January 3, 2010

Howard Price

CROW-MAGNON

Everybody’s dying this week,
and for no good reason, that is, no money in it,
and suddenly second opinions are like men wearing
tiaras and women at the gym 4 days a week building huge
arms so they can both look better in a dress. For sure,
third and fourth opinions at a minimum now, since it occurs
to us that the real money’s not in dying but living, and doing
whatever, to hide the forty years of duct tape that holds
us together, is not such an unreasonable ploy. The new plan is to
benefit the whole time we’re alive, make out like undertakers,
even as we prolong the agony of playing second banana
to our bodies, as if playing second fiddle is too respectable,
as if the timbered glow of maple, spruce and willow
played by horsehair on sheep guts, is. It’s impossible to stop
people from watching a crow and its chosen profession
of turning a wrapper over and over in the street for an hour
until it’s found whatever isn’t inside wasn’t worth the effort.
Crows live in neither one of two moments of contemplation.
The transparent thoughts of their starless lifetimes
have yet to cross the endless reach of their one contiguous mind,
and before we count every step we’ve never taken back to home,
they’ll pull each day from our thinning hair as needed,
while we watch amused, happy we’re not so stupid.
Very often one crow gets what another crow wants.
Same goes for people. God can’t tell us apart either.
Just watching the trick, the magic,
the reveal of how many ways the same thing
may be done to great or little effect, we, who are
so easily drawn to any mindless exhibition, end up
postponing strategies that could cure or move the world.
After a while, if we’ve lost our way and have deferred
the objective that we’d promised to commit to fully
for a crow’s age, and another crow’s age, and another
and another, we turn around and paste the blame
on the odd habits of a clever bird with fifty billion twins
that seems so happy unearthing a useless treasure
from a paper bag, and then shamefully admit
that watching its never-ending gig
is no less interesting to us, the very same,
who threw the bag on the street,
in the first place.

from Rattle #32, Winter 2009
Rattle Poetry Prize Honorable Mention

__________

Howard Price: “My wife of many years passed away and I began to write. And she will always be gone. And I will always be writing. Sometimes you go with a choice not made—one of those imperfections of life.”

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January 2, 2010

Heather Bell

LOVE

The truth about Klimt is: when he painted “The Kiss,”
he was also beating his beautiful wife. He beat her
with one hand and painted with the other. He got
two sad blisters on his right palm from this. His wife
sometimes slowly pulled up the roots to his favorite
willows and cut them, delicately, and then buried
them again. He jokes, “that’s what I get for marrying

a woman from a sanitarium!” but she was from
Vienna, they met in the street, he stopped her and
she believed his eyes said, “I do not want to die,
do not let me die,” so she touched his face, there,
in the street, as a person touches a comma on a
page after they have returned home from a place
that has no commas. On their wedding night, she

ran him a lukewarm bath and his testicles looked
like overripe plums. He raped her until a low moan
seemed to come from the walls, as if wolves were
angry and coming and Klimt went to bed forcefully
and his wife went to bed with dirty blood around
her nostrils and mouth. It goes on like this for years,

just as it goes on for years for everyone who marries
someone they cannot love. You step, body over
body, into the kitchen to kiss your sweat and rot
good morning. “Let me tell you something,” she
says on the day that he paints “The Kiss” and he
hits her in the head before she can remember the
something. She thinks it might have been important.
It might have been something. When he shows

the painting to his friends, they say he must be
the most romantic man in the world and she nods.
And the man in the painting pushes the woman
down further, flows into her, gold and angry, and
her eyes are shut and they do not look clenched
and this is puzzling, but no one else seems to notice.

from Rattle #31, Summer 2009

__________

Heather Bell: “Recently, I backpacked down and back out of the Grand Canyon. The hardest part was my intense fear of heights and panic attacks when I see sheer cliffs or drop-offs. I didn’t bring a journal. I think that was the most important part—no journal. Instead, my husband and I sat in the dark in our tent, playing cards, eating granola, and talking. Sometimes I wonder where all the talking has gone in this world and then I know where it is, at the bottom of the Grand Canyon, still, where I left it. I find myself writing more now, all these things I couldn’t say before the expedition. Sometimes you just need a place to put your words when the cities get too loud and no one can hear you over everyone’s talking and screaming.”

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November 25, 2009

Rattle is proud to announce the following nominees for the 2009 Pushcart Prize:

  • Heather Bell – “Love” (#31)
  • Terrance Hayes – “Model Prison Model” (#31)
  • Lynne Knight – “To the Young Man…” (#32)
  • Howard Price – “Crow-Magnon” (#32)
  • Alison Townsend – “The Only Surviving Recording…” (#32)
  • Patricia Smith – “Motown Crown” (#32)

In addition to a chance at representing RATTLE in the anthology, each of their poems will be featured on our blog during the first week in January. For more information on the Pushcart Anthology, and the nomination process, visit www.pushcartprize.com.

