Sheng-yu’s Lament (after Mei Yao-ch’en)

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Sheng-yu’s Lament (after Mei Yao-ch’en)

First heaven took my wife,
and now, my son.
These eyes will never dry
and my heart slowly turns to ash.
Rain seeps far into the earth
like a pearl dropped into the sea.
Swim deep and you’ll see the pearl,
dig in the earth and you’ll find water.
But when people return to the source,
we know they’re gone forever.
I touch my empty chest and ask, who
is that withered ghost in the mirror?

The transliteration on Chinese-poems.com reads:

Heaven already take my wife
Again again take my son
Two eyes although not dry
(Disc) heart will want die
Rain fall enter earth in
Pearl sink enter sea deep
Enter sea can seek pearl
Dig earth can see water
Only person return source below
Through the ages know self (yes)
Touch breast now ask who
Emaciated mirror in ghost
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Originally posted in December, 2014.

Fifty-Word Review: Forth a Raven, by Christina Davis

(Originally appeared in December 2013)

Christina Davis’s Forth a Raven offers stark, textured, intelligent and lyrical pieces in a stripped-down yet ultimately complex, reflective language. Encompassing the tension of different realms – the spiritual and the secular, the extraordinary and the mundane, her work, quite simply, astounds. Read this book. Seek out her work. It’s sublime.

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Not Your Mama’s Carnitas (and not my Mama’s either, but then she was Japanese)

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This first appeared in December 2013.

The Lovely Wife and her boon companion Apollonia, the 5-lb terror of Texas, are in the country, shooting arrows, fixing weed whackers, burning wood and sipping Chianti with the neighbor, leaving me bereft, alone but for Jackboy, the loyal cattle dog, and forced to fend, alas, for myself. So after a vigorous cardiac rehab session I repaired to my favorite bar, er, grocery store, and while meandering with a “mazy motion” like Kubla Khan’s sacred river through the aisles laden with organic produce, wondrous cheeses, craft beers and dubious dietary supplements, what did I spy but a comely little top round bison roast! I’d never before prepared said roast, but throwing caution to the wind is of course part and parcel to fending for oneself, and it was a breezy day. And while resting at the bar, er beverage sampling station, and sampling the wares (a local German-style pilz), I pondered the piece of meat and eavesdropped among my fellow samplers – talk of shopping conquests, welding, 14th century navigation and hoppy beer. But what to do with the roast? Certainly not an ordinary potato and carrot concoction. Chili? Nah, just had it. Grilled? Are you kidding? And then I overheard the word, the one way, the truth: carnitas, which instantly transported me through various savory stretches of the world and multiple cuisines, initiating salivary gland overload, but leading, in the end, to what I hoped would become a culinary delight, or at least an edible dinner.

I knew that I should braise the meat, as this particular cut of bison was very lean (hell, bison is very lean), but it was late and I was famished. So I did what any bright, hungry, middle-aged sojourner of the kitchen would do: put it off. But thinking it might be nice to enhance the depth of flavor, I threw together a few dry ingredients (salt, sugar, 5-spice powder, ground pepper), sprinkled the mixture on the roast, and set it in the refrigerator to cure overnight.

[To assuage my hunger I fried some leftover rice with ham, green onion, jalapenos, carrots and peas. Tweren’t bad.]

And the next day, after taking The Lovely Wife’s dobro to the repair shop, reading Dawn Lundy Martin’s A Gathering of Matter a Matter of Gathering (amazing poet, incredible poetry) at Hopfield’s gastropub while enjoying the Pascal Burger (medium rare with camembert, cornichons and carmelized onions) and frites accompanied by a delightful tulip of Birra del Borgo’s American Pale Ale,and following this with a productive and pleasant writing session in the poetry shack, I commenced preparing dinner…
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…which began with opening a bottle of Parducci Small Lot Blend Pinot, and pondering Dawn Lundy Martin’s book. The collection opens with “Last Days,” a poem of death and grief and what lies before, between and after, consisting of questions and replies. But such questions. Such replies! She begins the poem:

What is the relation between Figure A and Figure B?

This is what the father has become.

And ends it:

How is the pain endured?

A stem of grass imagined when it is not raining.
All those things called intentions. The private / treasures one keeps safe.

The depths, the deliberation, the complexities of language and image brought forth in the replies, astound (confound?) me. So much to consider. And what lies between the opening and ending serves to build, layer by layer, the emotional foundation, adding texture and nuance, providing power in detail and, yes, beauty. Wonderfully complex and masterfully done. But back to the pinot (light, spicy, woody aroma (cedar?), and balanced, though unlike Martin’s work, not complex, but hey, it was only $11), and cooking:

First I inventoried my supplies, starting with veggies: three slightly withered carrots, one whole onion, garlic, three jalapenos, a small knob of ginger, one red pepper, four green onions, half of a small red cabbage, and a poblano pepper that had seen better days. Next, the braising liquid. Hmm. Which primary liquid? Pinot? No, I wanted to drink it and wasn’t willing to share with the bison. Sherry? Nah, use it too often. Chicken broth? Water? Surely you jest. And then I spotted a partially full (empty? was I truly feeling optimistic?) bottle of sake, resting amiably next to its close friend, Ms. Soy Sauce. Braising liquid, check.

