Poem of the Week, by Naomi Shihab Nye

IMG_8937Small, wooden, stained a peeling dark red-brown, our kitchen table has moved with us from apartment to condo to house. It’s too short, so over the years I’ve glued and re-glued blocks of wood to the bottom of each leg. My little kids did their homework on it while I cooked for them, my teenagers and their friends talked and laughed around it while I cooked for them, my grown children sit around it laughing and drinking wine while I cook for them.

Salt and pepper grinders, Penzey’s Fox Point seasoning, a trivet that used to be my grandmother’s, cloth napkins each folded a different way to differentiate their owners, scuffs and burns from hot pots carelessly set down: this is our table, found curbside twenty years ago by me, who loved it at sight and for no apparent reason.

Now the table is leaving us, passed on to my daughter’s friend Shrimp, to be replaced by a kitchen island and four tall counter stools. When I sat at it yesterday eating a tomato sandwich, I thought of this beautiful poem.

 

Daily, by Naomi Shihab Nye

These shriveled seeds we plant,
corn kernel, dried bean,
poke into loosened soil,
cover over with measured fingertips

These T-shirts we fold into
perfect white squares

These tortillas we slice and fry to crisp strips
This rich egg scrambled in a gray clay bowl

This bed whose covers I straighten
smoothing edges till blue quilt fits brown blanket
and nothing hangs out

This envelope I address
so the name balances like a cloud
in the center of the sky

This page I type and retype
This table I dust till the scarred wood shines
This bundle of clothes I wash and hang and wash again
like flags we share, a country so close
no one needs to name it

The days are nouns: touch them
The hands are churches that worship the world

 

 

 

 

 

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Poem of the Week, by William Henry Davies

98CCB3C4-DC19-4DF8-B68C-5B477DC4CFDERelaxation is not my style. My style is more making long daily to-do lists and then crossing items off one by one. Sometimes I can trick myself into relaxing if I turn it into a task and add it to the list —rest and read–which when you think about it is kind of pathetic.

My mother sent me this poem last week. When I looked up the author, his sideways grin made me think he knew how to have fun. What did he remember, in the end, and what will I remember – how many things I crossed off my lists? Or the hour I spent yesterday in my kayak on Lake of the Isles, paddling in silence behind that drifting flock of geese?

 

Leisure, by William Henry Davies

What is this life if, full of care,
We have no time to stand and stare.

No time to stand beneath the boughs
And stare as long as sheep or cows.

No time to see, when woods we pass,
Where squirrels hide their nuts in grass.

No time to see, in broad daylight,
Streams full of stars, like skies at night.

No time to turn at Beauty’s glance,
And watch her feet, how they can dance.

No time to wait till her mouth can
Enrich that smile her eyes began.

A poor life this if, full of care,
We have no time to stand and stare.

 

 

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Poem of the Week, by Kari Gunter-Seymour

IMG_7693This morning on the porch a bee was bumbling against one of the screened windows. Its little legs drifted below its huge, furry body as it tried over and over to get out. So I upended my fox mug over it, slid a letter from my mother between the screen and the buzzing mug, then held the whole mess tight and maneuvered outside. Whisked the letter off and watched the bee lumber into the air again.

That bee made me think of the ending of this haunting poem. We endure so much to get here. To be alive. To stay alive. 

 

I Come From A Place So Deep Inside America It Can’t Be Seen, by Kari Gunter-Seymour
       

White oaks thrash, moonlight drifts
the ceiling, as if I’m under water.
Propane coils, warms my bones.

Gone are the magics and songs,
all the things our grandmothers buried—
piles of feathers and angel bones,

inscribed by all who came before.
When I was twelve, my cousins
called me ugly, enough to make it last.

Tonight a celebrity on Oprah
imagines a future where features
can be removed and replaced

on a whim. A moth presses wings
thin as paper against my window,
more beautiful than I could ever be.

