July 31st, 2008
FABLE TELLING HOW NIGHT
INVENTED HERSELF OUT OF SOUNDnights I was afraid of the moon
or spiders or the janitor
who was always whistling
I’d cross the long hall
like a river, like Jordan
in the song, toward the bed
where my parents slept. I’d stand
by my mother’s head for seconds
though it seemed my whole life,
perched at the hem of their
paired breathing, the light
from the double windows,
moonlight woven through the oak,
laced across them and the porch roof
we were to climb out on and down
in case of fire (one of my mother’s fears,
not mine), and she would wake
and say Martha, what is it? and I
would whisper I’m scared though
I wasn’t anymore, in that room
with the platform bed and the breathing
and I would climb in between them,
their cotton pajamas hushing
across the sheets. the air
from their mouths was the air
in dreams, cloud-like and solid
as spun candy. the dark
of their room was the dark
of the moon when it is there
but hidden, the shadow
of our planet draped across it
like a shroud or the caul
a mother lifts to watch
her first daughter’s pink mouth
release its originating scream.
–from Rattle #28, Winter 2007
July 30th, 2008
Teddy Macker
SYCAMORE CANYON
for Vaughn MontgomeryThe dead doe on the Pacific Coast Highway
was lying on her left side. She was almost
the same color as the dirt around her.
Whenever a car passed—it was Sunday
and people were driving the coast—
the fur on her neck would rise in the wind.
Her eyes were dry and cracked; they looked
like the skin of baked apples. They did not shine.
Her left hind leg was so broken it looked absurd.
A car must’ve hit. The doe defecated.
Windblown pebbles stuck to the shit.The hooves were dusty and large. They did not seem
like the hooves of something dead.
When I reached down and picked up a front leg
I could feel the clarity of her old running.
She made me nervous. I was afraid she would stand up
and come alive. How many cars will pass tonight,
I wondered, and make the fur on her neck rise?
It saddened me no one would be there
to document every time this happened,
that no one would say, There, look.
The fur on her neck, it’s rising in the wind.
–from Rattle #28, Winter 2007
July 29th, 2008
Diane Lockward
LOVE SONG WITH PLUMI take what he offers, a plum,
round and plump,
deeper than amethyst purple.
I lift the fruit from his palm.
Like Little Jack Horner, I want it in a pie,
my thumb stuck in to pluck
out that plum.
I wanted it baked in a pudding,
served post-prandial,
drenched in something potable,
and set on fire, to sit across from him and say, Pass
the pudding, please.
Spread on our morning toast, dollops of plum preserves,
and when we grow old, a bowl of prunes,
which, after all, are nothing more than withered plums.
But today the air is scented with plumeria,
and at this particular fruit stand, I’m plumb
loco in love with the plumiest
man. Festooned with peacock plumes
and swaddled in the plumage
of my happiness, I want to stand at the perimeter
of this plum-luscious
earth, sink a plumb
line for balance, then plummet
like a bird on fire, placate
all my desires, my implacable
hunger for the ripeness of my sweetheart’s plum.
–from Rattle #28, Winter 2007
July 28th, 2008
Link • Awards, Poems • 1 Comment
Alison Townsend
SPIN
I don’t remember if the bottle was a Coke or a Fresca,
just that the glass was cool against our hands
in the warm, empty tool shed. Where we’d gathered
after swimming all afternoon at Debbie Worthman’s
eighth grade pool party, everyone’s skin damp
and blue in the shadows, the boys’ chests bare,
the other girls wearing cute, peek-a-boo cover-ups
that matched their demure suits. And me with a frayedblue shirt of my father’s, its tails tied fetchingly
around my first bikini, a homemade job I’d stitched
up in pink and red paisley from a Simplicity pattern,
the bottom half barely on because I’d run out of elastic.
