poem

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I’m feeling very fortunate to be included in superstition [review] 10.

It took a few years of submitting and getting rejection emails and reading their journal and enjoying it. Yes, I feel lucky. And again, I’m looking forward to reading the other poems and pieces in this issue.

It’s been quite a week for poetry and me.

Yesterday, I received an acceptance (yay!), a request for an explanation of one line (that was a fun and engaging exercise–why did I write that two years ago–oh, that’s right), and probably the nicest rejection letter–really–I’ve ever gotten, and I have gotten some pretty nice ones.

All in all, a good way to head into the weekend. I hope yours is warm and wonderful.

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And that’s not the half of it (or even a sixth). The new issue of DMQ Review also has a feature on Molly Peacock, plus poems by Martha Silano and others.

In the meantime, I’ve decided to pretend it’s Friday. It feels like Friday–and that means I’ll get two Fridays before the long weekend, and then it will be Saturday, and on Sunday we bottle the 2010 reds.

Summer’s winding down, but fall’s beginning to whirl.

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I am a morning person. I love the early hush, and the feeling of time. I’m thankful for the feeling that everything starts again, starts new. So for this week’s Sunday thanks, a morning poem:

The Promise

“Weeping may endure for the night, but joy cometh in the morning.” –Psalms 30:5

Always the sun flooding here gold
and here was a singing. Joy.

Light melts the sky yellow, stains
the shore at ebb tide like a fire

that sears. Some days,
the colors are too bright.

~~~

Dawn wakes you, breaks
its promise, tugs you

into its sorrow.
Birds open the trees.

Night ebbs, takes
its amnesia.

Wind stitches
what it doesn’t steal.

You’ve given everything.
Salt shaker. Chamomile.

A jar of honey.
His voice in your hair.

~~~

Morning rips off any solace,
brings it all back hard–

this desert you wake to,
this terrible hour of sand.

You walk this stony road
like a ghost, an empty dress,

a vapor floating
into unknown territories,

one step and then another.
Learn empty’s hard lessons.

~~~

One dawn, and then another.
The sun spills its fire.

You cannot stop the mourning,
cannot squeeze it out of your eyes.

Days tumble into summer,
each memory a new wound,

knot caught in your throat.
You are that tender.

~~~

Forget-me-nots
in a garden pocket,

a blue abundance,
a bowl of berries,

a cup of tea.
Leaves leave no fortune.

~~~

Just as water streams
down a mountain, reaches

the sea, you will fill again one
drop at a time.

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I had so much fun writing this poem–inspired by Charles Wright and Kenneth Koch and our trip to Italy all at once.

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Back in April, National Poetry Month, I ponied up for the NaPoMoCento contest (I still think NaPoMoCento sounds like something yummy with pasta). It was a fun exercise, and finally here’s what I came up with:

Cento: The Nearer She Got the Bigger She Looked Until

I’m drunk. I stand on the porch in my bathrobe
implicit with stars in active orbit
wired minefield

only the steps into the frontier where
     it is easy to hide
Disappear, emerge, twitch
     reverse course

The trick is to make it personal—

the chill of closed eyelids
not April and the magnolias
sad beds wide enough for planting

A hundred times consider what you’ve said—

each letter a cameo appearance, each one
     a treaty, each one a place
           where plutonium safely resides
paper sacks stuffed full of orange

To open your tiny beak-mouth, that looks
     as if it would never
                 open
Count out
     sherry and ripe plates and little corners
                 of a kind of ham

You have lived
     and lived on
           every kind of shortage

Sewing up the kinks
     in this film, I’m
sleep-fallen, naked
     in your dark hair

All is from wreck, here
     there, to rescue
           one—

the whole cathedral crash at your back
is cooked into a codex
The pungent oranges and bright, green wings
pulley glitches, gully pitches, the reflected gleams

Old brain inside the new
           brain, inside the skull
A dog’s skull is
     slightly thicker than our own

It’s more of an artists’ colony than a hospital
in the glaring white gap
in our hearts, learn
     to petrify it so

***

(We were allowed to break lines.)

And here is the attribution:

Giacomo Leopardi “Canti” trans. Jonathan Galassi
Keetje Kulpers “Across a Great Wilderness without You”
Marie Ponsot “Imagining Starry”
Ciaran Carson “Let Us Go Then”
Ray Gonzalez “Beginning with Two Lines from Rexroth”
Ravi Shankar “Ants”
Khaled Mattawa “Ecclesiastes”
Marina Tsvetaeva “Poems for Blok, 1” trans. Ilya Kaminsky & Jean Valentine
James Schuyler “April”
Gabrielle Calvocoressi “Graves We Filled Before the Fire”
Nicolas Boileau-Despréaux “The Art of Poetry” trans. John Dryden
Anne Waldman “Alphabet of…”
Shin Yu Pai “Six Persimmons”
D.H. Lawrence “Baby Tortoise”
Gertrude Stein Tender Buttons [Apple]
Marianne Moore “Sojourn in the Whale”
Cedar Sigo “Speedway”
Adrienne Rich “Tonight No Poetry Will Serve”
Gerard Manley Hopkins [The times are nightfall…]
Kamau Brathwaite “Mesongs”
Rosa Alcala “Fushigi na Chicharrón”
Wallace Stevens “Sunday Morning”
Paul Muldoon “Extraordinary Rendition”
Anne Tardos “NINE, 40”
Vanessa Place “Psalm”
Ben Lerner “Mean Free Path”
Medbh McGuckian “Painting by Moonlight”
Kwame Dawes “Talk”

***

Since then, I’ve read some other cento poems. I’m considering attempting a more classic cento, in which all the lines are from one poet whom I’d like to honor–and I’m thinking of Lynda Hull.

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