Ryegrass raise seedy heads
beyond the bull thistle and preen.
Everything alive aches for more.

 

 

For more information on Kari Gunter-Seymour, please click here.

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Poem of the Week, by Marie Howe

991DA27A-58E0-41E4-87E6-9CA5515E0597Last week I was weeding my garden on a steambath afternoon when clouds tiered overhead, the air turned greenish, and a breeze sprang up. There’s a tall pine tree in my tiny front yard, with limbs that sweep down to earth, and when the first drops splatted down, I stepped inside them to watch the storm.

As a child I built a platform in the giant maple tree by the side of the road, accessible by a rope no one but me could climb. I used to stay up there for hours, reading and thinking in the crook of the tree. At one point I carved my initials into the biggest limb   –   A   R   M.   Over time, a decade or two, the tree puffed itself around the wound and healed itself. 

Trees talk to one another through their roots. Trees of the same species will share water and food. All trees in a forest are interconnected. They shelter one another, the way the tree in my front yard shelters me. 

 

The Copper Beech, by Marie Howe

Immense, entirely itself,
it wore that yard like a dress,

with limbs low enough for me to enter it
and climb the crooked ladder to where

I could lean against the trunk and practice being alone.

One day, I heard the sound before I saw it, rain fell
darkening the sidewalk.

Sitting close to the center, not very high in the branches,
I heard it hitting the high leaves, and I was happy,

watching it happen without it happening to me.

 

 

 

For more information about Marie Howe, please check out her website.

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Poem of the Week, by Benjamin S. Grossberg

*My new poems podcast, Words by Winter, can be found here. 

853B7327-276B-4536-BA2A-FF488CFE5606A couple of years ago my publisher emailed the cover art for a new novel. I thought it was beautiful – the rich color, the design, the way the title spread itself across the image– so I showed it to the Painter and our painter friend next door.

They studied it, turned the image this way and that, then looked at each other in a silent exchange of information. They were seeing things I didn’t, but what? 

They pointed here, pointed there, tried to explain how the typography was clumsy, too many fonts, and the kerning was off. And what did I think of the palette, was there too much cyan, was there enough contrast to read the spine copy? I tried to understand, but that would have required me to have different eyes. I thought of how hard reading can be for me, the books others rave about that I don’t, how sometimes I gnash my teeth and hunch my shoulders, mourning at how many sentences, including my own, could have been built so much more elegantly.  

 

 

The Finish Carpenter, by Benjamin S. Grossberg

Half million, and what? Cardboard subfloors—
crap, but all right. Vinyl-sided chimney.
Looks like shit, but can’t be seen indoors,
that’s something. But, Jesus, what you can see:

door frames, wall openings, kitchen pass through—
no moldings. Nothing. It’s like a face
without eyebrows. Or ears. And we’re talking new
construction, nice street. There’s window casing,

I guess we should be grateful. But they’re my folks—
pop was an architect—and I say, look, dad,
I’ll bring my god-damned miter saw. He walks
away from me, shaking his head. Glad

to do it, I say. Take me a day. He shrugs,
I see his shoulders move, his hand sweep down
in front of his face like he’s clearing bugs
or a smell. Why not, dad? Just a little crown

in the den, some chair rail. He’s seventy.
What happens—shit ceases to matter
at that age? Come on, I say. No filigree,
just finishing. You still have that step ladder,

right? He’s on the couch now, remote in hand,
surfing. I don’t get it. I don’t. Fine
corners, cornice, some detail, a few planned
correspondences. Why not? Some lines

to guide the space, hold it together. It frames
the parts. Gives shape. An order. Some wood.
That’s all I want for him. No games,
just shape, a little grace. He’s my blood;

I want him to have it nice. Mirrors and smoke,
he says, not looking up. He’s been saying it
to me twenty years, since I went broke
fixing my first place. Prewar, Sears kit

with nothing plumb, and me wild on the phone
raving about warped floor joists and plaster.
Smoke and mirrors, he said. And that’s it. Done.

