Tuesday, January 8, 2013

Eileen Tabios


from “147 Million Orphans: A Haybun”

MMXXVII.


mealier

milliampere slouch
enameling comedy of art turbe

In the beginning there were no orphans. God created the sky and the earth to serve everyone a

bounty of meals. The earth was empty and had no form. No slouch, God made the earth full—
replete!—containing all forms. Darkness covered the ocean, enameling even what fluctuates
into a basis for … Something, a basis solid enough to support the footsteps of both man and
God and woman and trans, which is to say, also the ever-faltering steps of orphans, even when
the latter were biased against recognizing “His” existence.

When God’s spirit began to move across the water, all pre-creatures anticipated the between-

ness of algebra. There would be art. There would be comedy. There would be bathos. There
would be turbulence. There would be the boxer whose stare I first typed, “star” would speed
across a thousand yards until the knock-out would occur before the very beginning of that first
jab. In boxing, the jab is not the goal but the set-up: the “pre” before the “face.”

In the beginning there were no orphans and yet their existence was pre-ordained. With the

orphan’s mix of loss and desire, only then could the next sentence regarding Genesis surface:
Then God said, “Let there be light.” As has been whispered within all indigenous cultures: Light
requires cracks through which to slip through. What history teaches: occasionally, Light doth
sunders…

Note:


A “haybun” is a combination of hay(na)ku (http://haynakupoetry.blogspot.com) and other text. The hay(na)ku is a 21st century diasporic poetic form; its core is a tercet-based stanza with the first line being one word, the second line being two words, and the third line being three words. Each word forming a hay(na)ku in "147 Millions Orphans" is listed chronologically from an 8th grade project by the poet's adopted son to learn English by studying 24 new words a week. 


***
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David Howard


Instead Of, In Memory

            Reverend Leicester Kyle (1937-2006)

1

Instead of rapture, the slumber of a pensioner.
At the end of the garden
the ruined weekend –

its brevity bends the flowers.
Hard work, trimming the hedge of masculine and feminine
rhyme: grief, belief.

We go after certainty, slurring our words
under the full moon. Look
Leicester, we’re nearly

elsewhere. The moon pulls more than its weight – we puff
under the light of the sun, we hum
like generators

yet power nothing to speak of
so we speak, briefly
being of.

2

If that dog keeps barking
God will wake and silence all of us.
However deep its roots
the apple tree, dripping with piss, trembles.

Forget blossom, fruit, whatever
the ordained season and its proofs
stone is constant. Faith nails up God,
logic nails down god. You believe

spirits appear if you believe –
suck it up, the nothing
left for us. Spindrift, it’s white

like that ectoplasm you hope for.

3

The deeper you are in the day the more you
crumble, returning your parts
piecemeal to earth. Passers-by will wonder
who you were, who
you thought you were

to make such a mess, to shimmer so
briefly with such unintended consequences.
Who stays free in the empty yard, cradling
an egg in both hands, as if at prayer?
Leicester, we waited to grow up

under the stars, the stars left us
smaller than ever. We kick up dust, wondering…
‘When the stars appeared did father go to bed?
Did he rise by their light to grind wheat?
There is starlight, where is our flour?’

4

Like Leicester, I have more faith in stones than notions
although stones are faithless – they sink
without fail, without our conception of failing.

A name has weight. Spoken, it negotiates air then
recovers its subject from our grounds
for belief. Artefacts belong to the present.

Between stone and steel tools the life to come goes.
A cut throat does not utter alma redemptoris mater
nor do the city’s bells ring together.

Leicester tests the purity of metals – one hundred percent
heartless, whether razorblade or clapper.
Love, tell me how you survived love.

5

Tell me how you survived
telling off an absent and mindless god
for shrivelled vegetables, hens with worms, the sick

rolling about in beds made for making
babies. As you speak, Leicester,
your white beard freezes to your black jerkin.

