December 30, 2017

Karla Huston

SEEKER

First it’s the centipede I kill downstairs
and then it’s the one who runs of into the dark
while I decide a piece of toilet paper
isn’t big enough to crush him.
Next I notice my dog has
scratched cracks in the carpet looking for a
place to pee and those black smudges, mosquitoes
squashed on the wall and
then I smell them. Rotten potatoes.
I find them trapped in plastic, bleeding
white and acrid, sopping up the bag
that holds them, dripping on the floor.
As I carry the remains to the compost heap,
the contents seep onto my hands,
and I wonder what could stink worse
than rotting potatoes—maybe
paper mill sludge, hot manure, unbathed
old women, crematoriums smoldering
with bodies, the hopper of a garbage truck.
read a book once about a man who compacts
trash for a living, most of the life spent
in a bunker where rubbish rains all day,
where he compresses a tempest of waste
into tense bundles. One day he crushes a load
of meat wrappings—pink butcher’s paper
peppered with scraps and flies—their cobalt
bellies fidgeting in the waste and as the jaws
of the hydraulic press close, the flies hang on, stuck
dumb to the blood, smeared forever
in a bale of wreckage. A frenzy of flies
clings to the potatoes in my compost,
so alive now they quiver in the sun
embroider the scene with metallic singing
and those eyes watching me.

from Rattle #16, Winter 2001
Tribute to Boomer Girls

__________

Karla Huston: “Reading poetry is like a walk in a prairie: Black-eyed Susans bobble in a sea of green, Queen Anne’s Lace doilies float above the leather tongues of burdock. There is a surprise in every turn of word, and in every phrase and line, something new grows.” (web)

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May 16, 2017

K.F. Hastings

FIFTIES SAN FRANCISCO: A CHILD’S TOUR

Walk to the Palace all twisty turny, down this way and that,
dance like the bloomers hanging overhead, steaming sour dough in hand,
squeeze through the hole in the fence, gather decaying angel heads to breast,
feed the fattened pigeons, the angry-eyed swan moving like a big question
over the crumbling dome’s reflection,

walk on rail lines, step gravel step, sucking in eau d’ creosote and briney bay,
cross the daisy freckled green and lose your red buckled shoes,
pad down slippery stone steps to toe numbing water,
nab one starfish, two, dazzling among the barnacles,
side-stepping crabacles,

stuff one in each pocket and amble home,
lay them out in the desert darkness of your under-bed constellation
and when the accuser comes in, nose a’whiffing, saying
you’ve been off the block again, stare up
all platter-eyed and sinless,

and like wavelets slapping oompa time,
like low clouds kissing whatever they find—even
inmates in their island yard—
whisper
Honest, Mama, no.

from Rattle #16, Winter 2001
Tribute to Boomer Girls

__________

K.F. Hastings: “I was raised by San Francisco, rather than in it. I am intrigued by the ways imagination informs place, and how place affects imagination.”

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March 16, 2017

Lou Green

AFTER STUDYING MATISSE’S PIANIST AND CHECKER PLAYERS AT MIDNIGHT

A distinct hum emerges from the line drawn, from
the simple gesture of paint. Here, for example, where
Matisse once laid the woman’s fingertip on an ivory key,

and the resonant shadow on the table shed by a bowl
full of pears. It is the same for Picasso’s line drawing
of Apollinaire, his friend’s forearm to drape affectionately

over a chair in the afternoon. Through the night
the hum to press itself against sleep. Peeling, slicing
a kiwi wafer-thin the next morning you experience

a brightness, innocent and in wedges, at the fruit’s
center, the compelling darkness of the seeds that push
forward into the green. Then a slight tightening in the chest,

a dizziness, when all along you thought you were
handling the news that arrived five days before, news
of the death of a long-time friend. A friend your own age

from the home place. That kind of news to register
in the body as well as the soul, so that you walk out
to the studio, draw more lines to leap and connect.

from Rattle #16, Winter 2001
Tribute to Boomer Girls

__________

Lou Green: “The Human condition is such that art is as essential to it as bread is. Beauty—whether in the form of language, sculpture, image, or musical composition, begins in the read world made of lovers, clay roads, and skyscrapers. Through these artful forms the thrill of discovery expands the scale of time and space. I read, observe, and write, and in the process understand that life, with all its up and downs, is eternally discursive.”