I don’t know what Debbie’s parents thought when we slipped
away, leaving the pool. Or whose idea it was as we trudged
up the hill between her father’s prize-winning roses,their scent filling the air like primitive attar,
their metal name tags chinking in the breeze. That seemed
to have come up from nowhere, pushing at us with invisible
hands as we locked ourselves inside the half dark
that smelled of wood chips and compost, our eyes dilating
like cats’, faces suddenly pale beneath Coppertone tans.
I wasn’t sure why I’d been invited to this party
or why I’d come, except that he was here, the boy
who’d pushed me into the pool more times than any other girl,and who, when the guys “rated” the girls during a lull
in Mr. Tallerico’s “Classical Music Experience,”
had given me a “9,” Beethoven’s booming, making me feel
almost good enough, almost deserving of his attention.
Which, when it fell on me, when our eyes caught
and locked, threw out a tensile, silk line that hooked
my breath and heart as easily as he made jump-shots at games,
the ball teetering on the orange rim—then bingo, in.While the sweaty mascot pranced in the moth-eaten tiger
suit, and cheerleaders scissored their perfect legs,
and I’d held my breath, hoping he’d look my way, his hand
dribbling the ball as if he was touching my body.
All that, pressurized and pushed down inside as someone
twirled the bottle and it spun, blurring as we held
our breath like fourteen-year-old yogis and (thank God)
it pointed at someone else. From whom I had to look awayas their lips met, my stepmother’s injunctions—Don’t
stare; cross your legs at the ankles—loud in my head.
Though I would have liked pointers, one dry, chaste peck
the year before from Bruce Colley all I had to go on.
But I gazed down until the bottle whirled toward me,
its opening like the little “oh” of surprise that undid
a slipknot inside my body, something not quite desire,
but what I’d soon call anticipation, singing alongwith Carley Simon’s song, a fist in my solar plexus
opening and closing like a Luna moth’s wings.
As he moved across the circle and tilted my face up,
his palm cupped beneath the curve of my cheek,
then fastened his silky, Doublemint-scented mouth
over mine, everything in the room disappearing
in the plush wriggle of his tongue, the slight
thrust of his cock stirring beneath cut-off jeans.And my tongue moving back. As if I had been born
knowing this, as if we were back in the pool,
his hand water on my skin, the rest of the kids gone,
the inside of my eyelids spangled with paisley swirls.
As I leaned further and further into this kiss that would
sustain me all summer, practicing for the next one
with my pillow or the fleshy part of my palm, enlisting
for life to the lure of the male’s hard, angular body,the taste of mint everywhere like clean, green rain.
July 27th, 2008
Review by Marcus Smith
IF NO MOON
by Moira Linehan
Southern Illinois University Press
Crab Orchard Series
1915 University Press Drive
SIUC Mail Code 6806
Carbondale, IL 62902-6806
ISBN: 0-8093-2761-9
2007, 80pp., paper, $14.95
www.siu.edu/~siupress
Moira Linehan begins her debut collection, If No Moon, with a telling passage from Seamus Heaney’s “To a Dutch Potter in Ireland”:
To have lived it through and now be free to give
Utterance, body and soul–to wake and know
Every time that it’s gone and gone for good, the thing
That nearly broke you–
We sense before the first poem the book’s general trajectory and outcome–the poet will survive and transcend something painful. This is like knowing the plot of a play and watching it for the how not the what of its stagecraft. The what here–Linehan’s husband’s gradual death from cancer–we quickly learn, and as for the how, the poems keep mostly to a plain, sober course of grief and mourning. Along the way one can respect the depth of feeling presented, but frequently miss mystery, a feeling that often elevates competent poetry to excellent poetry.
This is not to say that Linehan isn’t very capable of raising her level above the literal and descriptive. Somewhat deceptive, in fact, in terms of the whole book, is the long opening poem “Quarry,” which does establish a tone of the unsayable that poetry has always depended upon for emotional depth. For instance, in this observed narrative about a body missing at the bottom of a quarry reservoir, the quarry serves as a symbol of personal uncertainty. While the speaker wants to “see this story/settled,” she knows that her own current history is deeply confused:
