Monday, May 27, 2013

Keeping Watch


Earlier today, we wound our way 
through lush lavender and green, 
bougainvillea cascading red down terra cotta walls.
A stuccoed portico covered round tiles
that spilled like pools of smooth latte 
around the curve of the pink pebbled drive.

The path around the house 
separated hibiscus from bird of paradise, 
split this shaded view of the distant ocean 
from mid afternoon sun.
Intermittent winds gusted hard, 
turning left out of Africa.

They blew harder still on the open terrace 
where brown fingers rubbed lime and salt onto glasses, 
their rims ringing with each twist 
of the hand.  
We witnessed the sea turn 
from jade to aqua then violet
while shaved ice melted into tequila.
Mammoth rocks jutted out of the water 
where longtails and cahows rested, 
keeping watch over ebb tide,
like us.  

Steel drums beckoned us down to the beach.  
We wove along the narrow path through sea grass 
onto a long pier that met the mound of late sun 
at the horizon.
The pictures we took show us in silhouette, 
orange spreading out over the water behind us. 
You can’t see our faces, 
only that 
black wind had whipped our hair out 
like the spine of the lionfish as it slid 
among crevices of a murky cave
far below low tide.  

Strange, there’s a safe abandon this far out over the water. 
Just under us waves writhe dark, foreign,
and tufts of plants with white tendrils waver 
like ghosts in slow motion.
Earlier our glass-bottomed boat slid over 
gnarled conchs and sporadic seaweed, 
and some fish like aliens walked the ocean floor.

They are below us here too, 
and more.  

This afternoon,
we had followed the flight of two lone seagulls
winging over turquoise swells,
white caps running like fingers over a key board.   
They had swooped down to fish 
from a school of grouper on the surface, 
then retreated. 
The cloudless sky had offered 
yet another empirical look,
to keep watch
over the incessant turn of  tides
and all that belongs below. 

© Susan Muse, 2013

Lionfish
Photo by Daniel Dietrick
Wikimedia Commons

Monday, May 20, 2013

Music



Music is a melody of joy
That takes hold of me
And helps me to dance
The dance of wondrous song

Music is a comfort to me
When life seems overwhelming
And I can't seem to move on
But it gets me up and my feet move freely

Music is a stimulator for my soul
That pushes me to let it go
While I move my feet to go forth
To express my ancestors with pride

Music is a reminder of years gone by
When my feet could move all night
Without my breath seeming short
And my smile spreads all over me

Music consoles me when I feel down
And it comforts me to know I am cared about
While I may drop a few tears
But I know it will be fine

So, music always be there
As I walk this path
And push me to dance with ecstasy
And know I am blessed by You!

                             © Hilda Ward, 2013

Ashanti Akan Cultural Adowa Dance Group
Photo: Wikimedia Commons,  by Brendan


Verbs and Vibes May 23, with Featured Guest Poets


Meet us at The Bridge for Verbs and Vibes Open Mic on Thursday, May 23rd featuring The No, Regrets Tour 2013. Bring your poem, your song, whatever performance art you have and receptive ears! Our featured poets are William Stanford Knudsen and Chris Leja. Both are published poets who have represented Portland Oregon nationally and regionally and have performed at venues throughout the country. All this for only $5. Doors open at 7pm at the Bridge (209 Monticello Road). Sponsored by Skies the Limit Entertainment.


More About Our Featured Poets:
William Stanford Knudsen has represented Portland, Oregon twice, nationally and regionally, most recently as a member of the 2012 Portland Poetry Slam NPS team. His work has appeared in the New Yorker, The Legendary, and other journals and anthologies. He is the author of two chapbooks, Wilderness and Small Talk & Tall Tales, and has a full length manuscript The Tooth & Nail Hymnal forthcoming from Sparrow Ghost Publishing. He has performed in coffee shops, theaters, and colleges across the country.

Chris Leja has represented Portland, Oregon and Lewis & Clark College seven times, regionally and nationally. His work has appeared in Borderline, Anatomy & Etymology, and various other journals and anthologies. He’s been nominated for the Pushcart Prize twice, and is the author of two chapbooks, Adam Outside and A Chronology of Quiet Thefts. His first full length manuscript, Living Myths is forthcoming from Sparrow Ghost Publishing. He’s performed and conducted workshops across the country, from colleges to juvenile detention centers. He dropped out of kindergarten, and consequently never learned to share.


Sunday, May 12, 2013

Deprivation Game


Each year I play at deprivation as harvest season passes, and light retreats southward, and pliable life turns brittle and spare. 

I play to remember the ancestors' work when our world was young and their year was old,
to feel their hunger as they waited, shivering, to feast on the hope of the sun's return. 

