bedroom this morning are dusted
with pollen that smells like damp mushrooms, or like
pipe tobacco in a rarely-opened drawer.
The wild coffee is blooming too, and full of buzzing bees.
Your father has died, two thousand miles away.
The mortar anchoring the bricks of the house
he built with his father, the house you grew up in,
has been crumbling away, falling back to sand.
The workshop he built himself in the back yard
will be pulled down; all his tools will be scattered.
We were married in that back yard. Even the mountains
are slowly coming down. I remember that basement,
the cool darkness where your brother slept the days away, for years.
I remember your mother making cards and gifts down there.
Everything is secret, or else it wouldn’t need to be.
Everything is waiting. Certain days we couldn’t see
the mountains from your parents’ street. Other days they loomed.

The Small Birds

They ask us to understand our grief
by simply leaping out, trusting the air
which is far more complex than sorrow, to follow
all we’ve ever done with a pure heart and change ourselves
completely, but never for long.
Someday, you say, you’ll be glass in a window
that looks across a landscape of wilderness and snow
which will melt when you go out there and walk, because
you’ve loved someone well. But whom do you love,
after all? For now, you open that window
and lean out. For now you just watch things: vivid rugs
on hardwood floors, closets full of clothes
that would never fit you, where another person’s smell
lingers for years. And then it vanishes.

Ned at Atomic Books Aug '13

First Thaw

This morning was the first time: all the snow
that buried us receding, still in drifts
piled high, crusted with ice and yet receding,
slowly drawing back—abandoned cars
revealed, crushed grass, the shattered road ice-slicked,
salt-splashed, slush running downstream, breaking up
over the drains, dissolving….All this time
I thought the whole world lost, but now the light
glances off roofs still cracking with the weight—
a little less, today. The second time
is now: when I can bear to look around
once more and watch this world emerge—old world
from which so much is missing still, new world
in which so much will, one day soon, appear.

______________________________________________

Ned Balbo’s The Trials of Edgar Poe and Other Poems (Story Line Press) was awarded the 2012 Poets’ Prize and the 2010 Donald Justice Prize. His two previous books are Lives of the Sleepers (Ernest Sandeen Prize and ForeWord Book of the Year Gold Medal) and Galileo’s Banquet (Towson University Prize). He was co-winner of the 2013 Willis Barnstone Translation Prize. His commentary on the poetic turns in Andrew Hudgins’ “Mary Magdalene’s Left Foot” appears at Voltage Poetry.

First Thaw” appeared previously in Lives of the Sleepers (University of Notre Dame Press, 2005).

 

 

 

grapes-of-wrath

 

ALL THAT REMAINS

BY BRIAN FANELLI

ISBN: 978-1936373468

OCTOBER 2013

UNBOUND CONTENT

all-that-remains-front-cover

Here’s a challenge for all of you poets out there. Get a copy of Brian Fanelli’s All That Remains and try to write like him. At first blush it does not seem an insurmountable challenge. Fanelli’s work is approachable. He does not brandish his technical prowess with intimidating sestinas. There is no pandering to theory, nor does he flaunt his erudition by quoting obscure thinkers or having his characters speak in Latin. (Though there are some well-placed references to Bob Dylan and horror movies.) What we do find are rusting towns and their hard-working denizens, whose horizons are limited through no fault of their own. We also catch moments of tenderness and regret and glimpses of youth with chances seized or lost.

While All that Remains is best consumed end to end, I am going to focus first on a poem that appears in the middle, After Working Hours. The people inhabiting this poem are not poets or artists or academics or urban professionals. The woman works in a grocery store. The man works construction, and the images and sounds of their work day follow them home and further still into their dreams, but they wake to love and consideration as he pours coffee and she touches his hand, “feeling warmth between his calluses and cracked skin.” These are not people with careers. For the couple in this poem, a job has little reward beyond the monetary. The drudgery exacts both a physical and psychological toll, but the simple affection between a man and a woman makes it something that can be borne.

Perhaps the most refreshing attribute of Fanelli’s work, in my opinion, is that he has overcome the temptation to write about oneself. There is always an “I” in his poems, and the “I” is usually the poet (though not always, as in Speaking from a Sick Bed),  but the poet exists not to tell about himself and what he has been through, but to tell the story of the people around him.  Summer at the Press Plant is more about the alcoholic, good-natured horror movie buff Frank, barely holding on, than the poet who is looking back to when he was “19 and home from college.”  How I Remember Her ponders the fate of a female activist who surrenders the barricades because of motherhood and marriage to a man “she loves sometimes, when he’s nice.” While we may be curious about the poet’s true feelings for this woman, who is clearly a friend or more than a friend, the poem is not about unrequited love, but about the forces of life and time that make someone, once passionate and vigorous, quit the battle and surrender. The poet may not approve of his friend’s choice of a mate, but, if there is any judgment, it can barely be discerned.

In fact, there are few judgments rendered in All That Remains. Fanelli opts not to expose the violence, resentment, and ignorance that are often fellow travelers with hopelessness. He is not an ironic writer, not looking to poke fun at or criticize his subjects. His hard-working blue-collar characters are not racists or homophobes, not bullies or reactionaries. In fact, save for a passing reference to “decisions of law makers and kings,”  “some senators and congressmen”  actual villains are hard to come by in All That Remains.  The people in these poems toil in dignity seemingly without residual bitterness, the cause of their fates unmentioned or distant.

I decided to set myself a challenge and write a poem like Brian Fanelli. I tried my best to transcend myself, to write about marriage and fatherhood from the perspective of someone who has a job, but no career (or no job at all), who works with his hands instead of tapping keyboards, who is too exhausted and concerned about how he will pay the heating bill to concern himself with questions metaphysical or mundane. I found it is not easy to capture with wit and humanity lives that are near your own geographically, but further in terms of class or race or gender. Fanelli writes about fates that he himself has escaped, but he is unwilling to turn his back, to say: “I’m out of here. You’re on your own.”

diamond years

 

FOR LACK OF DIAMOND YEARS

BY CAROLINE BEASLEY-BAKER

ISBN 978-1938349096

NOVEMBER 2013

PELEKINESIS 

diamond years

As a literary person who became an art critic, the nexus of visual art and poetry has always been of interest to me. I have known Caroline Beasley-Baker as a painter; now I know her also as a poet. 

