Happy Poetry Month, workshoppers:
We had a great workshop last Tuesday. The truth was delivered by the poets and then the truth was delivered by the workshop. So much truth.
My poem, “A Mortician’s Stitch” touched on a daughter telling a father’s story then retold by the speaker of the poem, about the life of a guy who was in near constant motion, whose daughter caught his momentum and the speaker who saw it in her. It was a blank verse poem which means unrhymed iambic pentameter, and I must say that the form is fluid enough to capture discourse without unnatural compression, but the constraint of the iambic line, and the pentameter line in particular, provides just enough back-pressure on the writing process to measure out the poem’s progress in lines of consistent density and tone; the cadence is satisfying to the ear. I recommend it.
Shane Wagner’s “For a Lifetime” was a prose piece – JJT called it a short story – about life in the neighborhood with children who face developmental challenges. That “know-a-little, not-a-lot” feeling that comes from living down the block is well captured, with the children as advance guards or avatars of friendship when they meet at the door for trick or treat on Halloween. The details all ring true, and the line that rang the truest for me was the one that described the excitement of the girl who gave the juice boxes on Halloween when the speaker’s son arrived in his wheelchair: “The girl filling the doorway. Holding a tray of juice boxes. Shifting her weight in anticipation.” Poetry or prose, it’s details like that that ground a piece.
Don Zirilli brought “Labyrinth” a poem hearkening back to the story of Orpheus, the Minotaur and Daedelus, but told, according to Don, from the perspective of the labyrinth itself: “Every night, no matter how diligently I was debased,/ I walked backward into myself again.”
Ana Doina brought a poem called “Bilingualism, a legacy.” The poem sets up as a dialogue in which the science of bilingualism is set out in italics, such as “It’s about changing codes,” and each italicized piece of the lecture is filled with an autobiographical rejoinder to the thought in the voice of a speaker who grew up speaking Romanian, German and Hungarian, and who now has a “toddler grandson.” Everyone in the group found the final paragraph/stanza of the poem – the one that introduced the grandson — to be the most engaging, where the grandson is quoted saying he doesn’t like to say certain words in Romainian, but we feel the grandparent’s satisfaction that he “goes on listing in Romanian, all the colors he doesn’t like to say.”
Susanna Lee’s poem, “Queen of Corona” was about how the last year of evenings have gone for the speaker, reading poems and the paper, following social media, watching movies and tv game shows and eating “corn chips, cheddar and salsa.” Which is described as a kind of hell from which vaccination may provide relief if the speaker can move up on the list. We learned that the speaker had indeed moved up the list, and has now been vaccinated, but not whether her activities list or her address had changed.
John J Trause brought a poem, an ode perhaps, called “To Thoth,” the ‘thoth’ being an Egyptian deity of wisdom, writing, hieroglyphs, science, magic, art, judgment and the dead, often depicted as a man with the head of an ibis or baboon. John’s poem was hilarious. Read it.
Frank Rubino was back from vacation and back with a rewrite of his poem about men talking around a fire, “Pete & Stan’s.”
The dialogue had the offhand terribleness that one automatically associates with men, such as “Did you ever have to fuck someone, said Pete, or they’d fuck you?” But the real heat of the poem is in the speaker’s feelings of discomfort with the fireside regime and more generally, about secrets (“(I can’t give the secret that I’m bad at the stock market)/(I can’t give the secret of my true numbers)/(I can’t give the secret when I last had sex)”); and that discomfort is vindicated, oddly, when the speaker’s “wife and the ladies come by the fire,” and the speaker can confidently report on the men’s good behavior with goofy smile emoji to emphasize the relief: “No secrets dropped about them all night (goofy smile)/ They are funny and high.” In a way, the setting of the poem, with the women withdrawing to what was known in Victorian England as the ‘withdrawing room’ and the men retiring to the billiards room (which often had a fireplace) for a game of snooker. Frank is clearly our poet most comfortable with the familial tensions of midlife.
Janet Kolstein’s poem, “Golden Shovel 1” was written in the form of that name invented by Terrence Hayes, who took the words in a line of Gwendolyn Brook’s poem, and made them into end-words for a poem of his own. Janet used the words of the title of an article from the Sunday New York Times (“Music and Meditation Fuels Laura Donnelly”) to provide her with end words, and the connection between the inspiring title and the ultimate poem turns out to be the name of a friend of the speaker who recently died, Laura. What’s particularly wonderful is how Janet used the name “Laura Donnelly” from the newspaper headline and got two line endings, one for her friend “Laura” and the other a reference to a line of poetry by another Donnelly, Tim.
Come back again on Tuesday 4/20/21, and we’ll rip into a few more poems.