I couldn’t help myself so went to the Monks of Doom website and found some video clips of their performances. Do not ask me why I induged this curiosity, for I cannot explain why I could not leave well enough alone.
BUT! One of their songs was unusually compelling. Here it is for you tonight.
In other news, I’ve been working on a new project which I think some of you will love. I can’t tell you about it quite yet, but I promise I will. More on that later. Soon, actually. Before the semester ends… Stay tuned!
When I was a sophomore in college, “Flip Fantasia” came out and became basically one of my favorite songs. I’m not sure it’s ever fallen off my Top 10 list.
Toward the end of the semester, the Honors College was having its annual dance — a bunch of college kids in the basement of the library dancing in dim lighting, etc. etc. etc. — and one of the upperclassmen on the periphery of my social circle was DJing. We had all brought our own CDs for him to play tracks from and could give requests. I brought this one and asked him to play it.
He grimaced. “You can’t dance to that.” Oh, his dismissiveness.
I thought, What? Are we going to have another four tracks of Devo? (Not that Devo isn’t awesome.)
“Come on, just play it,” I said. “This is totally danceable.”
He wasn’t into it, and I had to wait a long time to hear it, but eventually he did play it. And lots of people danced.
This is the last day of April, and thus we come to the end of another National Poetry Month. I hope you have enjoyed this year’s Poem-A-Day series at least as much as I’ve enjoyed curating and sharing it with you all. If you’ve missed any of the poems, just click through the previous post breadcrumbs at the bottom of each page to see them all. It was, if I do say so myself, an excellent collection again this year.
Tonight we end this series with “Hinged Double Sonnet for the Luna Moths” by Sean Nevin, a poem from an anthology of poetry about mermaids, although this poem really only tangentially refers to mermaids in particular. Yet I think the careful reader will notice in here themes that we commonly associate with mermaids, or sirens at least.
I love this poem in part because its vivid imagery reminds me of going to the Moss Wood Retreat in Maine. On Penobscot Bay in June, I have to wear a jacket and scarf and socks on the screened-in porch all day; the colors of the landscape are fluid, deep, and rich; mosquitos and spiders and — yes — moths look over my shoulder as I write. I could sit there and drink tea and write poetry and stories for a week and never look up to see how many days had passed, and when I’m there, that’s generally what I do. What, if not that, is one true type of love?
Hinged Double Sonnet for the Luna Moths
—Norton Island, Maine
For ten days now, two luna moths remain silk-winged and lavish as a double broach pinned beneath the porch light of my cabin. Two of them, patinaed that sea-glass green of copper weather vanes nosing the wind, the sun-lit green of rockweed, the lichen’s green scabbing-over of the bouldered shore, the plush green peat that carpets the island, that hushes, sinks then holds a boot print for days, and the sapling-green of new pines sprouting through it. The miraculous green origami of their wings—false eyed, doomed and sensual as the mermaid’s long green fins: a green siren calling from the moonlight.
A green siren calling from the moonlight, from the sweet gum leaves and paper birches that shed, like tiny white decrees, scrolled bark. They emerge from cocoons like greased hinges, all pheromone and wing, instinct and flutter. They rise, hardwired, driven, through the creaking pine branches tufted with beard moss and fog. Two luna moths flitting like exotic birds toward only each other and light, in these their final few days, they mate, then starving they wait, inches apart, on my cabin wall to die, to share fully each pure and burning moment. They are, like desire itself, born without mouths. What, if not this, is love?
Sean Nevin is the author of Oblivio Gate (Southern Illinois University Press 2008) and A House That Falls (Slapering Hol Press). His honors include a Literature Fellowship in Poetry from the National Endowment for the Arts, the Robinson Jeffers Tor House Prize for Poetry, and two fellowships from the Arizona Commission on the Arts. His poetry has appeared in numerous journals and he has served as Associate Professor and director of the MFA Program in Poetry at Drew University and Arizona State University.
