April 4, 2024

Michael Chitwood

SUMMER JOB

At the end of the work day
you could tell exactly how far you had gotten
and how much farther you had to go.
Of course, it was just a ditch for a pipeline
to carry the reeking slop
that a neighborhood of toilets
would put together to be drained away
but it was clean, the trench,
the slick walls the backhoe bucket cut
and the precise grade of the bottom.
My job was to sight the transit.
I gave a thumbs up or thumbs down
or the OK sign if the pitch was right
so that some future day shit would flow
just as it should, downhill,
but you knew where you stood,
what you had done in a day,
and what more there was to do
and every meaningful thing I had said
I had said without a word.

from Rattle #39, Spring 2013
Tribute to Southern Poets

__________

Michael Chitwood (North Carolina & Virginia): “Several summers I worked for my uncle’s construction company and my job, because I was under-age, was to read the grade transit. It was solitary work, standing behind the tripod. It’s like writing poetry now, huge machines rear and grind all around you and you are quiet and alone.”

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April 3, 2024

A.M. Juster & Deborah Warren

ZOMBIES IN PARADISE

with a title donated by Dana Gioia

Today they’re recruiting for the Corps of the Undead;
in fetid cubicles they anticipate more dead.
 
The Wagner Group has left, so they hit the Taco Bells.
Salmonella casualties lead to eight more dead.
 
They prowl the pics on TikTok, Twitter and Instagram;
black-eyed houris comb their hair as they await more dead.
 
They break into a lobbying firm, but find no souls;
new voodoo ops endeavor to liberate more dead.
 
They quit their day jobs making phony calls from “Amazon”;
mute or gurgled robocalls don’t generate more dead.
 
Dancing now to their anthem, “The Way I Feel Inside,”
they wobble—and when they tried to roller skate? More dead!
 
In the end they grow weary of the blood and havoc,
and HQ says it’s hard to accommodate more dead.
 
Dark Lord, this is a just war in paradise for you;
it takes a horror show to assimilate more dead.
 

from Rattle #83, Spring 2024
Tribute to Collaboration

__________

A.M. Juster & Deborah Warren: “Dana Gioia contributed the title to get us going. Dana envisioned a pantoum, but we decided a ghazal would be better for a first try at collaboration. Although we live fairly close to each other, Boston traffic is an issue, so we did this by phone and email.”

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April 1, 2024

Richard Gilbert & Jennifer Hambrick

DISASTER WIRELESS

broadcast from the village loudspeakers, far away, like a scratchy 1940s radio. a language for bees or aliens. the nashi in the village orchards are coming into their sweetness. half the farmers are retired or dead. long lives swallowed by the soil. 
 
there’s no war in the forest, just trees disordered in their own way, steep hills, sculpted terraces. old, old stone walls bedded in volcanic loam. the echo of chisels. weaponry would be inhuman. 
 
I tend these woods like the man before me, subtracting myself from inoshishi trails, sightlines the doves fly through. the forest breathes all the time. shifting. familiar, yet ever-distant. 
 
cicada susurrus 
an alphabet of evening 
bells
 

from Rattle #83, Spring 2024
Tribute to Collaboration

__________

Richard Gilbert & Jennifer Hambrick: “We enjoy a synergy at once powerful and playful and revel in making words dance across the page and across the thousands of miles between us. Richard lives in Japan, Jennifer lives in Ohio, and our colleagueship, friendship, and multi-dimensional poetic collaboration have unfolded entirely via email. The immediacy of email enables us to work quickly, and also gives us time to consider and research our responses before sending them. Beyond the logistics of our unique collaboration, we are quite intentional about fostering for each other a safe creative space. We give each other total freedom to play, suggest, question, and experiment, and we undergird that freedom with deep mutual affirmation. The positivity of our work together results in writing full of authentic feeling across the full range of emotions.”

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March 29, 2024

Denise Duhamel & Julie Marie Wade

GIVE-AND-TAKE GHAZAL

I would like to give more than I take 
in this world of takers. I forgive  
 
others for being snippy or falling short, 
then blame myself when I mistake  
 
tolerance for interest. It’s hard to be humored  
and still be gracious. My smile gives 
 
away my misgivings, yet frowning feels  
like I’m auditioning. Here are the outtakes  
 
of my outreach: forced laughter and awkward  
nods of the head. Give me a break, give  
 
me a hug—but don’t: it’s the era of social distance 
and curbside pick-up and take-out. Take 
  
your time, but don’t leave me waiting too long.
Come on, democracy. Give me liberty, or give 
 
me a free lunch with sushi rolls, sashimi,
and seaweed salad. Take my advice—take 
 
a breather (when was your last deep breath?),
then exhale as slow as you can. Give in, give 
 
out or away but not up. Never up. Enduring is
giving it your all, taking your time to take.
 

from Rattle #83, Spring 2024
Tribute to Collaboration

__________

Denise Duhamel & Julie Marie Wade: “We have been collaborating on poetry and prose for several years. For this ghazal, we picked an end-word ahead of time (as well as a subject, though sometimes the subjects are open-ended) and then we began, alternating couplets and sending those lines by email to one another.”