In Beasley-Baker’s visual art—in all of its diverse forms—I always saw a perceptually acute link between the visual and myth. In his Philosophy of Symbolic Forms, Ernst Cassirer describes how visual feints and impressions, physiognomies (seeing faces in things), fears, animation of the inanimate, and conceptual reversals begin; how nervous ticks comprise the human fight-flight physiology.  He describes how epiphanies were experienced and then clarified over time  as the presence of a god (or “temporary gods”) emerged, places subsequently becoming sacred as shrines.

In secular life, such huhs? are often the result of mishearing something, of making a sudden new connection between two odd things, or having a little insightful eureka. Recent neuroscience has found support for Cassirer’s linking of  sight and myth to the study of how humans figure out the world; to how–from purkinjee trees inside the eye to how we see during reverie to how early dysmetropsic misunderstanding of the world is processed through the eyes of a child–forms the basis of all later perception of the world.

In one statement about her poetry, Beasley-Baker said that in her youth she saw the world as a whole laid out below her, that when when she blinked she thought the world changed. These are classic ur-dysmetropsic events, which, if held onto and cultivated, lead to a distinctly personal culture and mythology which seeks to give voice to that seen reality. A poet like Pound, so responsive to Japanese calligraphy, to the haiku, and to other short forms of poetry, sought out poetry to put a visual sensation into something other than conventional words. He sought to give voice to the passing visual sensation of the world in the form of a kind of nervous gestalt beneath or before words. This line of poetry is grounded in sensation. As a result, it paradoxically, harbors an alexithymic suspicion that once you put a label on something you have gone too far and crushed the moment in its delicate passing (as so much lyrical and more confessional poetry, in my view, does). Indeed, much of such poetry has been written precisely in response to visual moments or visual art with the express purpose of not using denotative or even connotative words…but some other kind of word. 

Beasley-Baker was the only artist I knew who dealt with both the macro and micro dimensions of mythic perception (or, as Cassirer called it, “mythic thought”). Later, the titles of her works of art developed into little poems, and she began to put captions or titles into her meanders of lines too, right there in the painting. Her current poetry digs even deeper; it strikes me as what art historians are now calling sfogo (Italian for “steam”)… the little musings to oneself that accompany the making of a work of art; a kind of nonstop texting-below-texting that the mind in metacognitive itch continues on with as it will. Not the lecturey talkback run-on that keeps one from getting to sleep, but the dream-phrasings that incant over walks in the cold or in the dark—or being in the flow of making art. Beasley-Baker seeks to capture these odd, errant “what-made-me-think-of-that?” thoughts at a very micro level. I have called this voice of nature “nomos”, and find that it often takes form in visual art in words that rise out of the very surfaces of the facture of painting or as broken fragments of words: fractured, surgically transposing adjective, adverb, verb, noun moments into other figures of speech; making use of punctuation as if in a musical score, thus leaving behind a finely etched and lean transcript of a visual-mental response, given overvoice or underbreathvoice by the mind. A mental world of phenomenological ghosts (Husserl’s term) and a world made of metaphor, this is not a nexus that positivist categorical American art and American poetry have had much time for. But in John Donne, in Emily Dickinson, in folk song, and in the late work of the Beatles, even, the hesitant, immediately retracting, spelling it out, taking it all back (it all adding up, after such an emotional outburst, to precisely nothing) has sometimes taken shape.

You can see this worked out perfectly in Beasley-Baker’s For Lack of Diamond Years poems. When she puts a slash in, she is pulling up short, telling herself, maybe, to stop; when she hyphens words into supercompounds, that’s an emotional compression, a sudden transposition, a freezing, a making noun of verb, adjectives into an entity. Then an image will come and immediately bump up against another, then something else will block it, or counter it: all of this mental byplay between talking to oneself and telling oneself to stop doing that, to be silent, is there. Beasley-Baker, as a painter, knows that the best moments are the most fleeting and mythic; in her poetry, she seeks to enlist words against themselves to capture moments prior to words, so fleeting as to almost be an enunciated form of silence. Consider her description of a clock stopping after her father dies: “I found meaning and comfort in that ceasing moment, in that…..what? the breath between living and my imagining”.  There it is, right there. The title of her poems refers to “diamond” years, a reference to age, but also to precision, facets, carats, if you will. Her visual art has always had, in addition to larger scale meanders, and an overall almost maximalist quality, countless dispersals of micro moments too, many of them faceted by gems or things that shine or sparkle. It’s really very rare  for a visual artist to so completely translate or, more precisely, transcribe her visual sense into words. For this reason, for me, Beasley-Baker’s poems are a significant achievement.

Loren Kleinman HeadShot

At Fifteen

I measured time in cigarettes.
Underneath the underpass
I popped reds
and dropped blues
next to sucked off Popsicle sticks.
I straddled the concrete curb
and anointed the night with love.
I was alive—
snorting coke in abandoned homes
where pigeon shit painted the floor white.
I ripped off loose wood and climbed
to the top of the roof.
I wanted to feel the air
against my cheeks and fuck.
I wanted to break in half.
Fold like heaven and hell.
I was at war with myself.
At fifteen, I hummed paradise,
became those streets that tied
into other streets,
became my own country.
How I talked.
I could’ve been anyone.
I was incurable.