I play to remember my grandparents' work: they were young and had no choices...
To remember the way that my life worked when I was young and had no choice...

I play to feel the symbolic lack, because it feels symbolically fair.  I crave a deep chilling emptiness, to learn what that vacuum pulls out of me.

I bathe with the ends of soap and dry myself with threadbare towels.
I wear socks with holes and tatter-edged clothes, stained with work and living. 

I stop buying food, make meals of the last dry beans and shriveled potatoes
just to feel the relief of dwindling choices.

I make simple dances in the thin light, 
my makeshift means as my grateful meditation...

Until a day the light grows fuller.
All can go young!
Fix quickly what needs fixing;
Replace, restock, renew.  
A miracle fabricated from waiting to feast.  
A hope for me, a hope for the world. 

© Laura Seale, 2013


Harvested potato field
Photo by Evelyn Simak from Wikimedia Commons

Monday, May 6, 2013

Modern and Contemporary Poetry


Tink Wellborn took an online course in modern poetry last year and recommends it.  The instructor is Al Filreis, who is the Kelly Professor of English at the University of Pennsylvania, Faculty Director of the Kelly Writers House, and Director of the Center for Programs in Contemporary Writing at the University of Pennsylvania.  It begins September 7th, runs 10 weeks, is self-paced and free.  If you're interested in investigating it, he has helpfully supplied these links as well as the description below.  (Note that the course is simply referred to as ModPo in the FAQs.)

   


About the Course

In this fast-paced course we will read and encounter and discuss a great range of modern and contemporary U.S. poets working in the "experimental mode," starting with the 19th-century proto-modernists Emily Dickinson and Walt Whitman and ending with 21st-century conceptual poetics. 

Aside from providing a perhaps handy or helpful survey and chronology of 20th- and 21st-century poetry, this course offers a way of understanding general cultural transitions from modernism to postmodernism. Some people may wish to enroll as much to gain an understanding of the modernism/postmodernism problem through a study of poetry as to gain access to the work of these many poets. Participants do not need to have any prior knowledge of poetry or poetics. 

The instructor, Al Filreis, rarely lectures, and frequently calls for "the end of the lecture as we know it"; instead, most of the video-recorded lessons will consist of collaborative close readings led by Filreis, seminar-style -- offering models or samples of readers' interpretations of these knotty but powerful poems, aided by the poetry-minded denizens of the Kelly Writers House on the campus of the University of Pennsylvania.

FAQ

  • Are there any pre-requisites?    No -- none at all. You do not need to know anything about poetry (modern or otherwise) to thrive in this course. You need only be willing to spend some extra time with a poem that seems difficult at first.

  • Are there going to be days and times when I need to "attend" a live session? Do I need to make myself available to participate at certain times of each week?    No. Each week you will be reading some poems, viewing approximately 2 hours of videos (discussions of poems), and participating in the discussion forum whenever you have the time - at whatever time of day you prefer. You will have the option of participating in regularly scheduled live webcast sessions, at certain times; these are a great deal of fun but, again, they are optional and we will immediately provide recordings of the webcasts.

  • Do I need to purchase any textbooks for the course?    No.

  • Do you recommend that I read some poetry in order to prepare for the course?    Not necessary, but a good idea. Read a few poems by Emily Dickinson and perhaps some of Walt Whitman's "Song of Myself." The works of those two poets are widely available on the web; we will be discussing them in the first week of the course. If you are shopping for books of poetry, we recommend buying a volume of the poems of William Carlos Williams.

  • You say the course is "fast paced."  Will it move too fast for me?    ModPo is "fast paced" because we will not spend long on any one poet. This is a "survey" course -- covering many poets with the objective of conveying a sense of poetic movements and trends. We will study only a few poets in any depth (Dickinson, Williams, Gertrude Stein, John Ashbery) but otherwise during each week we will typically talk about poems by three or four or even five different poets.

  • How do the videos fit into the course?  What about discussion forums?    Each filmed/recorded discussion will consist of a close reading of a single poem. To prepare, you will merely need to read (and perhaps re-read) that poem. The process should be straightforward: read the poem, watch the video, then participate in discussion forums, take a short quiz (if assigned) or write a short essay (if assigned). The discussion forums are very important in ModPo -- a place to get others' responses to the poems and to ask questions about concepts you don't understand. You should plan to participate in the discussion forums.

  • Will there be quizzes as there are in other online courses?  Does that make sense in a humanities course?     There will be quizzes, yes, but the goal of these is not to ascertain correctness or incorrectness -- but to give you a sense of what ideas you are or are not comprehending from the video discussions, and to underscore which concepts are especially important.

