February 19, 2021

Joan Murray

THE BOOK PITCH

I told her the first part, just like I’m telling you now,
how it came to me out of the darkness:
the water trickling and the candles whispering 
like God was asleep with his head on my pillow. 
And after shaking me awake, how someone handed me 
my faith and a mouthful of prayers and a list of commandments,
and I stuffed them in my pockets like a scarf and matching gloves 
for whatever weather might be coming. 

And then they handed me a catechism with lots and lots 
of questions, and every question had its answer hand in hand, 
and every answer had to be learned word for word
and had to be given back, to prove that I got it,
’cause only then would I get to tell my sins
inside a dark box. Only then would I get to swallow God
and wear a white dress. Only then, would my forehead
be anointed and my face slapped.

Then I told her the second part. The part where I lost it— 
not bit by bit like when you wear a hole through your sock,
but suddenly—like when you leave your scarf on a bus 
or drop a glove off your lap when you step out of a car.
And it wasn’t because of my drinking days with my sassy friends, 
or my backseat nights with the high school boys, 
because none of that could put a crack in it, all of that 
was only noise outside the soundproof room— 

the room that was God and his voice that was 
silence, and the catechism on his lap so no unauthorized 
question could get in—unless, and he wasn’t
expecting this—unless someone threw one in when he 
wasn’t looking: a question through his window, a question 
wrapped around a stone, a question like a storm that could 
blow out all the pages of his book, while I raced 
around the room, wondering, where did I lose my scarf?
              
My question wasn’t anything profound—it was only surprising
it hadn’t occurred to me sooner, it was: How can it be someone’s time? 
I mean, how does he make it so someone will die?
I mean, if he was in the room with me, how could he be so busily
arranging to have some family driving down the highway 
and some drunk guy crossing the divide at the exact same moment,
just to make it someone’s time for the whole bunch of them?—
Unless he was a mad man. Or a lie. 

That’s when I told him he had to go. And take everything with him—
my faith and his catechism and the list of commandments—
just as if it were his time. And when I told her that,
she said, “This would make a terrific book, the kind we really
like to publish. The kind people are always looking for.
Go on,” she said. And I said, “Go on with what?” And she said,
“The third part. The part everyone wants. The part where
you find something better than God. Go on. Go on.

from Rattle #70, Winter 2020

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Joan Murray: “As I’ve always done, I write to discover what I know and feel and believe. Lately, I’ve been pushing these explorations beyond the boundaries of self-censorship. For example, I wondered if I could write an honest poem about my childhood religious faith—the subject I’ve long avoided for fear of being labeled or dismissed. I drew on an actual incident. It was a self-affirming challenge.” (web)

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May 20, 2018

Joan Murray

CHIARASCURO

Layla Ghandour, a Palestinian baby,
died during Monday’s violence in Gaza.

It seems we’ve seen this scene before:
probably a Nativity, with the infant emanating light,
though it could be a Deposition from the Cross—
Caravaggio painted a famous one, now in the Vatican—
or it could be a Pieta, say, the Avignon masterpiece,
all three scenes so similar, like three sides of
a single coin: the infant born, dying, mourned
among women in flowing robes.

Though look more closely: this time it’s a girl,
fair and green-eyed—I had one of those—
with the same sort of problem in her heart.
Even so, her family took her to the tear gas fence
in Gaza, so we can’t know exactly how she died,
or which side should be blamed the most,
or if we should mourn at all, like that poet
who refused to mourn for a child burned alive.

But once I stood among robed women
before they took her in for surgery, and, later,
beside the doctor who wept when he told me,
so I know a child’s death has no “majesty”—
no matter how brilliant the verbalization, or the
photographic vision, or the painterly depiction,
or the political exploitation, or the lies of
religion—it’s an unadorned human tragedy.