 

 

 

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Poem of the Week, by Reginald Dwayne Betts

pigs-eye-2014Yesterday a friend told me how she longed for her father to show any interest in her. How she’d carefully planned to text him a few days before Father’s Day so that he wouldn’t feel the pressure of the holiday itself, but maybe he’d respond? I listened to her, told her how sorry I was, told her about others I knew in the same situation, thinking it might help her not feel so alone, as this poem by the magnificent Dwayne Betts floated through my mind. 

 

Blood History, by Reginald Dwayne Betts

The things that abandon you get remembered different. 
As precise as the English language can be, with words 
like penultimate and perseverate, there is not a combination
of sounds that describes only that leaving. Once, 
drinking & smoking with buddies, a friend asked if
I’d longed for a father. Had he said wanted, I would have 
dismissed him in the way that the youth dismiss it all:
a shrug, sarcasm, a jab to his stomach, laughter. 
But he said longing. & in a different place, I might
have wept. Said, Once, my father lived with us & then he 
didn’t & it fucked me up so much I never thought about
his leaving until I held my own son in my arms & only 
now speak on it. A man who drank Boone’s Farm & Mad
Dog like water once told me & some friends that there is no
word for father where he comes from, not like we know it. 
There, the word for father is the same as the word for listen. 
The blunts we passed around let us forget our
tongues. Not that much though. But what if the old
head knew something? & if you have no father, you can’t
hear straight. Years later, another friend wondered why
I named my son after my father. You know, that’s a thing
turn your life to a prayer that nay dead man gonna answer.

 

 

 

 

 

For more information about Reginald Dwayne Betts, please check out his website.

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Poem of the Week, by Adrienne Rich

70673C9E-5CD7-42CC-9591-2302B73056D6Twice in my life I’ve started down a road and kept going, even when the road narrowed and turned into thorns, brambles, impenetrable darkness. A symbol of my refusal to accept that I had made the wrong choice in the very beginning. Years later, when I read about the theory of “sunk profits,” which describes a past investment that shouldn’t but still affects your decisions about the future, I knew it was what I had done in those situations. Kept going, because with so much invested, it felt impossible to let go, even though that something turned out to be full of pain and darkness. 

But clinging to what has always been wrong, whether a person or a system, because . . . why? it’s familiar? you’ve put so much into it? you fear the unknown? means missing out on the possibility of something different, something better, something beautiful. Deny something’s fundamentally wrong, and you deny your own power to change it.

 

Power, by Adrienne Rich

Living    in the earth-deposits    of our history

Today a backhoe divulged    out of a crumbling flank of earth
one bottle    amber    perfect    a hundred-year-old
cure for fever    or melancholy    a tonic
for living on this earth    in the winters of this climate

Today I was reading about Marie Curie:
she must have known she suffered    from radiation sickness
her body bombarded for years    by the element
she had purified
It seems she denied to the end
the source of the cataracts on her eyes
the cracked and suppurating skin    of her finger-ends
till she could no longer hold    a test-tube or a pencil

She died    a famous woman    denying
her wounds
denying
her wounds    came    from the same source as her power

 

 

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Poem of the Week, by Craig Santos Perez

A994E53E-322E-47E7-ACA5-AEEF0E11266EThe area around Cup Foods in Minneapolis has become a memorial, and I walked there yesterday from my house, past a smiling man holding up a cardboard sign at 36th and Stevens.

Me: “I’m sorry, I didn’t bring any cash.”
Man: “You brought your good looks, though.”

I laughed and so did he, then we talked for a while and I told him where I was going. “It’s wrong, isn’t it,” he said. “Murdered like that.” Yes. It’s wrong. All the wrongness floods over in waves and the only thing that helps is to channel it into action toward a better world. I am not Pasifika, but this poem feels so familiar nonetheless.