_______________________________________
Loren Kleinman‘s poetry has appeared in journals such as Nimrod, Wilderness House Literary Review, Paterson Literary Review, Narrative Northeast and New Jersey Poets. Her interviews appeared in IndieReader, USA Today and The Huffington Post. She is the author of Flamenco Sketches and Indie Authors Naked, which was an Amazon Top 100 bestseller in Journalism in the UK and USA. Her second poetry collection The Dark Cage Between My Ribs releases March 2014 (Winter Goose Publishing). She is currently working on a literary romance novel, This Way to Forever. She also runs an author interview series on The Huffington Post Books community blogs vertical. Loren’s website is: lorenkleinman.com. She can also be found twittering @LorenKleinman.

 

 

 

tony sunroom

There’ll Be Heartache

He pulled onto the shoulder,
air breaks huffing, stopped and rolled
the window down—outside the air was dry
but cold, early-autumn evening closing in,

and I was eighty miles outside El Paso
with a pack across my back
heading west, because a friend
had died and nothing seemed to fit,
the days and nights too long, or short,
or just too damned complete—

and as the trucker sniffed the wind
as if the smell were new to him,
and flicked a Camel to the ground
and waved me in, I thought I saw a flicker
of a smile beneath the shadow of his cap,

and so I climbed into the cab, slung
the pack into the sleeper in the back
then settled in while on the radio
a tune by Johnny Cash was blasting,
“just around the corner there’ll be heartache.”

And as he pulled the rig back on the highway
he turned to me and said, “Where you headed, son?”
just like that, as if it were a script,
but it wasn’t, and I knew he meant it
as he asked again, “Where’re you headed? You okay?”

and so I told him that my friend had been the smartest
gal I knew, and how there wasn’t anything
you could do to make her angry
or act rude, and how it didn’t seem so right
that someone good like her could die so young
when other’s meanness seemed to keep them going
right on through—

and then we drove along in silence
for another mile or two before Chuck Berry’s
famous tune chugged its steady rhythm on the radio:
Long distance information give me Memphis Tennessee
help me find the party that tried to get in touch with me,

and the trucker asked if I liked the song,
which I did, then he said, “It’s the ending
makes it great”—and sure enough,
it’s true: I catch the strange twist
of misdirection, the snappy, upbeat popping rhythm;

the speaker begging, pleading
for just a bit of mercy: Help me information
get in touch with my Marie, she’s the only one
who’d call me here from Memphis, Tennessee;

the seductive, needy intonation that points us, wrongly,
to lost sweethearts and lovers—only makes the truth
more real, and sad: that sweet Marie’s his little
girl from whom he’s been pulled apart,
because her Mom did not agree
And tore apart our happy home in Memphis, Tennessee—

and yet I couldn’t help but smile and tap
my toe to the upbeat rhythm of six-year-old Marie
with hurry home drops on her cheek
wavin’ him goodbye, just like the last time
that I’d seen my friend as I was backing down the drive
and headed South, and how that weekend

we had talked and written down the little
we knew then, and later, back at home, she’d sent
the poems for me to read and I had saved
them all till I got the call and had pulled
them all together, laid them side by side by side,

and knew I’d seen the better part of life
with her there on that night. Then the driver tapped
another Camel from the pack, smiled, leaned back
and shifted as we trucked on down
the highway, miles ticking by outside.

_________________________________
Tony Morris
‘s most recent book is Greatest Hits (Puddinghouse Press, 2012). Other books include Back to Cain (The Olive Press, 2006), and Fugue’s End (Birch Brook Press, 2004). His work has been published in Spoon River Review, Hawai’i Review, River Styx, Meridian, The Sewanee Theological Review, South Dakota Review, Connecticut Review, Mississippi Review, Green Mountains Review, and others. He is the managing editor of Southern Poetry Review, and director of the Ossabaw Island Writers’ Retreat.

I remember listening on a green transistor radio to the Frazier/Ali fight back in the late winter of 1971. I was 12, and at the height of my interest in sports. My Yankees had done badly that summer (they’d finished fifth in their division). This is not the dynasty Yankees: this is the Yankees of Horace Clark and a third baseman (Jerry Kinney) who hit under 200 without power. This is a Yankee team whose best and most consistent player was Roy White, and who had two starting pitchers who swapped wives and houses (Kekich and Pederson). I loved them without hope–the way it should be.

Ali had been out of the loop for over two years. He was cocky. I’d heard an old man say something I didn’t understand: “Say what you want about that mother fucker…he ain’t no fuckin field nigger.”

Ali’s tune up fight had not looked sharp and, in my neighborhood, where many young men were in Nam, and three of them on my block were soon to be dead, rooting for Ali took a lot of guts. Ali also rubbed it in so deep on Joe Frazier that you had to feel bad, or mad, or just humiliated yourself. Frazier had an amazing left hook and a stolid, cut off the ring approach that seemed utterly hard hat. The hard hats were not the friends of the hippies that year and visa versa. This was the beginning of the schism in the democratic party, between depression based old union democrat and prosperity, lifestyle based choice culture leftism. Frazier was a patriot. Frazier was a no nonsense, soft spoken guy from Philly. Ali was the pretty boy, the darling of the new global left–the most famous figure in the world. It was hard to root for him, but even after two years off, it was even harder to believe he wouldn’t somehow out dance, out box, and out think Frazier and steal his title while humiliating the champ.. I think working people were beginning to feel humiliated enough. They didn’t understand the anti-americanism of the new left, especially since it seemed to be led by and comprised almost entirely of little privileged shits from the burbs. Those kids mocked us. They were not like us. They saw us as white trash. They looked bored and unfriendly and we had no idea they’d gotten that bored and unfriendly look from the Velvet Underground and posters of various hipsters and fashion models. I remember a man in the barber shop saying: “those long hairs got their nigger, and we got our’s. Their’s is just like them: a fuckin wise ass.”