Try to shake your head, knowing
sermons are filled with swearwords in Millerton
where a kea is elected Speaker of the House

while you rehearse the life to come
in fireman’s boots. What size do you take?
To judge by the feel of it…

6

When you see the world you see through it.
Inside the church a whistle is defiant, outside
inviting – after service the girls

show their legs and then some, mounting
bicycles. Their mothers orbit
in memory, where the alphabet lives –

the one that begins and ends with ‘I’. Leicester,
a generous sun embellishes us
with shadow. We pray for the limelight but

end with quicklime. What’s done is done
for nothing – the nothing that redeems us.
The architecture of flowers seems rational, still

the architect of dead flowers is irrational.

***
***

Wednesday, January 2, 2013

Nancy Scott


The Three Bears: An Urban Tale

It had been a long time, considering Papa Bear had been skipping out for years. All those winters asleep in the condo, and every now and then Mama Bear would roll over to find she was alone; except for Baby Bear lightly snoring. So where had that son-of-a-bitch gone? Probably to find food left behind in some dumpster, and wouldn’t you know it, he’d never bring a lick of it home, at least that’s what Mama Bear chose to believe 
so she went back to sleep and forgot all about it until that next spring, when she was totally unprepared, never having considered the possibility that Papa Bear would ask for, then insist, on a divorce. He refused to listen to her pleadings so, in the end, Mama Bear got the chairs and the beds along with the condo and Papa Bear only got the Dansk cereal bowls, which made him furious because, being the black-hearted bear that he was, he’d expected at least half of the stash he knew Mama Bear had been skimming from household expenses. Not to be undone, Papa Bear had Baby Bear kidnapped and ransomed back to his mother for that loot; of course, he meant Baby Bear no harm, but the bastards he hired were expensive, and wanting the whole ransom for himself, the more Papa Bear thought about it, how much easier it would be to just eat the kidnappers rather than pay them. Mama Bear, being a good mother, forked over the cash, which left her destitute, so she and Baby Bear lost the condo and all their belongings to the local sheriff, and now they wander the woods, foraging for food, occasionally coming into the city to knock over garbage cans, and Baby Bear has gotten quite adept at slapping the crap out of trout in the river. As for Papa Bear, now that he’s free, you can find him most every night with Goldilocks chowing down at Dominic’s Pizza and Wings.

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Martha Deed


The Quaker Cemetery in Prospect Park

. . .  The winds' wings beat upon the stones,
Cousin, and scream for you and the claws rush
At the sea's throat and wring it in the slush
Of this old Quaker graveyard where the bones
Cry out in the long night . . .
              – Robert Lowell, The Quaker Graveyard in Nantucket

a finch sings on a bare branch
the dead are lying where they lay the day before
all dead
still dead
privately and peacefully
expired

until the Quaker women come with rakes and tarps
survey what Winter does to a cemetery in Prospect Park

the gate is unlocked against unwelcome visitors

This is a Private Cemetery
preserved for the peace of the dead
and not for tourists
though old and historic

The mourners come
they have come a long way to visit
their recently dead and buried daughter

She did not die at sea
like the Quaker fishermen of Nantucket
or in war on foreign soil
but – like the others –
her bones cry out for justice

The mourners know she isn't there
but it is the best that they can do

a 10-hour drive through rain and snow 
past Finger Lakes
through the Catskills
the motel in Nyack
then the drive to Manhattan
the search for parking
the mile walk to the friend's apartment

and the next day
the day of the committee's visit
and the mourners’ –

Three subway trains and a walk
to the unlocked gate
even though

They know she isn't there
but it is the best that they can do

Four days away from home
once a year
they climb the hill
one of them stumbles
climbing the hill to the too-soon grave
of the only child of one of them
struck dead by doctors by mistake
the parents still raw with knowledge

The daughter photographed
documented everything
about her life and dying
ordered her mother to report
what happened

and so
the photographs –
a hole just big enough to accommodate
the vaulted ashes black against the snow

and then the setting of the stone
cherry blossoms and a Scarlet Tanager
teasing from a nearby tree

and today the stone
dead leaves nested round it

The women with rakes descend
it is their cemetery
the mourners' by permit only
and only if they follow permitted mourning rituals

which have not been disclosed
first one, then two, then three at once
What are you doing?
Where are you going in our cemetery?
People come here
pretending to be bereaved
and they take pictures
of our private stones
and put them on the internet
What are you doing?
Taking photographs of birds and flowers in early Spring
to remember your daughter by
in this peaceful place?
They lie to us
They violate our privacy
The dead are not to be disturbed