I peeled and fine-diced the carrots, sliced the jalapenos lengthwise into thin strips, diced the red pepper and onion, salvaged what I was able of the poblano (about half had gone mushy) and diced that, and minced three cloves of garlic and the knob of ginger, reserving half of the ginger for later use.

Then I patted the roast dry with a paper towel removing the excess moisture drawn out by the rub, after which I seared it in a little oil in a Dutch oven. After judging the roast suitably crusty, I removed it and added the carrots, onion and peppers, sauteed them until softened, added the garlic and ginger, two tablespoons of soy sauce and the rest of the bottle of sake, perhaps three quarters of a cup. I brought this up to a roil, turned down the heat, let it simmer for a few minutes, and then covered and placed the Dutch oven into the oven, where it remained for two and-a-half hours, simmering gently at 350 degrees.

While the bison braised, I shredded the remnants of the red cabbage, sliced the green onions, prepared a dressing consisting of rice vinegar, sesame oil, hoisin sauce, hot mustard, minced garlic and the reserved ginger, and tossed it all together, resulting in an in-your-face but nevertheless tasty slaw.

And after the allotted time, I removed the bison from the oven and shredded it with a fork – yes, it was that tender – placed a bit of it in taco shells (hey, these are MY carnitas, not your mama’s), topped the meat with some of the cooked veggies, dolloped a bit of creme fraiche on that (I’d found a partial container in the fridge, only a month past the “sell by” date), covered that with the slaw, and took a bite. My. Goodness. Wow. More. Want more. All in all, I must proclaim that the Asian-Inspired Bison Carnitas with Hoisin Slaw was a success. I give it two thumbs up, and a few assorted toes.

But I’m still pondering Dawn Lundy Martin, and have turned to her latest (I think) book, Discipline, which looks to be every bit as intriguing as A Gathering of Matter a Matter of Gathering.

Numbers numbers numbers: NINE

Originally posted in February 2014. Due to planned festivities, I’m reposting some old favorites this week.

Numbers numbers numbers: NINE
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Early on in my other life I was hand-picked and hired to assist with budgets, to work with numbers. One of the higher-ups remarked that my spelling score was quite good for a “numbers person.” This amused me to no end, as I’d no inkling that a) anyone in the world considered me fluent with numbers, or b) that the mundane labor that comprised my livelihood had been noticed, much less evaluated, by someone beyond my small, three-person office (certainly no one noticed the writing I’d produced and published). More than a quarter century later, I’m still amused. And still working with numbers, which even now remain mysterious, magical, and even inspiring.

Take the number nine. Multiply it by two, and you get 18. Add the two digits that comprise 18, one and eight, and you get 9. Multiply it by three: 27. Total the two digits forming 27, and you get, yes, 9. Multiply it by four, by five, by six, by seven, eight or nine. Add the digits that comprise the sum and you return to nine. Interesting, no?

It appears everywhere. In Islamic cosmology, the universe is built of nine spheres. In Ancient Mexico, the netherworld consisted of nine layers. The magic square consists of nine parts. Beijing was designed as a center with eight streets. Hindu temple foundations contain jewels and nine distinct grains. The human body has nine openings. The number also appears in both sacrificial and healing rites. The River Styx bends nine times. I could go on (we haven’t scratched the surface), but will refrain.

But if this piece piques your curiosity, you might find this poem inspired by zero (a truly fascinating subject) of interest:

http://www.cladesong.com/okaji.withtheseninefigures.html

Another Oldie: Uccello

Due to planned festivities, I’ll not have time for regular updates this week. Instead, I’m reposting some favorites. The following was first posted in January 2014.

Originally published in 1987 in a short-lived publication called The Balcones Review, “Uccello” is the opening of a longer work. Today, as I look out my window at that same tree, I hear the birds, no longer silent.

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Uccello

the wind is what
the stillness
desires to say
each instant
collapsing into itself
like a bud
returning
to the seed

listen
the birds in my tree
are silent
as echoes
before their brief
lives are
silent

something thrashes
in the leaves
the feather
spiraling
slowly
is not only what
it is

as the candle
is more
than flame
or a moment

curling
to darkness

the question
is of clarity

I built a frame
but placed
nothing in it

the wind
blows through
quietly as if
between silences
there exists
only silence or

light
the familiar embrace

unfolding

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The formatting isn’t right, so I’ve provided a pdf of how the poem should look. It might be interesting to compare the two.