I rooted for Joe Frazier because he had a terrific left (I’m left handed) and was a short guy as was my father. He cut off the ring. He took a punch to land one. He had trained hard and beaten a bunch of good fighters to get the title. In my heart, I knew the war was wrong, the word nigger was wrong, the whole feel of that time was somehow wrong. I was against the war, and as an 11 year old, I opened my mouth and got my ass beat. We were a strange mix of working class anger, and old leftist virtue. In my house, my mother swore if she ever heard us use the N word, she would leave us at the police station and give us up for adoption. We knew she meant it. It was a time of splits: racial splits, class splits, most importantly a split between an old immigrant unionism which was at both the top of its success and ready to take a nose dive with the first oil crisis, and the new left that would later spend most of its youth and middle age analyzing itself.

I rooted for Frazier because he was the underdog–the fighter for those working class guys who were in Nam. It never occurred to me that the guys in Nam were not against Ali. When Tom Daley came back after two tours of duty and missing three fingers he said: “Ali was right… I was a fucking sap.”

So on March 8th, 1971, on the same radio station as my Knicks (think it was WOR) the fight was broadcast. it was close, so close, and Frazier won. I was ecstatic..It was a year for underdogs. My Knicks were defending champs. For a moment, a year before my balls dropped, I was a happy kid. But I felt bad for Ali. The next day in the paper they showed his puffed up face. They never wrote Frazier was in the hospital even longer. Two black men had beat the shit out of each other. Given the warped mix of class, race, pro-war, anti-war sentiments, some whites still felt proud and almost teary eyed that their good, patriotic “nigger” had won.

That’s what some idiot yelled to my dad when he came up the street from the bus that left him off from the 3:30 to 12 shift. “Hey Rocky!” The guy yelled, “The good nigger won.” My dad flipped his cigarette and yelled back: “Ali… won?” “No… you dumb bastard, the good nigger.” “I thought you said the only good nigger was a dead nigger,” My dad rejoined. “Ah Rocky… ” the guy finished in disgust, “you’d fuck up a wet dream.” I was up late because my mom gave me permission. My father looked at me: “kid… don’t ever be like that dumb shit… A little late for you to be up.” I answered my father, “I wanted to see what you thought Dad.” He said,” A lot of idiots think they won a fight and they never spent even a half minute in the ring… Listen, I want to show you what it means to be in the ring… don’t tell your ma, ok?” My dad made me get into a boxer’s stance after going inside the house to get the egg timer. For three minutes he hit me–very lightly with jabs to my arms, countered all my punches, faked me out, made me winded so that, at the end of those three minutes, I thought I’d puke my guts up. He said, “that’s what you heard tonight kid, except no punches was pulled, and it went all them rounds.That’s the only part of this that ain’t bullshit. That’s just a taste… boxers are just poor dopes trying to make some scratch… black, white, they get themselves hurt for the green. this was a big pay day. All this horse shit about this or that …you know what’s wrong with this country?

“What’s that dad?”

“It ain’t the boxers or soldiers who’s brutal… it’s all these goddamned spectators…” He threw one more jab at my arm. “Come on, Let’s go in and have some pie… Ali is a great boxer. If he’d been a little more in shape, goodbye Frazier. Joe is a great fighter… he’s got heart…Ali is the better man, but not tonight. The rest of us, we best pray we don’t have to get into the ring with either of em. Come on… I’m beat to shit.”

 

BEND TO IT
BY KEVIN SIMMONDS
SALMON POETRY
2014
ISBN 978-1908836793

cover_bend

When the young Miyamoto Usagi (from the pages of the Stan Sakai comic Usagi Yojimbo) won his first tournament, his reward was a pair of swords. The katana was named “Yagi no Eda” (or ‘Willow Branch’); and the short sword was name Aoyagi, or Young Willow. His future lord and master Mifune explained that the willow bends so as not to break, and that strength isn’t just power but, perhaps more importantly, adaptation.

This comic book was essentially my main role, from days at Alta Vista elementary to my present as a semi-professional thirty-something. Pliability over strength and sacrifice are things I learned from Usagi, and thought about way too much as a teenager. I still ponder them almost daily, and clearly so does Kevin Simmonds, as evidenced by his new book Bend to It.

The cover depicts a tree under the kind of weight one might encounter in a hurricane, which Simmonds’s New Orleans is all too familiar with. But he’s no stranger to Japan either, as he splits his time between there and America. This collection of poems is sectioned off by kanji numbers, and often references Simmonds’s faraway home. Between Louisiana and Nippon, the author is drawing from a wide swatch of culture and voice, including but not limited to music and growing up gay.

Not that such things are totally disparate, but between the various subjects, epigrams, shifting title conventions and poetic structures, and sections, this book does begin to bend under a certain weight. Throughout it though, Simmonds balances it all with grace.

Off the bat he gives us wild, there:

wreckage is the lasting thing

||:  so mean its music:|| 

 

whatever vows you’ve made

cello them

 

sink your vowel

into them

An undulating sense of music is well-wrought through the lines in this opening piece, which Simmonds continues to use to great effect throughout the book. His strength lies in communicating the effects of music without getting bogged down in the particulars of it, in utility in the right symbols and references without overuse.

Immediately after this he moves on with longer, more narratively rooted poems, and throughout shuffles through these modes regularly. One doesn’t get the chance to become bored with any style, but neither are they afforded a longer meditation. The poems are for themselves, and as soon as you settle into a section it’s over.

Later we find Exegesis:

There was nothing trivial about the

Thai masseuse who slid his vertical

along my vertical, the power

outage, or those extra minutes

without charge. I cannot say he

wasn’t God. What I felt then, what

I feel with a man’s body on mine, is

holy, holy the way I imagine it is

right & without damage, worth

thanks & remembrance &

justification for.

A more personal, sensual poem, still jetsetting and musical. In the book things are forced into a justified column, giving rigid rules to a subject matter better interpreted loosely and interpersonally.  The alignment of verticals references the narrator’s desire to align with the world at large: spiritual synchronization. But at the same time it’s a self-justification. It is what it is, knowing right but excusing that correct feeling as well. Though all contact is a form of damage, anything else is a wistful request.