The child's grave
on the hill beside three junipers
no older now than she was when she died
the child is not there
the child's resting place
no place of rest
in the cemetery committee's
graveyard 

*** 

Upon reading Mike Basinski's poetry

Have I reached the age
should I reach the age
when it would be wise
to adopt a form of discourse
perhaps post avant post modern
scattered, dense
sufficiently experimental
a formal dementia if you will
married to the real thing perhaps
so no one could tell
unless the poet switched off
mirth and glee revealing agony

Is it March or April she asks
I must date this imprecise text
precisely

Birthday coming
on its way as well:
climate change
unsafe beaches
sharks near shore

Do you get my drift?

We are eating meatloaf from the church today

"Memes" are all the rage in my circles
like kumquats
One's a fruit
I cannot classify the other

Just know
I am far too young for "Beat"
Post-Beat maybe tho' trains no longer
glide with open doors across green prairies
sucking college kids off rural campuses
for rides to Faribault

They say
they'll figure out later
how they'll get back to campus
after riding freights with bums

No guns in those days
a rifle maybe
needles and knives like today,
and home-brewed beer

Hopping freights not against the rules
like hitchhiking back to Northfield
which could mean a letter to your parents
from the Dean

It's a joke set next to Faulkner, Hemingway and Kerouac
Only Faulkner fit to speak at convocation

The rest are dead, I think
or have pets which are not allowed
or smell

Finally, to our alumni let me add
Stay home in a tornado
on the lowest level of your house
or if it's new with no below
ride out the storm in tub or shower

Remember your alma mater in your Will
Godspeed

To revise this poem:
chip away at dross
expose intention

Yeah

*** 

Climate Change

Our pet snake Lotus escapes from her skin and discards it in the pachysandra patch at the foot of three concrete steps to the front door of our house.  Though grass breaks under his feet, the master mows the lawn atop his shiny green John Deere, the cutting akin to trimming a bald man's hair.

Fourteen species of baby birds zip across the yard chasing bugs and thumping against the kitchen window.  They fall twisted to the ground, come to, and fly over the deer cloth fencing. 

We walk outside and are not bitten.  Deer pant in the woods, too thin for ticks.

A fruit ripe with evil:  Suck the juice out of it.  Frack it.  Freeze it.  Dry it.  Set it in a dark closet for ten years.  Let all laws expire.  Wait for the victims to die.  Failing that, wait for the perps to die.  And then say you're sorry, but don't tell them what

you're sorry for.

It's a riddle –  what we are talking about.  You could call it climate change.  The temperature rising if you will until the gun catalogs sit singed in a gray metal mailbox if you don't collect it soon enough.

You could call it that.

You could call it the inconsiderate multi-diseased adult who enters your ER expecting cure, but finds death instead.  Ruining your record by raising patient safety issues, threatening your bottom – line  – when the wrong voices are listened to, the carpets rise and dust balls fly in the executive offices, IEDs of a bureaucratic sort created by the rank amateur PhD types who don't know how to count adverse events – properly

or drones sent to bring wayward citizens home to their great father in the sky – involuntarily – the flying menless drones fueled by definitions of bad citizenship.

so is it any wonder you have to keep your children under their beds as well and away from positive influences like coaches and priests?

Which brings me back to snakes, but I'm done (for now) . . .

***
***

Marge Merrill


The Strangeness

Water the sleep
the garden
the moon

sit still

smear
less elaborate language
on arms and legs

your raw whisper
a purple and peach
bruise

stop the urge
to pick
to lick up the juice.

***
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Tuesday, January 1, 2013

Lakey Comess


Celebrations for Molly's hard core nuptials

            come and go, bringing (finally) sunshine in passing. 
There are only so many mollusc pearls to spare for dead eyes. 