Yet that same day, across the fence, the president’s
daughter, in a champagne dress, rejoiced at our
one-sided embassy. Her husband at her side
was wearing a red tie. While Layla’s mother,
all in black, wrapped her in white cloth
and sobbed all the way to her grave,
where the men shooed her away,
telling her it was God’s will.

from Poets Respond
May 20, 2018

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Joan Murray: “When I saw the photos of Layla Ghandour, the dead Palestinian infant, cradled by her mother and other female relatives, I was reminded of the iconic images of Christian art, with the woman mourners wearing robes. And when I read about the Israelis and Palestinians arguing about how much the infant’s pre-existing condition caused her death, I was reminded of my own daughter, whose death didn’t need any spin. I was nineteen then, a student of literature, and I began to question ‘truths.’ And when I saw in the same paper, the images of the president’s daughter celebrating, and Layla’s eighteen-year-old mother lamenting, this poem came to me.” (web)

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August 10, 2015

Joan Murray

OUR FIRST FIVE DAYS IN THE COUNTRY

Should we cut back the shrubs
so we can see the pond? I ask my husband.
No, he says, then the people who walk down our driveway
will see us. We’ll have no privacy when we
lie out in the yard reading Baudelaire.

Should we put up a rope to keep them out?
No, they’ll only steal the rope. These are country people—
they’re the ones who burn barns and poison wells
and drive off livestock in the middle of the night
—aren’t they already messing around with our lawn sculptures?

Should we explain to them that it’s our deeded property?
No, I have tried and tried. In the morning 
they give me their country smiles, but by evening
they’re all down here from their huge acreage
in their Cherokee Laredos to walk their dogs.

Should we dig up the driveway so there’s no place for them to walk?
No, they’ll only dump their lawn clippings where it was,
and put up signs for kittens and Republicans,
and set up rows of white plastic tag-sale tables,
and hook up an 8-seater hot tub in our basement.

Should we pray to God? I have seen trees struck by lightning—
surely he is more powerful than they are?
Go to the basement door and switch on the light—
you’ll see they’re already there, and God’s
at the top of the stairs. He’s their lifeguard.

from Rattle #48, Summer 2015
Tribute to New Yorkers

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Joan Murray: “I grew up on the Harlem River in the Highbridge section of the South Bronx—between the roars from Yankee Stadium to the east and the Polo Grounds to the west. My New York was a place of adventure (I walked alone through the dark of an abandoned subway tunnel) and for meeting interesting people (I helped shield a teen boy prostitute from the police). But my New York was also a place of anonymity, social divides, and inescapable dangers. I left New York in my thirties but still dream about it once a week: Either I’m lost there or trying to find my way back. As a poet, I thank New York for giving me a broad, detailed vision, an energetic rhythm, and deep introspection. Not surprisingly, it’s the setting of many of my poems, particularly in my first book and also my latest one.” (web)

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July 8, 2014

Joan Murray

THE WITCH’S DAUGHTER

The witch, we knew. Because she lived below 
the cliff we scrambled over. And she yelled 
ten times worse than anybody’s mother. So the witch 
was the one we took everyone to see. First, we’d 
creep along the cliff edge soundlessly, then let out 
a scream of laughter. Oh how the witch 
detested laughter. To her it was a dog ripping out 
her throat, or a knife doodling in her gut, or the fat 
Monsignor sitting down and squeezing all her air out. 
 
But the witch’s daughter never came out. The witch’s 
daughter made herself invisible with a spell. 
Yet now and then, we’d see the pair of them, 
walking together, step by step, trying hard to look normal, 
step by step, putting one foot down and then the other, 
like everyone else on Ogden Avenue, till we 
couldn’t stand it a second longer, and someone 
had to shout, Look out, it’s the witch and the witch’s daughter! 
And we’d dive between two cars and hide for our lives. 
 
But sometimes in the hallway of the school 
we’d see the witch’s daughter without her mother, 
looking like any other kid, looking almost like us 
in her brilliant disguise of an ugly blue uniform 
and even having a kid’s name like the rest of us, 
till someone had to shout, Look out, it’s the witch’s daughter! 
And then she would run. All the way home to her mother. 
Where she could be as evil as a mountain. And as cold 
as the dark. And as invisible as a star. 
 

from Rattle #42, Winter 2013

[download audio]

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Joan Murray: “I’m a narrative poet. Also a visual poet. And a rhythmic, aural, kinetic one. I like to vary my moves. And paint with a full palette. I was the kid who was always drawing. Poetry is how I draw now. I like how it extends my pleasures and dilutes my miseries. I like the way it lets me walk invisibly through other people’s houses and leave radiant messages on their walls.” (www.joanmurray.com)

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