The negotiation between contact and damage, yearning for what you love but in so yearning causing harm, threads throughout the book. Maybe it’s more a matter of time than interaction. Bend to It, a little wildly at points, swings to and fro as if buffeted by a hurricane. But Simmonds certainly does not break, and gives us a book of perseverance; and in that survival, between moments of confusion or abuse or damage, an exploration of the joy found in small moments of peace.

 

DEATH CENTOS
BY DIANA ARTERIAN
UGLY DUCKLING PRESSE
2014

death centos

Diana Arterian’s chapbook Death Centos is currently available in a limited edition set ($125) that includes two additional works of art. The first of these is a broadside, designed as a version of the Goose Game, with an inward-spiraling design that depicts a life cycle. The second is a game piece, accoutrement for the board: a small sculpture made of white brass, replica of a 2-franc piece (no longer in circulation), evocative of funerary customs in which the deceased are given money to help aid them in their respective journeys to the afterlife. The center of the letter-pressed broadside holds a statement from Arterian regarding her aesthetic intentions for Death Centos, in which she writes, “I have placed [my subjects, whose words comprise [these centos] on even ground . . . I have bastardized history in order to provide a poetic space in which they are marshaled together, allowing them company in the terror of the unknown.”

Indeed, the form of a cento – a quilt of human thought and experience, couched in the language(s) and perspectives of many – seems ideal for Arterian’s task of simultaneously memorializing and combining the last words of historical figures. These centos seamlessly combine the last words of geniuses such as Emily Dickinson, who described the onset of death with immutable innovation and elegance: “I must go in, for the fog is rising”; venerated historical figures, such as Dr. Martin Luther King, Jr., who reinforced the importance of beauty, art, and faith: “Make sure you play ‘Precious Lord’ tonight – play it real pretty”; religious leaders, such as Jesus of Nazareth, who invoked the value of family, love, and unity among human beings: “Woman, behold your son; behold your mother”; and common criminals, guilty of unspeakable acts of violence, sadism, and evil, e.g., Lavinia Tucker, who revealed a chilling lack of either delusion or remorse to the last: “If any of you got a message for the devil, give it.” These quotes, like all employed in the text, are credited; those who spoke them are listed on the innermost edge of each page, alongside the binding. However, the speakers cited are not listed in an order that corresponds to the placement of their words in each poem. By scrambling the identities of the speakers, these poems successfully render death a truly egalitarian process: not only must we simultaneously confront criminals, admired personalities, and venerated leaders, but we are deliberately deprived of the opportunity distinguish among them. Thus is the reader compelled to acknowledge their common humanity – and, in this way, Arterian’s project seems to become less about providing these souls company among one another in the terror of the unknown, and more about giving them equal real estate in the psychic space of the reader.

For this reason, terror seems neither the most defining nor the most compelling quality with which death is portrayed in this collection that interrogates what it means to die, and how we use those final moments before death – both our own and those of others. In fact, death is associated more immediately with happiness than with fear or suffering: Arterian opens the collection by quoting, via epigraph, the last words of her grandfather: “I’m so happy.” In addition to its direct declaration of joy, the context provided by this epigraph encourages the reader to understand death as a unifier – familial – an occasion that facilitates communication between the individual about to depart and the rest of the living world. Four times in the text, death is referred to as “going home,” and once as “taking refuge,” suggesting that human finitude, rather than merely stimulating fear, may serve as an intensifier for our natural propensities for forging connections, exchanging knowledge, and learning from the experiences of others. This text specifically differentiates, via section titles, between the dying and the condemned; to succumb to our physical finitude, then, is not to be sentenced. We may have to die, but we are not punished by death – a view that suggests a paradoxical sense of agency; readers are encouraged to regard the moments immediately preceding death as an occasion that provides the about-to-die with a reasonable expectation of being not only heard, but remembered – a secular brand of immortality.

And, ultimately, these centos suggest that our participation in the immortalization of others – the post-mortem maintenance of their identities – is a communal project, one that is also egalitarian in that it renders the individual will less important than the collective memory that keeps it alive. “Only you have ever understood me/ and you got it wrong,” Hegel tells his favorite student, and then takes his leave. Even as death erases his identity and sends his ego spiraling through the ether of the unknown, his faithful student transcribes and remembers his final speech. And so our collective attention to another human being’s last conscious moments allows us to help preserve the self that is being effaced, as we choose to integrate their departing wisdom into their own lives via language and memory. However, Hegel’s words – and Arterian’s lovely, haunting centos – also highlight the true terror of death: in being immortalized by the memories of others, how much of your true self, as you’ve defined it, will live on? How much of you is in your own words?

 

Innocence

In the middle of summer, when it’s too hot for cargo shorts and the air is heavy to breathe, I let my mouth slide open into a slippery smirk, as I watch Michael Ritter, the boy you loved in 5th grade, on the local news.

“Dear Michael, I really, really like you…” your 5th grade love letter began. Against my warnings, you stuffed the tightly folded letter, a rainbow scrawl, colored pencil on notebook paper, into his cubby.

He fell to his knees laughing. His friends snickered at you: Dear Michael, I really, really like you… They whispered when you walked by.  You cried yourself to sleep at night, a salty puddle of pre-adolescent pain staining your Barbie doll pillow case.

It’s not until I see him on the news, until I want to tell you how much you didn’t miss out on, how lucky you are that he never loved you. It’s not until then that I start to miss you.

It’s almost been a year since last summer when your mother drove you off an Arizona overpass. Your car tumbled onto the shiny alloy of train tracks pulled tight against dirt and gravel like braces. You were dead before a train slammed into your car twisting metal and bones.

I like to imagine you asleep in the passenger seat.  The overpass a cliff, the desert orange rock of a winding road.  Maybe your mom falls asleep at the wheel; she’s been driving for too long. Maybe she swerves to miss an animal, a rock. Maybe she cuts a turn to sharply and loses control.

I like to imagine it innocent. That it’s nobody’s fault.

The car falls down the cliff breaking through a mile of air, but it only takes a second to slam into the ground, not long enough for you to wake up. Not long enough for you to know what happens next.