Here is another poem I had the good fortune to encounter during last year’s Poetry Super Highway contest. “KZ” by Carolyne Wright doesn’t need very much introduction from me; you will see its list of accolades beneath the poem itself.
But I do want to comment on its form, a sestina, one of my favorites to work with. The interlocking rotation of six key words at the ends of the lines offers the poet the opportunity to circle an idea, to bring it back around and around. In this way, in this poem, we remember the Holocaust, genocide, a looping cycle of circumstances and consequences, a history that we must always hold at bay.
“Arbeit Macht Frei“ —Motto over the entrance of every Nazi concentration camp
We walk in under the empty tower, snow falling on barbed-wire nets where the bodies of suicides hung for days. We follow signs to the treeless square, where the scythe blade, hunger, had its orders, and some lasted hours in the cold when all-night roll calls were as long as winter.
We’ve come here deliberately in winter, field stubble black against the glare of snow. Our faces go colorless in wind, cold the final sentence of their bodies whose only identity by then was hunger. The old gate with its hated grillework sign
walled off, we take snapshots to sign and send home, to show we’ve done right by winter. We’ve eaten nothing, to stand inside their hunger. We count, recount crimes committed in snow— those who sheltered their dying fellows’ bodies from the work details, the transport trains, the cold.
Before the afternoon is gone, the cold goes deep, troops into surrendered land. Signs direct us to one final site, where bodies slid into brick-kiln furnaces all winter or piled on iron stretchers in the snow like a plague year’s random harvest. What hunger
can we claim? Those who had no rest from hunger stepped into the ovens, knowing already the cold at the heart of the flame. They made no peace with snow. For them no quiet midnight sign from on high — what pilgrims seek at the bottom of winter — only the ebbing measure of their lives. Their bodies
are shadows now, ashing the footprints of everybody who walks here, ciphers carrying the place of hunger for us, who journey so easily in winter. Who is made free by the merciless work of cold? What we repeat when we can’t read the signs— the story of our own tracks breaking off in snow.
Snow has covered the final account of their bodies but we must learn the signs: they hungered, they were cold, and in Dachau it was always winter.
Carolyne Wright’s latest book is This Dream the World: New & Selected Poems (Lost Horse Press, 2017), whose title poem received a Pushcart Prize and appeared in The Best American Poetry 2009. A Seattle native who has lived and taught all over the country, and on fellowships in Chile, Brazil, India and Bangladesh, she has 16 earlier books and anthologies of poetry, essays, and translation. A Contributing Editor for the Pushcart Prizes, Carolyne has received NEA and 4Culture grants, and a Fulbright Scholar Award will take her back to Bahia, Brazil after the CoVid-19 pandemic. https://carolynewright.wordpress.com
Tonight’s poem comes from the wonderful Patricia McMahon, who — among other things — is the director of the Moss Wood Retreats, a writing experience in Maine that I have been to twice and dearly loved both times. You can read about those experiences here and here, if you like. (Fair warning, that second like contains a poem I wrote the last time I was there.)
This poem of hers, “The Last Time. One Sixty Seven, Seventh Street,” reminds me that nothing is permanent and ghosts are everywhere. And that’s okay, too, because it is a gift, not to be taken for granted, to feel the full range of emotions. I love the vivid descriptions here, how they carry the reader through this tiny landscape, pinging us from loss to joy to nostalgia to reminiscence and back through that catalogue again.
The Last Time. One Sixty Seven, Seventh Street.
