On the Nature of Poetry and Politics: Returning to James Wright in an Arizona Desert

I first read James Wright’s poem, To the Saguaro Cactus in the Desert Rain, when I was much younger and still trying to see my way through the thickets of poetry. But I felt a kinship to the images of James Wright from the start. He, too, was from Ohio and I knew the horses in the farm fields he drove past, beautiful in their loneliness, and I knew, too, the feel of my own horse’s ear, “delicate as the skin over a girl’s wrist.”

I thought about James Wright and his poem a few weeks ago in Arizona.  I was lured there with my camera by the online promise to birders of “500 species of birds” passing the arid desert border between Arizona and Mexico in spring migration. The morning I walked through Sabino Canyon up the Phoneline trail to Blackett’s Ridge, I expected, I suppose, a whole murmuration of exotic birds to sweep over the cacti and the yellow haze of the blue palo verde tree. Or, surely, at least the elf owl snuggled in an old woodpecker’s hole high above me in the arms of James Wright’s saguaro.

But what I saw instead before the late morning’s tongue of heat pushed me back-canyon to the parking lot was more than just the common band-tailed pigeons pecking at the saguaro’s white blossoms, their plaintive cry taking me back to the doves that haunt our Colorado backyard.  Or even further back to the pond mists of my father’s Ohio farm and the mourning doves that woke me so gently each morning when I was a girl at home.

You see, when I was young, dreaming of being a poet, I always thought of James Wright as a “nature” poet. And I wanted so much to write like him. Yet his poetry is much more complex than what I knew then. It weaves together, of course, the beautiful things of nature, like elf owls and desert rain and weeping tarantulas. But also the forces of the the human world—its factories and the bitter politic places that Wright once “tore” himself out of.  Forty years past the first time I read James Wright’s love poem to the elf owl and the saguaro, I can’t still be a poet and forget the thirst and the brutal sun that always exist, no matter how much I wanted as a girl to only dream of the beautiful and the pensive.

Walking through that spring Arizona desert, I suddenly realized, unmentioned by the online tourist engines that had brought me here, that just an hour drive south were the loops of razor wire and the “vertical barriers” we had constructed so cruelly and haphazardly at the border to deter the migrants who trek here, foot-weary and heavy, thousands of miles with their tiny children through places more barren than that late-morning desert, the homes that their children, too, loved, abandoned. This is what I really saw.

Ironically, later, in a tiny wild place between the rough of a neighboring golf course and the hotel parking lot, I found the birds I couldn’t in the desert: gilded flickers guarding the nest holes they excavate into the saguaros. And then a desert cardinal and a painted redstart stuttering through the trees. On the golfing green, so close I stopped breathing to see it, the greater roadrunner, masked in the blue, white, and orange of the orbital skin behind its eyes, stared transfixed at me, until it flashed past.

It wasn’t in the desert where I found this owl either, but on the grounds of the same hotel where an attendant at the “guard” hut waved us toward the trees behind her to show us the baby great horned owls.  Not the elf owl. They had spent the first months of their lives nested in the rafters of the hotel’s entrance until finally, their wings fledged and they hopped and flapped their way to these trees, planted so close to an unspoken border by a golf course community, a place that my son-in-law reminded me should never in a desert have existed.

To the Saguaro Cactus in the Desert Rain  
               by James Wright 

I had no idea the elf owl
Crept into you in the secret
Of night.

I have torn myself out of many bitter places
In America, that seemed

Tall and green-rooted in mid-noon.
I wish I were the spare shadow
Of the roadrunner, I wish I were
The honest lover of the diamondback
And the tear the tarantula weeps.
I had no idea you were so tall
And blond in moonlight.
I got thirsty in the factories,
And I hated the brutal dry suns there,
So I quit.

You were the shadow
Of a hallway
In me.

I have never gone through that door,
But the elf owl's face
Is inside me.