Someone's state of mind reveals itself as entirely self centred. 
Someone else pays a high price for proximity, relationship.  Yawn, stretch,
knowing fame is never just around the corner, foxed by inspiration.

Drifting boats hit on half-submerged reef. 
Agreement doesn't always mean meek (or fatal) acceptance,
happily stranded in changes at sea. 

Exits are exposed, then disappear through waking. 
Clean sweeps clear an ancient pattern, crying and hurling first fruit,
one golden apple, hard to distinguish amidst shaggy branches. 

Cast deep into pools of mud, wits, pebbles.

***

Film, chapters, extra material

I

Three colours should be sufficient, lord knows. 
The day has been otherwise fraught.  Recrimination sneaks up on humour. 

Choler is still off the palette.  Film, chapters, extra material. 
Five thousand seven hundred seventy  something, original soundtrack, 
wailing strings.   Digital dialling can be damaging tracked back. 

Resist the urge to travel ass-wise to rouge as a matter for felicitation. 
I'll get back to you—a brilliant smile awaits from a photograph.

II

Violence of broken glass, of the person who shattered it. 
Shards cut through battered matters of fact, still life. 

Pour forth the way out, understanding pain of exposure.

***

Anyway

Instead of avoiding us and them, make that the title. 

After all, it's just people trying to produce work. 

Nothing to do with them and us.

(Green Man appears.)  You can cross now.

***

Tension.  Censorship.  Pressure. 

Atmospheric flack and fallout.  Come near in the run up to proximo, preparatory arrangement
for meeting some undisclosed future need, vague legal document, profound stirring of thought. 

Clumsily executed entrechat is enveloped in red gossamer accoutrement,
precisely reproduced for edification in fine silvery powder, after something's been burned.

                                                ~

Well, says you, it's all dust, signs of danger taken into account, fully explored. 
Bloomfield bowed out, overtaken by seich.  It's merely ratio, not to be taken personally.

***

Sympathy without context


            doesn't (solo) really cut it.  You want to polish your enlightenment,
fine tune vagabond diminished sevenths, keep tabs on better than expected reasoning.

                                                            ~

Hands tremble in  the higher octaves.  Mind-science shudders vapid breath. 
Shoot rapid for white water excellence.  You only think you want to go wild, clutch fear. 

                                                            ~

Toss back bland assurance.  I have heard cowardice banging on walls.
There's no gift wrapping on cracked description.  Shift paradigm (a fraction) for fresh agitation. 

                                                            ~

Fog descends cool over summer city.  Privation makes a heart grow tired, deliberative. 

In the absence of further review, catalogue fills in retrospective detail,
conversation reduced to meagre or silent on both sides, under the guise of putting it down hard. 
Some conditions are invariable, entangled in past exploit or lost credentials. 

                                                            ~

Ancient history is unsatisfying, hindsight unfocussed,  looking back. 
Unable to settle, hearts thump in classical symptoms, wonderfully recharge,
sing out a timeline of peaks, personally dangerous. 

One mis-step means a fall, grace not always extended.

***
***

Ken Wolman



Tashlich

           (Tashlich is the ceremony performed on the first day
              of Rosh Hashanah, the Jewish New Year, when bread
                  is cast into a stream or river to signify the
                  casting-off of the errors of the dying year.)

Tie them in a sack,
with knots as tight as the knots in your stomach:
tie the knots double,
lest what's inside is the Houdini
of your private demon-closet,
and may escape.
Weight them with stones,
carry them to the shores
of some convenient stream of living waters.
Cast them as far as you can
(pray for them if it pleases you):
but let them drown.

I'm sorry if you're squeamish,
and yes, killing is a sin,
but it's a war, after all:
and if you get queasy at the thought
of what's in the bag squirming,
choking for air,
think what they would do to you
if they got loose,
what they maybe did to you already,
or tried.
Consider it a mercy-killing,
consider yourself prepaid
on the Five Stages of Grief,
and this casting-off a celebration.

Let the minstrels come in.


***
***

John Oughton


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