The white gate no longer swings open, the hinge rusted, the bushes, once small and filled with bees to run from, screaming for fun, are grown too tall, too wild for this small space. A narrow concrete path leads around back where the sapling is a great tree taking most of the yard over now. But the green pitcher is still moist on the outside on this summer’s night, iced tea filled with fresh lemons. Mint as well, when she grew it by the tulips on the other side of the house. She wrapped them in wet paper, carried to the kitchen. The mint is no longer there. Not a tulip in sight. Still, the pitcher will hold a handprint on this evening. Peach cobbler would have been there. Pastel pajamas for the three girls on hot nights. Seersucker. Lying in the bedroom across the hall from the one with a big dresser. And big shoes in front. A big man. Her side table piled with books. Over here a silver brush and mirror, a cut glass perfume bottle. Jesus gazes down from one wall to his mother Mary on the other side, while my father, who has left the everyday behind, has slipped out of time, stares across the room where my young mother’s ghost combs her hair with the long handled brush. The children are nowhere to be found.
Patricia McMahon writes poetry for adults and literature for children (patriciamcmahonbooks.com). The author of fourteen books, a graduate of The Center for the Study of Children’s Literature, Patricia has worked in publishing, as a bookseller, and is Past President of the Foundation for Children’s Books. The founder and director of The Moss Wood Retreats, each June finds her organizing writing retreats in the loveliest spot on the coast of Maine (mosswoodretreats.com). A committed traveler, she has lived on four continents; currently, Houston, Texas is home.
Mutabilis Press, a publisher of poetry whose board I currently sit on, has recently begun a reading series called The Mutable Hour. Our first reading on April 1st was wonderful! Our second one, this coming Thursday, April 29th, has another excellent line-up! This is a free event happening on Zoom, so you may attend from anywhere that has an internet connection. (And I know you do if you’re reading this post…)
The reading will start at 7:00 p.m. central time and go for about an hour. As I said, it’s free, but you do have to register to get the Zoom information to get into the reading. Go to The Mutable Hour’s Facebook page to get the link to get into the reading. If you have trouble getting the link (although I don’t anticipate that you will) let me know before 6:30 p.m. central time this Thursday.
One of my favorite kinds of found poetry is the Book Spine Poem. Tonight I made one entirely out of a few of the poetry books in my personal library.
If you’re not familiar with this form, the idea is to make a poem out of the titles of books. Once you see one, it’s perhaps easier to get the idea. So here’s mine (with my arranged and punctuated text below):
So that last poem was about marriage and the absence of love. Tonight’s poem is about love, too, and probably the absence of marriage. It’s an old one by Andrew Marvell. Something unrequited, and if so, then this definition must indeed be bleak, despite all its potential bliss.
The Definition of Love
My love is of a birth as rare As ’tis for object strange and high; It was begotten by Despair Upon Impossibility.
Magnanimous Despair alone Could show me so divine a thing Where feeble Hope could ne’er have flown, But vainly flapp’d its tinsel wing.
And yet I quickly might arrive Where my extended soul is fixt, But Fate does iron wedges drive, And always crowds itself betwixt.
For Fate with jealous eye does see Two perfect loves, nor lets them close; Their union would her ruin be, And her tyrannic pow’r depose.
And therefore her decrees of steel Us as the distant poles have plac’d, (Though love’s whole world on us doth wheel) Not by themselves to be embrac’d;
Unless the giddy heaven fall, And earth some new convulsion tear; And, us to join, the world should all Be cramp’d into a planisphere.
As lines, so loves oblique may well Themselves in every angle greet; But ours so truly parallel, Though infinite, can never meet.
Therefore the love which us doth bind, But Fate so enviously debars, Is the conjunction of the mind, And opposition of the stars.
Andrew Marvell is surely the single most compelling embodiment of the change that came over English society and letters in the course of the 17th century. In an era that makes a better claim than most upon the familiar term transitional, Marvell wrote a varied array of exquisite lyrics that blend Cavalier grace with Metaphysical wit and complexity. He first turned into a panegyrist for the Lord Protector and his regime and then into an increasingly bitter satirist and polemicist, attacking the royal court and the established church in both prose and verse. It is as if the most delicate and elusive of butterflies somehow metamorphosed into a caterpillar.