You are not one of the gods.
Your green arms lower and gather me.
I am an elf owl's shadow, a secret
Member of your family.

from poets.org

Poems about Art: Finding the Heart Key

This beautiful painting, “Blissful,” is by the Colorado Painter Alicia Thompson. It was selected by Loveland, Colorado’s The Art Advocacy Project 2024. As one of the eight poet winners of the Loveland Poet Laureate Art and Public Places Program TAAP2D contest, I got the pleasure of writing this poem, “we make rivers,” in response to her painting.

How to honor the art of another? Look for the key to the artist’s heart. The key to this poem came from one tiny sentence in Alicia’s artist statement:

“The river helps me honor my lost child every time I let it into my mind, heart, and artwork.”

I don’t like to put my poetry online until it’s published elsewhere, but because “Blissful” and “we make rivers” will hang together at the Loveland Library for the next year, I think this poem is published enough: in the best of places and with the best of companions, artists and poets.

we make rivers

after the poems of nocturne, after
their hoar frost and their twilight deer
scattering into the winter undertow
like thin angels. after Van Gogh’s wheatfields,
after those uncertain crows we see slashed
slate or charcoal above a blood red road
the sadness will last forever, he said—
Van Gogh finally abandoning his heart
in a gesso of mustard grass.

a gazan mother pens her child’s name
into the tender flesh she fears will perish—
one more unbearable—
and I want to leave this poem now
with a flicker or maybe a kingfisher eyeing me
from a cottonwood: as if the birds were all glass,
a blue I could call singing, as if they could be some
metaphor here, beautiful, slipping through.

but look what you have made: your river light
flours the spackled air like bread
a mother who has lost everything, too,
kneads and kneads, her whole body bending into the bread, the river.
cerulean blue, burnt sienna, river stones
round as loaves— each of us is murmuring something
now, me and the birds, you and something so fragile, so human:

maybe love, or a riff on stars, or, maybe, tenderness
where my deer have touched your spring river
with their twilight mouths.

Kathryn Winograd


I read with (Marj Hahne, Lynne McNamara, Erin Robertson, Belle Schmidt, Valerie Szarek, Lorrie Wolfe, and Lisa Zimmerman at the Loveland Library on March 30th at noon. Everyone is invited for a beautiful event of poetry and art.

loveland public library with poems and paintings.

On The Aftermath of Publishing A Book

March 15th was my own D-Day, or B-Day: finally the release of my new book, This Visible Speaking: Catching Light Through The Camera’s Eye.

What do you do on the first day your book makes it into the small places of the world? I look for a quote from a famous writer, who might express better how it feels to let a book go.

“Writing is like sex” (Virginia Woolf). “Tears are words” (Paulo Coelho). “You must stay drunk on writing . . .(Ray Bradbury).

Okay, none of these seem exactly right.

I wrote friends and family; I helped my daughter move into a new apartment filled with windows; I walked down the Rio Grande Trail and was thankful for light and air and a young horse flat-out snoozing in the pasture sun.

Better perhaps than a quote–here is an excerpt from my book:

Shooting An Egret At Blackrock Lake

People will form collections of all kinds, which will be the more precious because art cannot imitate their accuracy and perfection of detail; besides, they are unalterable by light.

—Louis Jacques Mande Daguerre, “Daguerreotype,” 1839.

What the camera wants is something maybe beautiful, high-stepping the moon’s low tide, something to focus, to slow-shutter into a stillness my palm can hold. Or maybe it just wants the silver fishhooks and the lost spinners or the feathered jigs I’ve watched the morning fishermen snag then snip free. All wild and danger-fraught I thought this river: this picking through the pipes and stems of old bird bones or the broken flasks of gin and berry wine I drank wild one college night, riding in a grocery cart because of some lost love that means nothing to me now. Here, at the river, this gravel pit turned to a lake is a vacancy stowed at the elbow of a huge highway I cannot unhear. An egret of snow stabs yellow foot after yellow foot into the littered water, then stalls. This camera, far beyond my sad eye, clicks and clicks. Crawdads and, maybe, sunfish, and even the bluegills floating above the pearl eggs in my father’s pond are here at my touch— something to come of exposure, something to come of light.

