Calm

DSC_0002

 

Calm (after H.D.)

I flow over the ground,
healing its hidden scar–
the scar is black,
the bedrock risen,
not one stone is misplaced.

I relieve the ground’s
burden with white froth,
I fill and comply—
I have thrown a pebble
into the night,
it returns to me,
settles and rises,
a white dove.

 

* * *

“Calm” is included in my micro-chapbook Only This, which is available via free download from Origami Poems Project. It made its first appearance here on the blog in March 2015, and was written as an exercise, using a poem, “Storm,” by H.D. as the launching point. I’ve tried to emulate her diction and rhythm, with mixed success. Still, it’s fun to try these on occasion.

 

collareddove48d1

Pandemic Reading: Writers Share Their Picks

Looking for something to read during the pandemic? Charlotte Hamrick asked writer friends for recommendations. Scroll down to read mine: https://zouxzoux.wordpress.com/2020/10/27/pandemic-reading-writers-share-their-picks/

Letter from Austin

perfection

 

Letter from Austin

Michael, when you say moons do you see
cold stone floating in the firmament
or phrases frayed in the mouth and spat on paper?
And does the Spanish moon simmer at a similar
pace to mine or yours? Which embers blush brighter?
But let’s turn to estuaries, to salt and clamor and gun-
running poets and interrupted words sold in stalls
between parenthetical gates, to incomparable cavas
and the deterioration of envy and intervening years.
Or perhaps mislaid passion – a friend claims love
is merely a bad rash, that we scratch and scratch
and inflame but never truly cure what ails us. Sounds like
politics to me. Or sports. And business. Or neighborhoods.
On my street people should cook and play music together,
laugh, raise chickens and read good books. They should
brew beer, swap tomatoes, recite each other’s poetry and sing
in tune. But we’re different here, preferring instead electronics
glowing in dimly lighted rooms. I reject this failure, as I also
reject the theory of centrifugal force spinning off the moon’s
body from the earth’s crust, preferring to imagine a giant
impact blasting matter into orbit around what morphed into the
earth, and somehow accreting the stuff into this orb we
sometimes worship. This, to me, is how good relationships
form: explosions of thought and emotion followed by periods
of accretion. But what I mean is I hope this finds you well
by the river of holy sacrament. Remember: brackish water
bisects our worlds. Turn. Filter. Embrace. Gotta run. Bob.

 

Originally published in Heron Clan 3, this first appeared on the blog in July 2015.

My friend Michael occasionally sends hand-written notes or letters to me, and I respond with poems. This is one. You might read some of his writing at Underfoot Poetry.

OLYMPUS DIGITAL CAMERA

Pandemic Reading: Writers Share Their Picks

Looking for something to read during the pandemic? Charlotte Hamrick asked writer friends for recommendations. Scroll down to read mine.

I Live in My Winter


I Live in My Winter

Removed from the junipers’
fragrance, separated from
prickly pears gracing
the hill, limestone slabs
jutting from thin soil,
and smoke drifting from
a well laid fire on a cold
night. Old, today, I
call the clouds my
birthright, want only
to merge with them
and rain through
another black coffee
in this unfamiliar place,
this new home,
this welcome peace.

Awakened, He Turns to the Wall (Cento), with Recording

cell

 


Awakened, He Turns to the Wall (Cento) 

Then, everything slept.
Where were you before the day?

You see here the influence of inference,
whereby things might be seen in another light,

as if the trees were not indifferent, as if
a hand had suddenly erased a huge

blackboard, only, I thought there was
something even if I call it nothing,

like the river stretching out on its
deathbed. No one jumps off.

 

* * *

A cento is composed of lines from poems by other poets. This originated from pieces by: Larry Levis, Jacques Roubaud, Lorine Niedecker, Gustaf Sobin, Denise Levertov, Elizabeth Spires, William Bronk, Vicente Huidobro, Ingebord Bachmann

For further information and examples of the form, you might peruse the Academy of American Poets site: http://www.poets.org/poetsorg/text/poetic-form-cento

 

erase

 

Scarecrow Believes

Scarecrow Believes
 

What is a ghost if not misplaced energy,
an apprehension or the sum of invisible integers
and the properties they possess? I preside over
this sea of maize, tracking clouds, noting patterns
up high and among the flowing stalks, absorbing
minutiae, assigning connections, piecing together bits,
moment to thought, soil to trickle, flutter to gain.
Energy. Inertia. Waves, converted. If I had a bed
I would not neglect to look under it. The closet door
would remain open, a nightlight positioned nearby
with perhaps a mirror or two angled to offer clarity,
and the radio tuned always to jazz, providing little
purchase to any ill-intentioned spirit. The power of
beauty transfixes, even as it carries me far from my
station, from hilltop to plains to glowering moon.
If neither place nor reason, what consumes
our spiritual remnants, what directs our currents
to the next, and each successive, landing? Crows
have long been considered conduits to the afterlife,
but they exist here, in the now. I do not perspire but
fix my gaze on numbers and their tales, on zero and
the history of nothing, on unseen fingers walking up
my spine, shedding a residue of snow, of mercury
and latent images and dormant seeds in the world
underfoot, acknowledging the wonders of what
can’t be proven, what won’t be held or seen. Still, I
add and subtract, unclench my fingers and accept the
quiet, caught forever within the limits of the boundless,
under the sky, in space, within the improbable.