  • Will a Statement of Accomplishment or "certificate" be awarded at the end of ModPo?      Yes. But please note that thousands have enjoyed ModPo - and being part of the ModPo community - without taking the certificate. To earn a Statement of Accomplishment, ModPo students must (1) write and submit all four essays; (2) submit at least four peer reviews of others' essays for each of the four essay assignments (a total of at least 16 peer reviews); (3) complete all the quizzes and receive a score of greater than zero on each; (4) participate in the discussions (in the discussion forums) of at least one of our poems in each of the ten weeks.

The Lady Llorona  (La Llorona)


    i

The Lady Llorona
passes near here –
    Beware!
my Dear Son,
of the Crocodile Tears.

Take “No!” 
for your answer.
    Tenga Cuidado!
Como se dice –
    “Watch out for this Lady.”

I will give you a tale,
    it’s high-time you knew,
of the Modern Medea,
    Dark Angel of Hell.

I’ve waited ‘til now,
    but Now’s overdue –
Fruition and Prudence,
    first needed of you.


    ii

You have heard the sounds
  a large part of Life,
sounds that rise from El Grande –
  A River much like
the Nile to its Land:
  The River of Promise,
El Rio Grande.

So listen much closely,
  you’ll hear it clear,
the wailing and crying,
  a stream of ghost tears.

La Señora Llorona
  wanders near here,
throughout the night,
  every day, every year.

The story of Grief
  and the Torment she bears
become of what follows
  from here:


    iii

Years upon years,
    many years, long ago,
lived once La Señora
    of New Mexico.

So fair was the maiden,
    far fairer, unknown.
Yet she loved but one man,
    and one man alone.

Dom Juan San Diego,
    un grand Caballero.
So fond of young women
    was this grand inamorato.

And the Lady Llorona
  se dice Hermosa.
Muy Linda
  this Lady
of New Mexico.

But the Lady Llorona
was married to plan –
    Los Patrones had sanctioned
    an elderly man.

His cause, her beauty;
  hers, the duty:
a young wife
  to the Life 
of Tradition.


    iv

El Señor, 
  a fortunate man,
un hombre muy suerte.
  For he’d won the hand,
la maña encantada,
  of the lady,
La Señora Llorona.

And felicity wrought.
Good fortune it brought
A el Señor,
    for his love 
        of the Lady.

Of their children amassed,
    tres came to pass –
un hijo y double las hijas.

Y el Señor never knew
that the Lady held true
to brujeria, 
and the bruja’s mysteria.

For years upon end
good luck she would spin
for herself, for her friends, 
and her familia.


    v

And all went quite well
‘til the day that befell
el Señor, when compelled
to travel a distance for business.

Not until his return
  was it that he learned
of Dom Diego
  and Llorona’s love interest.

For both had demurred
  to love, and concurred
a las citas 
    secretas 
        amores.

La Senora Llorona
  fell for amora,
in Dom Juan San Diego, 
  el novio nuevo
de ella Senora, 
  La Llorona.


    vi

And Love has its way,
  ensares every day,
by insatiable desire
  with fire.

The demiurge at play,
  here he had his sway
on two bodies;
  the souls he acquired.

Though choice is a way,
  but only one way,
responsible action requires
  to ward off desires
the demiurge transpires –
  Beware! 
  of the demiurge 
  at play.

Dom Juan San Diego
  embodied the fuego
La Señor Llorona
  fell into.

And the Fire still burned,
  long after one spurned,
when Dom Diego abandoned
  and run.

All the damage done spent,
  her flame did relent;
and off, then,
  to El Paso
he went.


    vii

Cold Air returns
  o’er that which it burns;
but the spark that remains
  o’er all which has changed,
reminds all the same
  and retains.

Bereft and besotten
  she felt over-wroughten
by the light that enlivened,
  now gone! 
but still unforgotten.

And the Burden got darker;
  heavier, starker.
The weight of self-sorrow
  was wasting away
all Resolve to Recover.

    O!    Piteous Lover!

The Torment grew Stronger,
  until one autumn day.

And Then!
  by Despair,
All end to Welfare –

A Modern Medea, maternal filicide!

Henceforth, from here
  evermore vilified.


viii

Thus, then, my son,
  and as well, everyone,
is the tale of Señora Llorona.

Neither Heaven nor Hell
  may Llorona in dwell;

but condemned to roam
  the Rio Grande.

La Llorona must search
  for the young lives there Lost;

and forever, evermore,
  Be Damned!

© Marvin Loyd Welborn, 2013

Rio Grande River and Bosque near Albuquerque, New Mexico
Photo from Wikimedia Commons