This poem from Choonwha Moon, “Jackson & Perkins Mail-Order Bride,” operates on what might seem like a common trope at first blush, but it also digs into a larger issue in a subtle way. How much have we been subjected to the phrase “cancel culture” lately? How ironically has it been thrown about in recent weeks? How much do we, as a society, disregard others as no more necessary or meaningful than a social media post or a pile of junk mail or an ill-fitting item of fast fashion? At what point does a person lose their value in the eyes of another person? There’s more here than meets the eye’s first reading.
Jackson & Perkins Mail-Order Bride
“… easy to grow 4-inch African violets. The violets are gold medal winners, And like a good marriage, they blossom year ‘round.” –Jackson & Perkins flower catalog
Her thick limbs lean away from the stove, The omelets and the bacon grease. Cornered between the window And brochure dreams, She soaks in her own desires.
Last month her look was demure, And she listens with her foreign leaves To my black soles passing. Her rigidness tells me That too much tension causes retention, So I love her at five-day intervals.
When I bought her, she had no other function But to echo in small violets. Instead, she has remained, as if pregnant, Hardly approaching motherhood, A woman preened hollow in her pride.
Over morning coffee, I remind her that bad women are thrown away.
Choonwha Moon earned an MFA from the University of Florida. She won The Lorene Pouncey Memorial Award in 2015, was the Featured Poet for the 2016 Houston Poetry Fest, and has been interviewed by NPR Houston Matters for its Poetry Month Series.
So many other important things have pushed the Covid death tolls out of the top of the news cycle over the last several months, but we must remember that the landscape out there is still a pandemic, and we still need to take precautions against it, no matter how gloriously bright the light at the end of this wretched tunnel is. According to Johns Hopkins University Covid tracker, as of today, there have been over 571,000 deaths from Covid in the US and over 3 million worldwide. These figures are top of mind today as I read Varsha Saraiya-Shah’s poem “I Speak from Towers of Silence.”
I Speak from Towers of Silence
It is spring, people are afraid to sit on empty benches in parks self-distancing. Coffin’s length apart, no matter where on the street or at work dreading a footloose and lethal microbe.
Hugs are hats hung at the back door. Babies like flowers can’t stop being born, mamas in hazmat suits swollen with milk weep for their misfortune.
Imagine a massing of crows on terrace gathered for feast to appease the dead. Vultures plucking at corpses I wish not to pollute air or water, earth or fire. Let birds of prey feed on us.
Fire, Good fire, that burns to cleanse us all of hunger and passion, anger and emptiness. Assure the earth, it makes us part of our dirt. Tell the skies, merge in your stardust.
O Invisible! Can you hear our dirge? Italians belting out operas alone? Tarantellas on balconies? Hear the Spaniards banging pots, strumming guitars in night skies? Indians trumpeting conchs, chanting Aum, Aum, Aum.
This poem was published at the end of 2020 in A Global Anthology of Poetry Under Lockdown: “Singing In The Dark” by Vintage – Penguin Random House India.
Varsha Saraiya-Shah’s collection “VOICES” was published by Finishing Line Press. Her poems appear in journals such as Borderlands, Cha, Convergence, Echoes of the Cordillera, Mutabilis Press anthologies, Penguin Random House India, Skylark-UK, Soundings East, Kallisto Press, UT Press. Her poetry has aired on Public Radio and performed in multi-language/century dance program: “Poetry in Motion.” Featured on poetry reading panels of Matwaala South Asian Diaspora, WIVLA, and also Asia Pacific Writers & Translators (APWT), she served on Mutabilis Press Board as a Director and Treasurer for several years.
Being an Indian American poet, she wrote in Gujarati during school and college years. Houston’s Inprint House is her Alma Mater and Houston Poetry Fest, a stepping stone into the English journals. Honing the art of poetics continues through studying with esteemed poets at various programs: Sarah Lawrence College, Squaw Valley Community of Writers, Tin House, Grackle & Grackle workshops and more.