_______________________________
Yinka Rose Reed-Nolan is currently a PhD student at Binghamton University. She earned her BA in Liberal Arts from Goddard College and MFA in creative writing from California State University Fresno. She has worked as an Editorial Assistant for The Normal School: A Literary Magazine and The Philip Levine Prize in Poetry. Her work has been featured in The Hoot and Hare Review, The Dying Goose, Niche, and Bloom. When she’s not writing she enjoys baseball, road trips and team trivia.

 

THE BROTHERS PERDENDO AND PERDENDOSI
BY BRIAN TRIMBOLI
RELEASED BY NO, DEAR MAGAZINE AND SMALL ANCHOR PRESS

Brothers1-copy

This is how terrible of a reader I can be: didn’t even think to look up “perdendo” or “perdendosi” until after I’d read this chapbook at least four times, the first two in quick succession immediately after it arrived. Not that it’s necessary to define every little thing in a book or poem, or so I feel; but the title is that much more fitting knowing that these brothers are named after, if not actually, a manifestation of loss, or at least the musical term for a fade out. The Brothers of Loss, things fading away.

This might have been more accurately titled The Brothers Perdendo and Perdendosi and their Father, as far as the literal ongoings within as the dichotomous distinction between the two halves set them up next to the father as if they were a single entity. We read their experience, and a few soliloquies from the father, and loss operates in tandem, theirs the royal “we” though this automatically connotes their individuality. Their names are so similar, and roots of the same gerund, to fade out in the face of their father. In Rilievo, the musical command is to become louder, to “stand out over the ensemble”.

Really I should have seen it all, though it is late in the chapbook that Trimboli basically spells out his thesis:

 Two different time signatures,

my father in the center talking loudly

 

to himself. Lights all around him.

He is dressed like a seven-year old boy.

He will not take his costume off,

even after he has gone home.

Families are baked in with the potential for discordance, a mess in the making. What are boys to learn from a father who never grew up? They raise themselves, and their father, in the process. Though there are limits.

Ultimately it’s a stressful cacophony to live under. As Trimboli indicates, “Our father was coal at the bottom / of the ocean. We named him In Rilievo, / / his voice a brash horn.” The father didn’t exist until found, and then named as the equivalent of an orchestral drama queen. But they did the naming, knowing coal’s potential for escalation.

The Brothers Perdendo and Perdendosi deals directly loss in the wake of an irreconcilable father. It’s further appropriate when we consider how the poems themselves fade out, as the musical definition of “perdendosi” commands. Which isn’t to say they aren’t gratifying or unfinished, but rather they weave throughout each other with such open expression. These verses thrive in quick structures, usually fewer than ten lines and alternating between two conjoined books stitched together with no other directive in reading. Page by page as if mirroring each other, one after the other, right to left or vice versa, this chapbook is built to be remixed through reading.

It’s the kind of setup that could drag itself into tedium if not done carefully, concisely, and in the frame of this chapbook, necessitated by the disintegrating emotions expressed therein. Multiple readings are subtly encouraged but no one experience gains ground over another. And really each line sings with such vulnerable vigor, title-less, divvied up by page as the only indication of where one fades out and another fades in.

That’s the surface poetics at work, wrapping up these short pieces as sublimely poetic, musical, and layered. But it’s more than an exercise in cross-genre ekphrasis. Trimboli’s well-wrought lines sway, graceful with their weight, are best self-described: “an orchestra of small insanities held together with catgut.”

Leatherbar in Louisville (owed)

The city hums traffic through lights, blinking
eyes right before sleep, a flatline pattern,
automated efficiency designed
to pull cars through midnight into dawn.
I fall inside, privy to dulled movement,
beer foaming to a quiet stasis, smoke
veiling the bartender and patrons.
Smells of gin, sweat, amyl, tool and product
of lifestyle manufacture, the market
for primacy, the dank and dark of cave
signifying spaces where men belong
to men, belie the confidence of pose,
migraine smiles suggesting satisfaction.

Don, the shirtless bartender, jovial
and smirking at me, dangerously out
of place, nudges me with jokes and beer
into talking, a thaw that draws other
moths to the light of the HD big screen
porno flashing raw tension behind my stool.
Maladroit, I can’t navigate a way
between communion and commodity,
a simple new guy that laughs politely,
declines shots, thank you, declines dance, thank you,
out of place in the sanguine atmosphere
of easy sex in public, among friends.
They offer me beer, friendship, a blowjob.

In this space constructed by and for men to pose, to pretend like
the word faggot doesn’t exist, a highly studied safe zone,
rules sit simple: pleasure transcends the body’s
politics and the cattle grind of out there. To cum is to arrive.

___________________________________________
Airek Beauchamp is attending Binghamton University where he is working on his PhD in English, studying writing pedagogy and sound. He is a Binghamton resident, although he really hates winter.

To introverts writers are glamorous. I am reading Joan Didion’s Blue Nights and enjoying it, but I hate those who feel they own Joan Didion. I don’t know how many others feel this way, but I often become irate over the ownership of issues and artists. Nothing will make me back off an issue or an artist more than the disciples and gatekeepers of said issue and said artist. I can’t stand when people “collect” their loves and hoard them. Dragons do that. Introverts are dragons.

Maybe this is why I feel alienated from other writers. I never got into the glamor of being a writer. To me writers are the most uninteresting of persons. Most of them sit around looking slightly bug like and fearful until the book comes out or the poem and then you see the ferocity of the dragon in their work which is that bug projected onto the screen and blown up to three hundred times its normal size.

Writers never pick good places to eat; they pick overpriced places with bad food and indifferent service. I’m not heavily attracted to either the timidity or the ferocity of writers. Both are kind of mean spirited. I loath meeting writers, especially writers I admire. I would never want to meet Joan Didion. I am not an introvert with a vast glass unicorn collection.