Uccello pdf

Night Journey (after Tu Fu)

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First posted in March, 2014.

This is not a translation, but rather a version, my “take” on a famous Tu Fu poem. I claim no abilities in translation, neither speak nor read Chinese, and instead depend upon the skills of those who have ventured into these difficult reaches. This is where the poem carries me, a middle-aged Texas hill county dweller, in the Year of the Horse, 2014.

Night Journey (after Tu Fu)

Wind bends the grass along the road.
A lonely truck passes by.
Stars reach down to touch these hills
and the moon drifts behind.

No one will ever know my poems.
I am too old and ill to work.
Circling, floating, who am I
but a vulture looking down.

Here’s a literal translation of the piece (or so I believe), found on chinese-poems.com:

Nocturnal Reflections While Traveling

Gently grass soft wind shore
Tall mast alone night boat
Stars fall flat fields broad
Moon rises great river flows

Name not literary works mark
Official should old sick stop
Flutter flutter what place seem
Heaven earth one sand gull

My goal was to retain the mood, as I understand it, of the original, and to place it into my personal context. An interesting exercise.

Poet’s Pantry

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In my sliver of the world, poetry and cooking share many qualities. When I step into the kitchen, I often have only a vaporous notion of what’s for dinner. A hankering for roasted poblano peppers, the need to use a protein languishing in the refrigerator, the memory of an herbal breeze wafting down a terraced hill near Lago d’Averno, Hell’s entrance, according to Virgil, or even a single intriguing word, may spark what comes next. But the success of what follows depends upon the ingredients at hand, on how we’ve stocked the pantry. Good products beget better results. Let’s take my desire for roasted poblanos. What to do with them? Poking around, I uncover an opened package of goat cheese, a bit of grated grana padano and some creme fraiche, and I immediately think pasta! Looking further I spot arugula, a lemon, a handful of pecans, some cherry tomatoes. Dinner: Pappardelle with a roasted poblano and goat cheese sauce, garnished with toasted pecans, served with an arugula and cherry tomato salad dressed with a lemon vinaigrette. Simple, when you’ve stocked a solid base of quality components.

My writing employs a similar process. Anything – a vague sense of uneasiness, a particular word, the sunlight slanting through the unfortunate dove’s imprint on my window, articles or books I’ve read or perused on a myriad of subjects – may launch a poem. But what truly makes the poem, what bolsters, fills and completes, what ignites and catapults it arcing into the firmament are, of course, the pantry’s ingredients.

Everyone’s needs differ, and I wouldn’t presume to inflict my peculiar sensibilities on anyone, but if you cracked open my burgeoning poetry pantry’s door, you’d certainly unearth dictionaries and a thesaurus, fallen stars, books on etymology and language, curiosity, a guitar or mandolin, at least one window (sometimes partially open), conversations floating in the ether, various empty frames, wind, dog biscuits and dirty socks, a walking stick, sunlight and shadows, more books on such subjects as ancient navigation, the history of numbers, the periodic table, alchemy and olives. You might also spy reams of paper, unspoken words, coffee cups, a scorpion or two, scrawled notes on index cards, wandering musical notes, a pipe wrench, wood ear mushrooms and salvaged fragments of writing, failed ideas moldering in clumps on the floor, a few craft beers and empty wine bottles, a chain saw, and most important of all, a bucketful of patience.

(I cannot over-emphasize the bucket’s contents…)

This is just to say (no, I didn’t eat the plums) that the best equipped poets stock their pantries with the world and all its questions, with logic, with faith, persistence, emotion, science, art, romance and yes, patience. Line your kit with every tool you can grasp or imagine. Keep adding to it. Read deeply. Listen. Breathe. Listen again. Converse. Look outward. Further, past the trees, around the bend and beyond the horizon’s curve, where the unknown lurks. Look again. Don’t stop. Continue.

And if after all this you’re wondering what basks in my kitchen pantry:

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This was originally posted in January, 2014. I’m attending a conference and unable to tend the blog, so a few reposts are forthcoming over the next few days.

Yesenin

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Yesenin

Respite, involuntary and gentle
circling one’s
collar, a touch barely felt, renewed.

Or, the other turns,
belying expression and the halted voice.

The recursive window, closing.
A final poem in blood.

And beyond the glass? The face behind
the indifferent mask
designs its own

smile, risking everything
as the chair’s leg tilts,

inertia become constriction,
the taut lapse begun.

A fascinating poet, Sergei Yesenin died nearly 90 years ago. You might check out his bio on wikipedia.