“Scarecrow Believes” was first published in May 2017 in GFT Presents: One in Four, a semiannual, print literary journal, and was subsequently published by Vox Populi.

 

 

 

Untitled from the 80s

Another untitled poem from the 80s…

wood and water
the wave of
fragrance so perfect

we seek to
obtain it as
if we could

be windows open
to a light
the gentlest cloud

would obscure still
spreading like one’s
final exhalation which

travels only to
disperse and become
at last another’s

This first appeared here in June 2017.

 

Obsession: Books, or, Poetry Finds Me

photo 2

In another life books framed my days. I slept with them, dreamt about them, woke to their presence stacked by the bed and in various corners throughout the house, read them, handled them, discussed their merits with friends, co-workers, beer-drinking buddies, bartenders, customers, strangers, relatives, and even enemies. Traced my fingers slowly down their spines, identified some by odor alone, others by weight and feel. Bought, sold, cleaned, lent, skimmed, traded, gave, borrowed, collected, repaired, preserved, received. Traveled to acquire more, returned home to find still others languishing in never-opened, partially read or barely touched states. There were always too many. There were never enough.

The relationship began innocently. I’ve been an avid reader since the age of five, and over the years developed a knack for uncovering uncommon modern first editions. I’d walk into a thrift shop and spot a copy of William Kennedy’s first novel, The Ink Truck, snuggling up to Jane Fonda’s workout book, for a buck. Or at a small town antique store, something especially nice, perhaps a near-fine first edition of Cormac McCarthy’s Outer Dark, would leer at me from a dark shelf – $1.50. John Berryman’s Poems (New Directions, 1942) found me at a garage sale, for a quarter. Good Will yielded Pynchon’s Gravity’s Rainbow. There were others, of course. Many others.

I partnered with a few like-minded friends and opened a store, and when that didn’t work out, started my own home-based book business, which eventually expanded into a small brick-and-mortar shop, a true labor of love. And I mean labor. The forlorn space we rented was cheap and had housed for years a low-end, illicit massage parlor. Cleaning it out was, oh, shall we say interesting? I’ll never forget the furry massage table, the naked lady lamp or the various implements left behind after the joint was finally forced to close. But we hauled out the filthy carpeting, stripped and refinished the hardwood floors, fixed, painted and patched what we could, and hid what we couldn’t. It was exhausting, but well worth the toil.

My work schedule ran from Monday through Sunday, a minimum of eighty hours a week – in a seven-year period, I took off only two long weekends. It consumed me, but in the end I emerged mostly intact, a little more aware of my proclivities, of an unhealthy tendency to immerse myself wholly into an enthusiasm, to the detriment of family and friends. When we sold our store’s wares, I embraced the change; some dreams simply deplete you. But the itch remained.

Just a few weeks ago I found myself perusing an accumulation of books in a storage facility across the street from a junk shop in Llano, Texas, a small county seat an hour’s drive west of my home on the outskirts of Austin. The shop’s owner had purchased an English professor’s estate, and judging by the collection, the professor had specialized in poetry. My first thought was “I want it all,” but reason set in (I could very well imagine my wife’s reaction were I to arrive home with a trailerful of books) so I glanced over the criticism, fiction, drama, essays and biographies, and concentrated on the poetry. In the end I walked away with thirty-one books, including H.D.’s Red Roses for Bronze (Chatto & Windus, 1931), Randall Jarrell’s Little Friend, Little Friend, Elizabeth Bishop’s Collected Poems and Questions of Travel, a brace of Berrymans – His Toy, His Dream, His Rest and Homage to Mistress Bradstreet – both the U.S. and U.K. first editions, which differ – and Love & Fame. A good haul, to say the least, but one that left me only partially satisfied and contemplating a return. But I remain resolute. So far.

As I said, the itch remains…

* * *

This first appeared here in April 2015, and yes, the itch is still there. The pandemic has prevented me from haunting used bookstores as I’d imagined I would. But someday…

photo 1(1)

Love, Scattered (Cento)

image



Love, Scattered (Cento)

I cull and offer this and this,
and these last definite whorls

or later star or flower, such
rare dark in another world,

outdistancing us, madness
upon madness, the crest

and hollow, the lift and fall,
ah drift, so soft, so light,

where rollers shot with blue
cut under deeper blue as the

tide slackens when the roar of
a dropped wave breaks into it,

and under and under, this
is clear—soft kisses like bright

flowers— why do you dart and
pulse till all the dark is home?

I am scattered in its whirl.

 

* * *

This cento is composed exclusively of lines taken from fifteen pages in the Collected Poems of H.D., 6th printing, 1945. Hilda Doolittle is a fascinating figure in 20th century American poetry. You might look at the Poetry Foundation’s biography for further information:

http://www.poetryfoundation.org/bio/h-d

image