To me, there is nothing more gloomy than attending a signing and someone almost knocks you over to get face time with an author he or she worships. It’s the literary version of a Black Friday sale at Wal-Mart. If Joan Didion came to campus people would jealously hoard her and feel ennobled that they were the ones she sat next to at the dinner table, blah, blah, blah.

Having dinner with a celebrity writer is no where near as fun as sitting around with some funny old lady who can tell a good story. Writers save their best stories for their books. That’s the place to meet them. Anywhere else and you have to deal with their hangers on and groupies. I’d rather have a tooth pulled.

Transcendent Beauty in Yeats and Keats

The works of W. B. Yeats and John Keats are interestingly similar in style and concept. Both rely heavily on imagery. Yeats’ “Sailing to Byzantium” is full of sensory imagery describing the journey to an ideal place, just as Keats’ “Ode to a Grecian Urn” is beautifully portraying the significance of an ancient art on an urn. Both use metaphor to deal with the idea of aging, the concept of time, and the permanence of art compared to the fleeting nature of life. The examination of immortality is a common thread in both and is seen as an achievement. Yeats and Keats come to the conclusion that aesthetic permanence is transcendent beauty. Imagery and metaphor in “Ode to a Grecian Urn” and “Sailing to Byzantium” are used to convey the poetic speakers’ beliefs that being an “artifice of eternity” is the ultimate achievement of transcendent beauty, while the tragic effect of time on beauty is a flaw of mankind and nature.

Yeats’ and Keats’ use of imagery and metaphors as literary tools to communicate the concepts of aging, time, beauty, permanence and transience. Yeats’ “Sailing to Byzantium” employs the imagery of people, their life and love, their activities, and destination. The metaphor compares a real journey to a physical place Byzantium to a spiritual journey into “God’s holy fire,” “eternity”. Keats’ “Ode to a Grecian Urn” uses such imageries as designs on an urn to describe relationships between humanity and art, lovers to describe the relationship of passion in people and beauty in art. This employs the metaphor of classical Greek art to present the ideas of silence, time, beauty, immortality and eternity.

Both W. B. Yeats and John Keats highlight the inevitability of aging and the mortality of humans. In Keats’ work “Ode to a Grecian Urn”, the speaker brings out the negative perspective of aging and immortality. He sees old age as something that wastes away generations: “when old age shall this generation waste” (line 46) .Yeats looks at the process of aging and consequently death in a slightly different light. Old age is an unavoidable, awful part of life. Due to this inevitability, the speaker wants to find a way to escape. Old age is portrayed as a disappointment: “An aged man is but a paltry thing, a tattered coat upon a stick.” According to Lesser, “Yeats triumphantly confronts and liquidates his fears of aging and death…he discovers that engrossment in poetry is the only, but a sufficient, recompense for the privation of old age” (291). The statement by Lesser depicts the escape from the bondage of time that both Yeats and Keats yearned for.

There is an analogous understanding of the young being associated with being in love. Particularly, the word “sensual” is used in both works to refer to the lifestyle of the young, “the young sensual music”. This could be their interpretation that the young only see the physical, and lack knowledge and interest in the spiritual. So it correlates that, “old age frees a man from sensual passion, he may rejoice in the liberation of the soul” (Lesser 293). There is an element of being forever young that is captured in Keats’ Grecian Urn: “fair youth, beneath the trees, thou canst not leave”. The young that inhabit on the urn are frozen in a constant state of immaturity, but also in the wiles and excitements of youth. Youth is associated with carefree days of love. Yeats’ speaker regards the young, as a distant onlooker with a sense of regret and envy. There is an idyllic romanticism that is incorporated in both Yeats’ and Keats’ work, which portrays the young to be in love and associated with tree, animals or music, “the young/ in one another’s arms, birds in the trees”. The world that Yeats’ speaker is seeing is just for the young and this is similar to young lovers on the urn. In their small world everyone is young and in love. In another insight, “Keats humorously addresses the ever-pursuing lover, noting the paradox of eternal anticipation, but in the third stanza Keats shifts his tone and imagines a love of eternal ecstasy, unqualified by the static character of the marble figures” (Austin 434). Austin’s commentary is recognition of the depth to which the belief in youth’s preoccupation with love and permanence (“eternal ecstasy”), though illusive, is explored.

Keats and Yeats believe that the flaw of human nature is that time is in effect. This is conveyed in the tragic inevitability of aging and death. They seek escape in the aesthetic permanence of art’s transcendent beauty as well as in the optimism of existential importance. In aging there is the idea they both appreciate in which time can be slowed, yet still be happening. Keats refers to a character on the urn being a “foster-child of Silence and slow time”. In Yeats’ work the phrase “of what is past, or passing, or to come” is a representation of time. This sums up what they both hope to achieve. It is the magical balance of being able to exist forever, from the past till the future, yet to remain as in the present moment. Going further than the idea of just a physical or permanent object in which they strive for, is what it represents. Although the popular belief is that they both wanted to be objects of permanence, their goal is one of more existential importance (emphasis).

Immortality, the permanence of art compared to the fleeting nature of life, for each poetic speaker, is an achievement. In Yeats’ poem it is exemplified by, “my bodily form from any natural thing, /But such a form as Grecian goldsmiths make/ Of hammered gold and gold enameling”. It seems very superficial and odd for Yeats’ speaker to desire to be a golden creation rather than human, but looking further, it is not about the gold itself. It is about the speaker being able to be an expression of art for all ages. The use of the immortality is for the good of others “to keep a drowsy Emperor awake; or set upon a golden bough to sing to lords and ladies of Byzantium”. In a sense, art is elevated to the supernatural. It is elevated to a place of the divine that can reach people of all eras and times. This is also seen on the urn: “the fair youth piping songs beneath the trees, since he is of unknown place and unknown time, may be regarded as the artist poet or musician – of any place and time” (Wigod 114). Keats’ speaker marvels at the power the Grecian urn holds. Although cold and silent the urn provokes thought and makes one wonder “thou, silent form! dost tease us out of thought/ As doth eternity: Cold Pastoral!” These powers that immortal artworks hold are what the poetic speakers want to achieve. They want the power to cause wonder and provoke thought for eternity as well as be of positive relevance for all time.