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Day Two, Tupelo Press 30/30 Project

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My poem, “Stuck” has now been posted among the second day’s offerings of Tupelo Press 30/30 poems. Many thanks to Curtis Bausse who sponsored the poem and provided the title. Here’s the result:

Stuck

As in yesterday’s light
pressed in a wildflower

or its silhouette
embroidered in cotton…

To see the rest of the poem, click here

Tomorrow’s poem will be titled “Calvin Coolidge: Live or Memorex,” thanks to my good friend Ron Evans of Alvarado, Texas who donated $10 for the right to challenge me with a title to an unwritten poem. With friends like Ron… 🙂

If you’d like to compete with Ron for worst title in the distinguished history of the 30/30 Project, please visit the 30/30 blog at: Donate to Tupelo. Scroll down to “Is this donation in honor of a 30/30 poet?” and select my name, “Robert Okaji,” from the pull down so that Tupelo knows to credit the donation to me. And please let me know as soon as possible what your title is.

For complete details on sponsorships, click here.

Thank you for your support! Only 28 poems to go!

Tupelo Press 30/30 Project (August 2015): Why I’m Writing 30 Poems in 30 Days, or, Poetry Needs You!

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Tupelo Press 30/30 Project (August 2015): Why I’m Writing 30 Poems in 30 Days, or, Poetry Needs You!

Dear Friends,

Tupelo Press, one of our very best independent presses, could use our help. Like many nonprofits, Tupelo depends upon donations to augment their programs, which vary from a Teen Writing Center to publishing literary works of emerging and established writers. To this end they’ve instituted innovative fundraising approaches to achieve their goals, including the 30/30 Project, one of their most exhilarating and interactive efforts – every month, approximately eight poets pledge to write 30 poems in 30 days, and raise funds by soliciting donations from sponsors (as many nonprofits do via sponsored walks, runs or rides). In August I am one of the participating poets.

I invite you to join me in this project and help out by reading, commenting, heckling, encouraging, insulting, cajoling, praising and yes, if circumstances allow, sponsoring me and donating funds (to Tupelo Press, not me). This might not be of much interest if the poems were simply going to languish in a file somewhere, but such is not the case. They will be posted online daily, warts and all, for the world to peruse. That’s right – you’ll see our daily work, unpolished and raw, finished or not, and if you listen closely you may hear a whimper or two oozing out from Austin.

Why am I doing this? I love poetry and admire small presses. Independent literary publishers produce 98% of the poetry published each year, and Tupelo Press is one of my favorite presses. If I, poet, reader and book buyer, don’t support their work, who will?

Previous participants have sweetened the pot by offering interesting incentives such as baked goods for certain levels of donations. Since I don’t bake in the August heat here in Texas, I’m offering other enticements (although you may consider a few of them half-baked). And of course the donations are tax deductible (at least to those who must pay U.S. taxes). Please consider donating any amount, but I’m offering these incentives at the specified donation levels:

Name That Poem! For a $10 donation in my honor, you can provide a title, and I’ll write the poem during the marathon. Be imaginative. Make the title as long or as interesting as you wish – consider this a dare! But this incentive is of course limited to only thirty titles, and reduces by one every day of the marathon, so reserve your slot soon!

$25 donation will get you a signed copy of my chapbook, If Your Matter Could Reform. 10592324_10153113120915120_689180005_n

For $35, I’ll produce and send you, in September, a unique, signed, mini-chapbook consisting of any six poems (your choice) I’ve posted on my blog.

For $50, I’ll provide one of my limited edition (only 50 copies were printed), letter press mini-broadsides of “Jingting Shan Hill.” It’s a beautiful piece designed and printed by Emily Hancock of St Brigid Press.

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If none of these incentives appeals to you, but you’d still like to help, I’m open to suggestions, particularly for larger donations. But no, I won’t streak a convent for a mere $100. Been there, done that (hey, I was once young, dumb, thin and fast).

If you choose to sponsor me, please visit the 30/30 blog at: https://www.tupelopress.org/donate.php. Scroll down to “Is this donation in honor of a 30/30 poet?” and select my name, “Robert Okaji,” from the pull down so that Tupelo knows to credit the donation to me. And please inform me of your donation and provide your contact info via email at robertokaji at yahoo dot com or through Facebook so that I may acknowledge and send your premium.

If you’ve seen through this blog or other outlets enough of my writing to last your remaining days, you might consider a $129 subscription to Tupelo’s regular subscription series, which garners you ten books from one of the country’s top literary presses! If you choose this option, please specify “in honor of” and insert my name, “Robert Okaji” to show your support for my efforts. Click here to subscribe: https://www.tupelopress.org/books_subscribe.php.

For more information on the 30/30 Project, and to read the daily poems, see: https://tupelopress.wordpress.com/3030-project/ I plan on posting updates two to three times a week, but we’ll see what happens. Things are going to be hectic. No matter what, I look forward to reading your comments. Thanks very much!