 

Ars Pasifika, by Craig Santos Perez

when the tide

of silence

rises

say “ocean”

then with the paddle

of your tongue

rearrange

the letters to form

“canoe”

 

 

 

 

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Poems of the Week, by Ross Gay

img_5354

My daughter to me last night, as I weeded the front gardens with empty streets and choppers circling overhead: “Hey Ma. It’s past 8. Curfew.”

Me: “If I see the national guard tearing down the block I’ll just run inside.”

Another conversation I wouldn’t have predicted I’d ever be having, but this is where we are. I’ll be working the rest of my life to undo the racism baked into me, my community, and this country.

 

Pulled Over in Short Hills, NJ, 8:00 AM, by Ross Gay

It’s the shivering. When rage grows
hot as an army of red ants and forces
the mind to quiet the body, the quakes
emerge, sometimes just the knees,
but, at worst, through the hips, chest, neck
until, like a virus, slipping inside the lungs
and pulse, every ounce of strength tapped
to squeeze words from my taut lips,
his eyes scanning my car’s insides, my eyes,
my license, and as I answer the questions
3, 4, 5 times, my jaw tight as a vice,
his hand massaging the gun butt, I
imagine things I don’t want to
and inside beg this to end
before the shiver catches my
hands, and he sees,
and something happens.

A Small Needful Fact, by Ross Gay

Is that Eric Garner worked
for some time for the Parks and Rec.
Horticultural Department, which means,
perhaps, that with his very large hands,
perhaps, in all likelihood,
he put gently into the earth
some plants which, most likely,
some of them, in all likelihood,
continue to grow, continue
to do what such plants do, like house
and feed small and necessary creatures,
like being pleasant to touch and smell,
like converting sunlight
into food, like making it easier
for us to breathe.

 

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Poem of the Week, by Delmore Schwartz

IMG_8639Do you ever semi-wake up and not know where you are, how old you are, who is next to you (or not), what it is you are meant to do, who it is you are meant to be? As I typed that question just now, the words fugue state drifted into my mind. What exactly fugue state means I didn’t know until a second ago, when I looked it up, but it fits the feeling of those half-asleep wakings.

So does this poem. A while ago I woke up with time is the fire in which we burn running through my head. It felt familiar, but why? Had I made it up and then abandoned it somewhere in some unfinished novel? I typed the exact line into a search engine and up floated Delmore Schwartz, calling to me from the previous century, haunting me with his own unanswered questions.

 

Calmly We Walk Through This April’s Day, by Delmore Schwartz

Calmly we walk through this April’s day,
metropolitan poetry here and there,
in the park sit pauper and rentier,
the screaming children, the motor-car
fugitive about us, running away,
between the worker and the millionaire
number provides all distances,
it is Nineteen Thirty-Seven now,
many great dears are taken away,
what will become of you and me
(this is the school in which we learn …)
besides the photo and the memory?
(… that time is the fire in which we burn.)

(This is the school in which we learn …)
what is the self amid this blaze?
what am I now that I was then
which I shall suffer and act again,
the theodicy I wrote in my high school days
restored all life from infancy,
the children shouting are bright as they run
(this is the school in which they learn …)
ravished entirely in their passing play!
(… that time is the fire in which they burn.)

Avid its rush, that reeling blaze!
Where is my father and Eleanor?
Not where are they now, dead seven years,
but what they were then?
No more? No more?
From Nineteen-Fourteen to the present day,
Bert Spira and Rhoda consume, consume
not where they are now (where are they now?)
but what they were then, both beautiful;

each minute bursts in the burning room,
the great globe reels in the solar fire,
spinning the trivial and unique away.
(How all things flash! How all things flare!)
What am I now that I was then?
May memory restore again and again
the smallest color of the smallest day:
time is the school in which we learn,
time is the fire in which we burn.

 

For more information about Delmore Schwartz, click here.

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