The first ekphrastic connection between word and object through vivid description of the seen was by the poet Horace in his work, Ars Poetica—”utpictura poesis”— “as is painting so is poetry.” One translation, I think: poetry, as “imaginative texts,” deserves the same critical attention as painting. When Dante in his Cantos on Purgatory spoke of “esto visibleparlare”, “this visible speaking,” he was speaking of the grandeur of God in all things, even human-made: through everything beautiful is God speaking to us. I knew none of this. I had only seen the snowy egrets at Blackrock Lake for the last few years and so I simply photographed them, not knowing what might begin. And then, a summer later, tubing exploded in the South Platte river, banishing the snowy egrets from these favorite rocks. Now, I have memory of these egrets turned to image to watercolor to word— moments of ekphrasis, translations of light. 

You can find the rest of my book here at The Humble Essayist Press along with Sydney Lea’s new book, Such Dancing As We Can


This Visible Speaking creates a gorgeous polyphony of photographs, lyric meditations, and the voices of photographers. Image and text mirror each other, enacting the ways that the world of nature outside us can evoke and mirror our inner human life—our visions, loves, our losses. Like Georgia O’Keefe, Winograd says of her photos and forays into the wild, “I found I could say things with color and shapes that I couldn’t say any other way—things I had no words for.” Emily Dickinson writes of how “A light exists in spring” that “almost speaks to you”; in Winograd’s book, it finally does. This is a book to hold close, to travel with—and return to—for a very long time. 

Angie Estes, author of Parole

On Inspiration and Winning The Poetry Contest

I’ve been thinking about inspiration or, maybe, a better way to put it is the moment when the muse reaches down and smacks you on the head.  I’ve had this “dope slap” experience a number of times: I’ll be walking, doing dishes, or cleaning out the bathtub drain, and suddenly a poem or an essay will start typing itself in my head, literally typing out the words in long streaming sentences, so much so that I have to stop everything and rush for my computer or the back of an envelope.

It happened in the Costa Rica Cloud Forest after the glorious moment a male and female resplendent quetzal landed in a tree right over my head and roosted there while I fiddled with the damn wrong camera I had chosen that morning to take with me. By the time I walked out of the clouds and back to the lodge, I had a draft of the essay I wrote down in my notebook, still waiting to be revised. 

And a couple of winters ago, I was walking through the woods, saw tracks in the snow, thought how much I liked seeing them and suddenly the poem, “I Like An Old Snow,” typed itself out in my head. I wrote it down, sent it to Cricket Magazine, and, voila, there it was published last December with a lovely illustration. Best writing experience ever.  

I looked for quotes from writers about moments of inspiration like that and couldn’t find any I liked right off hand or couldn’t figure out the right search words. I did find an interesting article by James Clear about “The Myth of Inspiration,” and his rules for the power of the schedule, permission to create junk, and the schedule is the system.

But James and I aren’t even in the same realm: he’s sold over 15 million books on the Atomic Habits and I have yet to even eat 1500 pistachios in my lifetime.

I’m thinking about all this because recently I entered a blind poetry competition for the Loveland Colorado Poet Laureate’s Art and Public Places Program.  Enter an anonymous poem about a work of art for a chance to be one of 7 or 8 winning poets who would then each write a new poem about a separate Colorado Artist’s painting. Big celebration and reading in March, paintings in the museum for a year, poems hung in the Loveland Library for a year.

Fun. So I sat down at my desk one morning, thought about the photograph of the heron in the cottonwood tree that I had taken by the river the week before. Thought about the terrible news story I read about the young Israeli women who had been so viciously and repeatedly raped by the Hamas that their pelvises had broken. I can’t even say anything more about that except that the typewriter went off in my head and I had my poem within twenty minutes: Aubade with Heron in Cottonwood Tree. And I knew it worked.

Long story short, I’ll be with seven other wonderful poets (Marj Hahne, Lynne McNamara, Erin Robertson, Belle Schmidt, Valerie Szarek, Lorrie Wolfe, and Lisa Zimmerman) at the Loveland Library on March 30th at noon reading from my new poem in response to a lovely painting by the Colorado Artist, Alicia Thompson.