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January 4, 2009

Anthony Farrington

HOW TO WRITE AN EROTIC LETTER

You must empty yourself first. Erase
everything you’ve written. If you’re naked,
revise all your clothes back on. Anyway,
they’re all you have. What matters
is the taking them off. Begin with a title
“Concerning insatiable carnal urges.”
Attach a handwritten note that says,
Keep your hair down and If you come here,
I’ll tell you something awful about someone perfect. Scathing
and lovely to hear. Remember,

each time, each letter is an entire love affair, say
‘A’ is for almost. ‘B’
is the emptiness that follows. The letter ‘O’
is what the body believes.

If she writes in a letter,
Sometimes our bodies are too much for us,
quote her. How she turns you on
turns her on. You can
quote me on that.

I am remembering the sweep of your hair, the light
on your breasts, your beautiful eyes expanding;
I am remembering the slickness inside you—
how wet, how deliciously warm. I think
of your uncontrollable breath; I think
of your nipples kissing my chest; I think
of your mouth on my neck and the sweet taste
of your tongue in my mouth.

Set aside nothing for later. Call this,
I was kissing and sucking and wanting so badly
to fuck you silly, silly. And erase it. But enjoy it first.

Feel free to write a pretend letter to her father.
Quote from it: “Dear her father, Sir, we are sorry to inform you, sir,
of the mysterious demise of your daughter. It seems she was somehow—
sorry to say this indelicately—fucked to death…obviously
a scandalous affair. Ropes and long-necked bottles and,
oh, we mustn’t go on. A man was dead too, sir—exhaustion it seems
or dementia. With sincere regrets,
I am yours.”

If she uses the word fuck in her letters
you use the word fuck
but at the end of the letter only. This
is not prudery, it is teasing
and she will appreciate it.

I want my face in your hair,
your perfume in my breath,
my finger tips softly
touching the sides of your ribs, your waist,
your thighs, your breast, your face—what is important here,
in this letter, your hand must touch her, in this letter,
so she wants, over and over, what is not there.

If you’re foolish enough to write Oh God prematurely,
you deserve what you don’t get. As a cautionary measure,
delete all references to god: Jesus it feels so good and Holy shit.
Consider keeping: God, you are so slick; so goddamn delicious.
But you’ve already used slick once. Now three times. There is nothing wrong
with I want to hear your voice coming and coming
but admit, it’s a one-shot phrase.

Damp cotton will open caves in your mind.
Promise her: I need you
electric in my mouth. Write: Concerning the art of seduction
and leave it at that. Tease her: Truth or dare? End
before you’ve said everything. Realize

everything you are, in this letter, precedes you—
which is the loneliness of writing. What you want
is never now. That’s the essence of desire. What she reads is always past;

that’s despair. Think about how—
if she could—she would swallow the world
(pillow and all) take it all inside—
all of you—so it could come shattering out
again. But don’t fool yourself,

this letter needs to be filled with sorrow. Write:
Sometimes I wish I could be in your body
so I could feel what you feel. Sometimes,
I wish you could be in my body—your own name amazingly
on the tip of your new tongue, the smell of you
(I mean me) in your fresh mind,
seeing your old body arch away from your new body,
hearing seeing feeling what was once you
hold her breath; hearing her becoming, coming

apart all around you. And then your own foreign release
beyond your whole body. The cracking—
it feels so open—this desire, almost to weep. Then
weep. In the space of a letter you once were.

from Rattle #29, Summer 2008

__________

Anthony Farrington: “I’ve a friend who says that every poem is ars poetica. This poem certainly felt like it—the conflation of writing and pleasure. I enjoyed stealing and rewriting lines from old letters, re-reading a not-so-distant past. By its very nature, a love letter is always written out of longing; it is a solitary act; it entrusts us with a kind of silence and loneliness. In this way, I think the love letter is the saddest of all letters.”

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January 3, 2009

DENISE DUHAMEL: “I wrote a series of prose poems based on the principle of the ‘Johari Window,’ a psychological model used in assessing self-actualization. The four prose poems reflect the ‘windows’ of the self: what the self freely shares with others; what the self hides from others; what others hide from the self; and what is unknown to the self and others. I used the confines of physical spaces of the blinds’ slats to determine the length of my prose poems—and my project involved ‘filling’ those spaces with words. For the ‘Johari Window,’ I constructed prose poems to ‘fit’ on four sides of two Venetian blinds. I printed the words on vellum and attached them to the slats of the blinds, each slat a line. The blinds ‘open’ and ‘close’ to reveal and withhold information.”

Click each image for a larger version:

The Johari Window 1

The Johari Window 2

The Johari Window 3

The Johari Window 4

from Rattle #29, Summer 2008
2008 Pushcart Prize Nominee

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