Prompt: Write a poem from the perspective of one of your childhood toys.
Note from the series editor, Katie Dozier: “The twirling between the doll and the speaker in Nancy’s poem invites us to get lost in the ruffles of regret. At once exploring our need to cherish and to be cherished, as well as to love and to be loved, the honesty in this poem unboxes a trove of emotion.”
Herb Kitson & Ray-J Nelson: “We have been working on projects together for a long time and enjoyed working on poetry collaboration for Rattle. Ray-J (age 13) is the content/ideas man, and I’m the form-style-structure man. To borrow from Robert A. Pirsig, Ray-J is the Romantic mode of understanding; I’m the Classical mode. He either wrote down or told me what he wanted to convey, and I assisted him in putting the material in ‘poetic’ form. We had lots of fun trying to use metaphor in each poem. Each of us contributed two metaphors. He wants to be a great writer someday; I’m pushing him toward medicine because we poets are poor. Maybe he’ll be another William Carlos Williams.”
George Bilgere: “When I was eight years old my parents got divorced. My mother packed her three kids into an old Chevy station wagon and drove us from St. Louis to Riverside, California, looking for a fresh start. She had visited there when she was an Army nurse stationed in LA during the war and fell in love with the place. That cross-country car trip, full of cheap diners, cheap hotels, and desperation, changed my life. I fell in love with the vastness and beauty, the glamor and tawdriness, of America. I’ve travelled all over the country since then, on that ancient and deeply American quest, the search for home.” (web)
Mariko Kitakubo & Deborah P. Kolodji: “We started writing ‘tan-ku’ sequences and sets during the pandemic when neither of us could travel. Mariko is a tanka poet and I am a haiku poet. We started having poetic conversations via Facebook Messenger where Mariko would write a tanka and I would respond with a haiku and vice versa, often at odd hours due to the time zone differences between Tokyo and Los Angeles. Some of these poems are only two verses, but others are six, and sometimes more. We were born the same year and have common experiences, but also cultural differences which has been a learning experience for both of us. We have found that sometimes our poems take unexpected turns.”
Ryan McCarty: “I’ve been so struck by all the people I hear talking about their plans to watch the solar eclipse. Everyone is traveling, planning, convening. Thirty-one million people are supposed to be traveling to get somewhere within range. I love cosmic phenomena, but I love the way people obsess about them even more. I find myself wondering exactly what they hope to see—what they imagine—and if there’s any chance that one of these hyped-up celestial flickers might just one day change everything while we’re all standing around staring, together. Add in the almost apocalyptic warnings that accompany these kinds of events – communications breakdowns, gas shortages, traffic pileups, snack shortages—and I can’t stop imagining. That’s where this poem started.”
“Hart Crane in the Islands” by Anthony SeidmanPosted by Rattle
Anthony Seidman
HART CRANE IN THE ISLANDS
He kept a rum bottle on the mahogany desk. All day, the rhythm, like calibrated pistons pumping, as the Victrola blasted Ravel’s Bolero, while the white curtains rippled from the window facing a plantain grove. In his reveries, the salt of a sailor still stung his lips, as his tongue licked for that taste, the dark phallus in a rocking hammock, tears, and teeth; while composing, the rigging of metaphors pulled palms and flotillas, the parlors of Ohio, and the smoke and lachrymae of the Americas into his blue estuary.
Mornings spent on the sun dazzled shore. Late afternoons peeling mangos in an esplanade beneath the green shade of trees; and then, slowly, the colors of the aquatic dusk. There was a lover, a cane-cutter tart with liquor and sweat, and bonfires on the sands. At night, he would correct sheaves containing Voyages and The Bridge, then sleep like a Faust cleansed of all knowledge-lust, shadows of birds passing across his face with the softness a boy feels as he sobs against his mother’s apron. And for the first time his body felt as if it was weightless, as the sea opened her dark drapes, revealing her bones.
Anthony Seidman: “Often I come home after teaching middle school Spanish, & revise my poems. I visit Jean Toomer in the South where tawny women burn in his sleep; or Byron, bloated & hung-over, witnessing beheadings & the heat of carnivals in Italy. Not blind to my own purlieus, I also emulate Ruscha & Andreas Gursky, and write about the Valley: mini-malls, gas stations, and the natural history of parking lots.”
Julie Kane & Erica Reid: “We messaged back and forth over the course of three days as the villanelle grew a few lines at a time. One of us wrote the first 2 lines, tercet 3, tercet 5, and the second line of the quatrain. The other one wrote the third line, tercet 2, tercet 4, and the first line of the quatrain. That gave us one refrain line each; or, as Theodore de Banville put it, the gold thread and the silver thread of the villanelle. We both find collaboration joyful, as it restores the element of play to poetry when we start to get too serious about it.”