“Instructions for living a life: Pay attention. Be astonished. Tell about it.”

Mary Oliver

I thought about not publishing here my Loveland-winning poem, Aubade with Heron in Cottonwood, and my photograph that inspired it, but the poem deserves its moment.

Aubade with Heron in Cottonwood

Oh, how war blows up and breaks
wide the pelvises of women—

Nothing blazed, nothing machine-
gunned down doors:
  is that the reason here
to walk the winter shoals?
100-year-old cottonwoods crowning
unscathed the river ice?

   A heron, an ink spot so
high in the old catkins
that I could barely see it
  until my camera caught it,

preened itself, grace-necked
and bowed, its plumes and inner
eyelid translucent
  silver blue
as the cold light of winter skies.

Oh, what have I called beautiful
and reached out to touch
and forgotten,
   and the young girls suffering?

Kathryn Winograd

Writing With Images: Moths, Lopsided Stars, and the Morpho Butterfly

The week I got my Sony, the Denver Botanical Gardens had its annual mid-winter orchid show and photo contest. My husband and I hauled the camera I knew nothing about and all its bags and gadgets to the Gardens so I could take a picture. My husband settled on one of the benches nestled between the open-mouthed blossoms that go by the name of Moth and Slipper, Cattleya and Lopsided Star. I wandered the narrow greenhouse hallway, flattening myself occasionally on the cement floor beneath the potted plants to catch the backlight while a river of orchid lovers flowed around me.

I thought of that day three years ago because I am in the midst of a macro photography butterfly class: a combination of Zoom and a live visit to the nearby butterfly pavilion.  Our assignment? To learn the vagrancies of a camera lens I have basically only ignored so that I can now take bewitching micro-shots of curled proboscises and jeweled wing scales.

“Make a plan before going to the pavilion,” our instructor advised. And I dutifully wrote down a wish list of “backlit” and “ringed-flash” and “flight in motion” shots. All of which became meaningless when a freak of Denver winter descended over the pavilion and rendered its fluttering inhabitants immobile and hidden from the extreme cold. And, of course, the camera I’ve had for three years now balked at my late-night fidgeting over settings (oh, how I hate that Internet and its “experts”) and slow-shuttered me over to the instructors with a humiliated, “Uncle!” 

By small degrees, the temperature thawed and a few stalwart butterflies clung like kites to tiny vine threads and leaf stems or clustered against the warmed glass of the chrysalis nursery. And the instructors, after speed-flicking through my oddball settings, kindly sent me off to hover in the winter dim over butterflies cargo-shipped from as far as Costa Rica and Indonesia. I took picture after picture, some with a bewildering flash I had only used twice before.

Our assignment? (And this is the crux of it all for me, a former teacher.) Choose two photos, label them with the camera technique we chose to experiment with, and Google doc them to the instructor by Monday night.

Two?

Why had I not thought of that when I taught poetry workshops? Here’s that mess of poems you wrote this semester, I could have said to my erstwhile students. Now, choose two, just two, and shoot them off into virtual reality to me. What a beautiful, mind-blowing exercise. Two butterflies? Two poems? If I passed you on the street right now, I would pull out my camera, grab you by the arm, begging you to help me choose, and then take you through one desperate butterfly shot after another, one hundred and forty-one shots to be exact, as excruciating to view, I am sure, as my dead grandfather’s travel slides that he would herd us into his darkened basement to sleep through.

But in reality, there is no one but me to ponder each perching butterfly of light and shadow. I hold them in my hands now, and I realize that, for me, image and story are inescapable. And that’s what matters.

And the orchids I photographed three years ago at the botanical gardens and won nothing for? Today my moth orchid poses at The Ekphrastic Review with its story of The Rising Star Cave and the twenty-thousand-year-old teeth of Little Naledi. And the two butterfly pictures I will be critiqued on this Thursday by Zoom and a faceless class? All I can say is thank god for adult classes with no grades attached.

But here is one butterfly I will let float. Another story.