From the achievement of immortality comes transcendent beauty. In Keats’ poem the speaker lays the famous phrase “beauty is truth, truth beauty,—that is all / Ye know on earth, and all ye need to know”. This phrase ponders the relationship between the sensory experience of beauty and the intellectual understanding of truth (Han 245). It declares a universal truth that is transcendental. It can be seen that, “Keats dramatizes the idea that imaginative perception reveals the truth of eternity” (Austin 434). For the speakers it is as if the transcendent beauty is the realization that the works are not mere object, they are “effigies, or monuments, things which have souls” (Lesser 293). For Yeats, there is excitement for the beautiful future in an ethereal sense; this is represented by Byzantium. Yeats emphasizes the transition from mortality “dying animal” to “artifice of eternity”. The speaker hopes to rid himself of human limitation and become the surpassing beauty that is contained in an artifice.

In conclusion, there are remarkable similarities in style and ideas in W. B. Yeats’ “Sailing to Byzantium” and John Keats’ “Ode to a Grecian Urn”. Their style in using the literary elements imagery and metaphor as narrative tools, achieve their desire to provide effective communication between their speakers and audience. The ideas of aging, the concept of time, the permanence of time relative to the fleeting nature of life, convey immortality as an achievement. Furthermore, the celebration of aesthetic permanence as transcendent beauty and the mourning of the effect of time – mankind’s tragic flaw – are explored in both these poems by Yeats and Keats. Just as their last names are interestingly similar in their sound and rhyme, so also are their imageries, metaphors and concepts in these poems. “Sailing to Byzantium” and “Ode to a Grecian Urn” share a common message – the nature of humans to want one’s impact to survive through time.

Work Cited

Austin, Allen . “Keats’s Grecian Urn and the Truth of Eternity.”College English. (1964): 434-436. Web.

Han, Kyoung-Min. “The Urn’s “Silent Form”: Keats’s Critique of Poetic Judgment.” Papers on Language & Literature. Vol. 48.Issue 3 (2012): p245-268. Web.

Lesser, Simon O.. “Sailing to Byzantium”-Another Voyage, Another Reading.” College English. Vol. 28.No. 4 (1967): pp. 291-296+301-310. Web.

Wigod, Jacob D.. “Keats’s Ideal in the Ode on a Grecian Urn.”PMLA. Vol. 72.No. 1 (1957): pp. 113-121. Print.

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1098210_10201543946777682_673889946_nFavour Onwuka has been writing for as long as she can remember. Her vivid imagination as a child, led her to easily dream up fanciful stories. Favour is currently 18 years old, and is a 2nd year Communications major and Psychology minor, at Trinity Western University.

To My Brother

This is when ponies
were dark violet and a
sack of carrots was all we needed
to survive in the golden desert.
Brother and sister: what a fearless
team to behold.
We’d set toward the sun
as it dropped in the West,
and knew we’d reach Oklahoma
by dawn.
Your too­small blue cowboy boots made you limp
but you didn’t complain.
While my roomy red ones heroically dug craters
with my pointed plastic heels.
The spurs we never owned
flashed and made metal chinks
as we strode across the sands.
I wiped my brow with a gloved hand,
while silently you mimicked me.
 
Plastic muskets on our backs,
we always knew when danger would arrive,
and when it did we fought like ninjas
twisting and kicking the threatening dust.
The cowboys of our backyard,
we kept the neighborhood secure,
even though we were no more than 7 and 9.
I always gave myself more credit,
it made sense. I was older.
You’d go first into the darkness,
and I’d bask in the glory of cowardice.
I’ll always wish I didn’t sacrifice you
so many times during play.
That made it too easy when I started playing
real life. I would apologize, but it is horrific
how much child is extracted from me each year.

_____________________________________
KM Armstrong has a Master’s degree in English from Binghamton University, where she studied creative non­fiction and theory. She lives in Binghamton and works in law enforcement.

This is my favorite Emily Dickinson poem, even though it is not her best. It is the poem for which I have the most affection:

348

I dreaded that first Robin, so,
But He is mastered, now,
I’m accustomed to Him grown,
He hurts a little, though—

I thought If I could only live
Till that first Shout got by—
Not all Pianos in the Woods
Had power to mangle me—

I dared not meet the Daffodils—
For fear their Yellow Gown
Would pierce me with a fashion
So foreign to my own—

I wished the Grass would hurry—
So—when ’twas time to see—
He’d be too tall, the tallest one
Could stretch—to look at me—

I could not bear the Bees should come,
I wished they’d stay away
In those dim countries where they go,
What word had they, for me?

They’re here, though; not a creature failed—
No Blossom stayed away
In gentle deference to me—
The Queen of Calvary—

Each one salutes me, as he goes,
And I, my childish Plumes,
Lift, in bereaved acknowledgment
Of their unthinking Drums—

Besides her wonderful slants and off rhymes, the half smile of enlightenment seems pressed to her lips, as if the poem itself were everything we needed to know of dread and sorrow and of the gentle acceptance, and humor of things beyond consoling.

Spring is relentless in its coming, not a creature fails, and it is, as in many Dickinson poems, the passion and then the tomb–the imperial tomb of the Saturday vigil before the dawn. Emily leaves off before the resurrection. She, like Teresa of Avila, loves so much that she would not dare be wanton for heaven, but place herself in that realm of the sealed tomb–the dark night of the soul, the bridal chamber where the cross and the tomb are joined.

And who could ever predict or be anything less than awed by her wonderful and utterly unprecedented use of verbs: “Not all pianos in the woods / had power to mangle me–”. This is one of my most cherished poems. I always wanted it set to music and for Billy Holiday to sing it. She’s the only singer with the style and beautiful sad knowledge and ruefulness to pull it off.