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January 10, 2017

Susan Firer

BIRDS

I found the blue jay on the driveway
under the pink drunk Czechoslovakian-
grandma-planted peonies which were
under the restrained Scotch pine.
The bird’s nape was wide open.
You could kaleidoscope-look
into its neck and see rubber bands
leading to its complex brain.
You could see everywhere
it had ever flown: chaparral, scrub-oak
woodlands, coniferous & oak forests. There
were nuts, & insects, & seeds, & amphibians,
& even a piece or two of snake.
There was a cache of foil-bright objects, &
sounds: zreeks & shook, shook, shook & all
the colors of sex and death. I bent to it,
picked it up and brought it to my heart
like the strange forest pioneer women who took
abandoned bear cubs to their bare breasts
and rock-nursed them in front
of cabin fires until the cubs could live
on their own. I have not often since
had such patience. But then with that
found jay I stroked its wingbars & flight
feathers; I memorized its eye-rings, & crown,
wing coverts, & eye-stripes. And with weeks
and water, food, and breath
I brought it back to flight. For that
short summer I loved it more than myself,
enough to let it go. For months it would not.
Every time I went outside, it flew streetlight
straight to my head or shoulder
where it easy perched. There are photos
of me teenaged giving it milk-blue
bowls of water and photos of me bikini sun-
bathing, the blue jay on my then-
tan, flat belly, the jay feeling deceivingly
light as the first intimate gift-flesh touch
of love, as the children who swell and fall
from our love-soaked bodies, deceiving
as the hollow-boned, song-filled birds
that daily blue-grass drop dream feather
trails throughout our skin-heavy days.

from Rattle #16, Winter 2001
Tribute to Boomer Girls

__________

Susan Firer lives, writes, and works within ear’s distance of the western shore of Lake Michigan. (link)

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December 27, 2016

Susan Elbe

REELING IN A SKATE ON KACHEMAK BAY, ALASKA

We drop bait and jig down eighteen fathoms,
trolling bottom for the halibut they say
are white and big as jib sails full of wind.

We drift this way all morning and I watch the men
pull up 30-pounders and sometimes
scaly Irish Lords, lustered as fool’s gold.

Drugged by the surprising warmth of this
ellipsed and argent Arctic light, I am amazed
when my line drags taut and in my hands

the heavy rod dips like a heron bends to drink.
I reel and reel, pulling up my own weight,
heavy as wet canvas. The men say to go slowly,

it will roll in fear and dive from foreign sun—
this fish has never seen the light. But who knows
what I’ve snagged from sodden sleep,

what blunt-eyed creature I haul out of darkness,
a ghostly harbinger that wavers toward me
like an insubstantial scrap of paper,

becoming larger as it nears. Too tired to resist
the last few feet it seems to help,
ascending easily, entranced by this bright world.

from Rattle #16, Winter 2001
Tribute to Boomer Girls

__________

Susan Elbe: “For me, writing poems has always been as much a spiritual practice as it has been a source of great pleasure. In answer the the question, ‘Where is the soul?’ Gary Zukav replied that the real question is, ‘Where isn’t the soul?’ Writing poems is for me the process of discovering and articulating the soul in all its wonderful shapes. It is the process that nurtures, sustains, and teaches me.” (link)

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November 17, 2016

Caron Andregg

THE THURSDAY NIGHT TRAP CLUB

We’re skeet shooting
the potter’s seconds.
The catapult slings
warped plates, cracked
vases in erratic arcs
across the dry creek canyon.

Each Thursday evening
we obliterate
the week’s mistakes.
When the pellet-spread connects,
explodes a shrapnel star
it’s an absolution.

Lucinda’s been casting
reproductions of Egyptian
bowls with tiny feet.
One seems near perfect,
but when I set it
on the trap-box edge
it lists, daylight gleaming
beneath the toes of one foot.

When wet and forming
it must have rested
on a warp, something
not quite level in the firing.

It seems somehow unfair
this small, lame thing
wound up in the slag-box
destined for buckshot
just because it totters.

And it strikes me
how much easier it is
to love a flawed object—
the supplicant’s posture
like a pair of cupped hands,
the sloped bowl tilted in offering,
its little feet of clay.

from Rattle #16, Winter 2001

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