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March 27, 2024

Denise Duhamel & Maureen Seaton

SHORTHAND 6-PAK RONDELET

TL;DR
 
Too long; didn’t read
Didn’t want to miss Stranger Things
Too long; didn’t read
Watched Batman on YouTube instead
Of reading about men with wings
Or women having flings with kings
Too long; didn’t read
 
 
 
STFU
 
Shut the fuck up
Can’t you see I’m taking a nap?
Shut the fuck up
I’m dreaming of a hot hookup 
I made through my X-rated app 
I’m awake now in her jockstrap
Shut the fuck up
 
 
 
FWIW
 
For what it’s worth
I can’t make up an alibi
For what it’s worth
There’s nothing on this big old earth
Makes me weep worse and wonder why
I microwaved a butterfly
(For what it’s worth)
 
 
 
IMHO  
 
In my humble opinion
Joaquin Phoenix is a dreamboat
In my humble opinion
he became vegan—vermilion  
blood from a hook, a fish’s throat
that day dad took him on a boat 
That’s my humble opinion
 
 
 
TBH
 
To be honest
I prefer my GRNS FRSH, my STK
(To be honest)
BBQ or BRSD or BNLESS
Nothing tastes BTR than a GR8
Big SAL with a SD of BF
To be honest
 
 
 
WDYT
 
What do you think?
Is the planet going to shit?
What do you think?
I say we’re standing on the brink—
but is our disaster moonlit
so sweetly we keep missing it?
What do you think?
 

from Rattle #83, Spring 2024
Tribute to Collaboration

__________

Denise Duhamel: “We had several memorial readings for Maureen, and my joke is that we had an open relationship and we weren’t monogamous. If you were there and ready to write, and you were a sweet soul, Maureen would write with you. She loved collaboration so much, and often collaborated with her students. Neil de la Flor and Kristine Snodgrass and Maureen were one set of collaborators (a triad), and then she had a foursome collaboration group with Carolina Hospital, Nicole Hospital-Medina, and Holly Iglesias. She also collaborated extensively with Sam Ace. Both Aaron Smith and I completed whole collaborative manuscripts with her while she was ill. She had all these different collaborations going on even through her illness and treatment.”

Maureen Seaton (October 20, 1947 – August 26, 2023) authored fifteen solo books of poetry, co-authored an additional thirteen, and wrote one memoir, Sex Talks to Girls, which won the 2009 Lambda Literary Award for Lesbian Memoir/Biography. She frequently collaborated with many poets, including Denise Duhamel, Samuel Ace, Neil de la Flor, David Trinidad, Kristine Snodgrass, cin salach, Niki Nolin, and Mia Leonin.

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March 25, 2024

Gail Dawson & Richard Garcia

TABLETOP PANTOUM

The calendar is on the table
next to the three-hole punch.
The coffee is cold in the cup.
There is a jar holding pens.
 
Next to the three-hole punch
two Aztec jars are sitting.
There is a jar holding pens.
A woman is writing on a computer.
 
Two Aztec jars are sitting—
did the jars once hold ashes?
A woman is writing on a computer,
searching for something lost.
 
Did the jar hold ashes?
One jar with a coupon sticking out.
Searching for something lost,
a woman turns her gaze inward. 
 
One jar with a coupon sticking out.
There is a magnifying glass on the table.
A woman turns her gaze inwards. 
She sees a maelstrom of blank pages.
 
There is a magnifying glass on the table.
A little girl is at the computer.
She sees a maelstrom of blank pages.
She needs her mother’s help.
 
A little girl is sitting at the computer.
The table is her life raft.
She sees a maelstrom of blank pages.
There is a calendar on the table.
 

from Rattle #83, Spring 2024
Tribute to Collaboration

__________

Gail Dawson & Richard Garcia: “We wrote this poem based on the objects on the table right in front of us. Richard wrote the first stanza and Gail wrote the next stanza. We proceeded writing alternate stanzas until we felt it was finished. We were surprised how a poem could be written just using the objects right in front of us.”

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March 22, 2024

Brendan Constantine & Andi Myles

WHY AM I / BECAUSE YOU ARE

ACT I
Questions by Andi Myles / Answers by Brendan Constantine
 
Why do birds love blackberries?
Because I never make decisions at night.
 
Why does the color green make me happy?
Because fire can be kept on a shelf and forgotten.
 
Why is the ladybug always alone?
Because no one is more beautiful than when you tell them they are.
 
Why are you sad?
Because my mother still carries me.
 
Why does fire entrance?
Because of a Sunday in 1975 when no one could find the sky.
 
 
ACT II
Questions by Brendan Constantine / Answers by Andi Myles
 
Why are there so many falls?
Because horses always know their way home.
 
Why can’t I see the castle?
Because it is impossible to see both sides of the moon.
 
Why do the dead talk all night?
Because the endling is on the precipice of death.
 
Why is a snake always needed?
Because I have a weakness for women named Maria.
 
Why are the stars still waiting?
Because even gods die without love.
 

from Rattle #83, Spring 2024
Tribute to Collaboration

__________

Brendan Constantine & Andi Myles: “We both wrote our five questions/answers on our own before seeing the other’s and texted them to each other. First, Andi provided the questions and Brenden supplied the answers and then we switched roles. This was not edited to be anything more than it was—an exercise, a reaching out across thousands of miles sharing the answers without questions that plague us. It might seem like we cheated (the recurrence of fire in Act I? The dead and the endling? Stars and gods?) but we were equally surprised and delighted at the themes that emerged.” (web)

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