So another prompt-inspired poem, this one from an April 2021 National Poetry Prompt at NaPoWriMO:
“Go to the Dictionary of Obscure Sorrows and choose a word to work with.” I chose “onism”: awareness of how little of the world you’ll experience, which seemed apropos for that past year’s solitude. And then I thought about imagination and memory and went places I never expected, certainly one of the joys of writing poetry.
Octopus on a Sea Dock
It floated out from a sea bucket into the silver spilt water of the sea dock we’d come to visit, so quiet at our feet that the fishermen nearby were oblivious, their fishing poles . . .
I wrote the poems for Flying Beneath the Dog Star: Poems from a pandemic during National Poetry Month during such a terrible time and found such peace in my search for some kind of faith in a shaken world where my only “knowns” were a cabin porch, a spill of morning sun, and a nuthatch at the feeder. And I wrote it in honor of my sister. And then it was picked up by Finishing Line Press as a semi-finalist for FLP’s 2020 Open Chapbook competition.
“…and then, I have nature and art and poetry, and if that is not enough, what is enough?” ― Vincent Willem van Gogh
To the Swallow This Spring at the Nest Box
I own nothing of you nor this leaf that shivers into a half-bud above the phlox and blue flax that burrow with me into this old winter grass. Yet how much I yearn for your blue-struck wing like an arrow over a sun- struck river, as if it were some prayer to fit between my strange and lonely palm, so hollow its feathers, so frail I could breathe through them, so iridescent the sky you harbor down that whoever hammered this wood together did so in such hurry, in such love, that even the nails were left unflattened. And now your nestling waits at this world someone cored into the box for it to see: a little knot of light, a song to dip and break against.
My beautiful visiting bee this morning reminded me of this poem I wrote last spring. It will be part of my chapbook, Flying Beneath the Dog Star: Poems from a Pandemic, to be published this January by Finishing Line Press.
The hummingbird mistakes me for a flower: something half-wan and camouflaged in a wild iris shirt. The aspens riddle my slant of sun like snakes of shade. Far off, past the pines, a meadowlark trills from the draw where, yesterday, I found bear scat fresh, flies swarming it. I walked, clapping my hands at the dark of woods until they hurt. Now the air stirs. A hummingbird zips past the porch, circles, hovers, a tiny god at my face. I am all blossom and sepal, sweet petal and wing dust. And at my feet, a tiny bee crawls for the first time.
and blue glass sings in my palm, the sky engraved with vowel and wing, so much to hear, our bodies speaking across great plains of air. soon beneath moons, we’ll murmur something: me, on love as a rift of stars, of broken pieces i once thought the earth waves past. and this little junco? nothing i could guess to know.
First, there is the necessary quiet of close grass, of fallen rodent, belly up in the path of your wanting. This morning, all you loved disappeared, ghosts you’ve kept in your palms, the tip of your tongue. Now you stoop to the wide paths reckless others have shoe-ed into the mud. Above the flooded salt quarry, a woman hugs her knees. She will not waver in the hour you walk the wide lake, peering one-eyed for heron through your lens. Then, nothing, until you are back at the beginning, the water of a blue reservoir you had long forgotten spilling out of a pipe at your feet, water so quiet, you think, this is why the birds rush in. A heron hugs the lakeshore; a heron balances on the gray curves of a tree fallen so many years ago that it floats upon the water’s light. Long-necked, short-necked, the heron wait for the sun. Their feathers are the light hairs of moss the wind tassels. Why do you wait at the edge of the water, the camera heavy in your cold hands, waiting for cloud, for sun, for the stretch of wing, the long dangling feet of departure? A quick moment and the heron sheds a bit of itself, just one color the camera opens its eye for, then shuts: a blue shade gripping the half-cave of a tree that keeps trying to bury itself. Soon you will drive home. Soon you will cook, sit by a fire, prop your camera at the table’s edge to see what you have taken.
Forget roadside crossings.
Go nowhere with guns.
Go elsewhere your own way,
lonely and wanting. Or
stay and be early:
next to deep woods
inhabit old orchards.
All clearings promise.
Sunrise is good,
and fog before sun.
Expect nothing always;
find your luck slowly.
Wait out the windfall.
Take your good time
to learn to read ferns;
make like a turtle:
downhill toward slow water.
Instructed by heron,
drink the pure silence.
Be compassed by wind.
If you quiver like aspen
trust your quick nature:
let your ear teach you
which way to listen.
You've come to assume
protective color; now
colors reform to
new shapes in your eye.
You've learned by now
to wait without waiting;
as if it were dusk
look into light falling:
in deep relief
things even out. Be
careless of nothing. See
what you see.
Last year, we had twin fawns here.
Thanks to Poets.org for its everlasting beautiful poems.
I finally got down to see the Sandhill Crane migration through Monte Vista and the San Luis Valley. Watching and hearing hundreds of cranes rush past in great waves overhead reminded me of the swans in William Butler Yeats’ beautiful poem, The Wild Swans at Coole, which “scatter wheeling in great broken rings/Upon their clamorous wings.” And I feel too the sadness of this passing year. For how many of us has all changed?
The Wild Swans at Coole
The trees are in their autumn beauty, The woodland paths are dry, Under the October twilight the water Mirrors a still sky; Upon the brimming water among the stones Are nine-and-fifty swans.
The nineteenth autumn has come upon me Since I first made my count; I saw, before I had well finished, All suddenly mount And scatter wheeling in great broken rings Upon their clamorous wings.
I have looked upon those brilliant creatures, And now my heart is sore. All’s changed since I, hearing at twilight, The first time on this shore, The bell-beat of their wings above my head, Trod with a lighter tread.
Unwearied still, lover by lover, They paddle in the cold Companionable streams or climb the air; Their hearts have not grown old; Passion or conquest, wander where they will, Attend upon them still.
But now they drift on the still water, Mysterious, beautiful; Among what rushes will they build, By what lake’s edge or pool Delight men’s eyes when I awake some day To find they have flown away?
I am thinking of the hand I found in Indiana, epicenter of this naturalist soul-to-be. I was ten, younger, when I found the hand, laid it to rest in what I called the “dead box” we found in an ancient trunk in the loft of that massive red barn on the hillside where I watched cattle slain and ponies bred.
I was walking the fence line. It was summer. Dry weeds crumpled to dust along the foot and cow paths. And then I saw it. The hand on the ground. A perfect bone of a hand. A fairy hand.
Fifty-one years I have kept the dead box and the hand and everything else I have found. Years and years, in writing workshops, I have handed out each object to a stranger, never wondering why I trusted these beautiful things from the world past with people I did not know. But always there is this giving back and forth — those who share my awe silent over the changed deserts of their linoleum desks. I am always astounded how poetry starts anywhere and takes you everywhere.
Bird’s nest so perfect so round woven of mane and tail hair from my childhood ponies. Owl pellet and yellow mouse teeth and white bird claw and, oh, the mollusk shell open-mouthed where a petrified snail curled inside. And all the pale shells of blue and speckled dust I’ve lost and that Indiana flint with yellow crystal I found near the creek I barely remember now except a bulldozer tore that day its red dirt. And here the chrysalis from my father’s pond attached to a twig since I was the girl I will never be again– what I swing and tremble until it lives.
Poet Patricia Dubrava, in her blog, Holding the Light, posted a wonderful poem and poetry prompt and that’s what got me going! Hearing the Canadas.
My poetry chapbook, Flying Beneath the Dog Star: Poems from a Pandemic, will be published this spring by Finishing Line press. Just received the contract. More as I know it.
I just learned this week that my one and only chapbook, Flying Beneath the Dog Star: Poems from a Pandemic, will be published by Finishing Line Press as a semi-finalist for its Open Chapbook Competition 2020.
I wrote Flying Beneath the Dog Star in the first spring of our pandemic during National Poetry Month, using many of the poetry prompts offered by NaPoWriMo (napowrimo.net). These poems, written on the front porch of my cabin, are my journey through this strange and unknown world we are still living in. Who knew when I sought solace at 9600 ft amidst the birds in my little spot above the Arkansas Valley, grieving over the deaths of eighteen hundred, that almost a year later we would have buried almost a half million in this country alone, including my mother, my aunt, and my uncle?
Finishing Line Press received 402 entries and will publish the 14 poets who make up the list winner, shortlist finalists, and semifinalists. Congratulations to the fine poet, Maura Stanton, who won the competition for her chapbook, Interiors, and to all the other first rate women poets I will share this new journey with. And thank you to my sister, who was my inspiration for writing these poems that I hoped she would love, too.
I will share this publication journey as it continues to unfold. You can find the (almost) title poem of my chapbook at Kingsview & Co, published by the lovely Michael A. King, editor: To the Three Ducks Flying Beneath the Dog Star. Other poems in the chapbook (and a few of my bird photos) will appear shortly in the Raw Earth Ink poetry and art collection, Creation and the Cosmos: A Poetic Anthology Inspired by Nature.