Eric Weinstein: “Persistence of Memory”


Eric Weinstein’s poetry chapbook Vivisection won the 2010 New Michigan Press/DIAGRAM Chapbook Contest. The sample poem below is reprinted by permission from Issue 10.5 of DIAGRAM, a quirky multimedia online journal that features poetry, flash prose, and cross-genre work along with peculiar diagrams found in obscure reference books. (The current issue, for example, features a selection from a handbook with the frighteningly optimistic title Anyone Can Intubate.) Read more of Weinstein’s work here.

Persistence of Memory

You bury a light bulb in the yard
& grow a blown glass tree.

It’s all your parents talk about
for hours after you’ve gone to sleep.

By morning the branches are hung
with tungsten leaves. The neighbors

complain because it attracts lightning,
even though it glows like an echo-

cardiogram for hours after each strike.
You are asleep when your father rakes

a chainsaw across the trunk, but the sound
carries & you wake, you run out, shouting

I’ll never forgive you, not ever. Of course you do,
hours later. A persistent cough carries you

to the emergency room, or rather, your father does.
They remove a filament from your tongue,

a spun glass feather from your trachea.
There were never any birds, your mother says.

The fiberoptic bronchoscope proves
otherwise: they find a miniature light

bulb, glass sapling, copper wire nest
& remove them from your lung.

Imagine that, the doctors say, voices
carrying through the anesthesia.

Imagine that, your mother says, so you do,
or rather, you remember your tree.

It’s all the surgical team talks about
for hours while you’re asleep.

It’s all the surgical team talks about
for hours after you’ve gone home.

Kahlil Gibran on Death


Tonight, on Halloween, we will be in our old Victorian house by the graveyard, luring little children with candy so we can put them to work doing Winning Writers tech support. Maybe we’ll even watch “Rocky Horror” on Netflix, because we’re too Brad-and-Janet to go to the theater with all those icky people throwing toast.

Humor, masquerade, song — these things help us face death and even celebrate it (with fingers crossed). All Hallows’ Eve, and tomorrow’s All Saints’ Day, are times when we can throw off the stifling solemnity of grief, but opt for something a little darker and truer than sentimental consolation.

In memory of our friend, Roc Ahrensdorf, who died of cancer this summer at age 57, I’d like to share these reflections from Kahlil Gibran.

You would know the secret of death.
But how shall you find it unless you seek it in the heart of life?
The owl whose night-bound eyes are blind unto the day cannot unveil the mystery of light.
If you would indeed behold the spirit of death, open your heart wide unto the body of life.
For life and death are one, even as the river and the sea are one.

In the depth of your hopes and desires lies your silent knowledge of the beyond;
And like seeds dreaming beneath the snow your heart dreams of spring.
Trust the dreams, for in them is hidden the gate to eternity.
Your fear of death is but the trembling of the shepherd when he stands before the king whose hand is to be laid upon him in honour.
Is the shepherd not joyful beneath his trembling, that he shall wear the mark of the king?
Yet is he not more mindful of his trembling?

For what is it to die but to stand naked in the wind and to melt into the sun?
And what is it to cease breathing, but to free the breath from its restless tides, that it may rise and expand and seek God unencumbered?

Only when you drink from the river of silence shall you indeed sing.
And when you have reached the mountain top, then you shall begin to climb.
And when the earth shall claim your limbs, then shall you truly dance.

Roc working on our house, April 2008

Norbert Hirschhorn: “Lifeline in Thirty-Eight Stations”


Norbert Hirschhorn is a poet and medical doctor living in England. His poem “Lifeline in Thirty-Eight Stations” won first prize in the 2010 Poetry Kit Poetry Competition. We reprinted it this month in the Winning Writers newsletter and I enjoyed it so much that I wanted to share it here on the blog, with his permission. I grew up on New York’s Lower East Side. a historic neighborhood of Jewish immigrants, so this poem brought back a lot of memories of Manhattan’s gritty, vibrant, multiethnic life.

Lifeline in Thirty-Eight Stations

(A Metro-poem, after Jacques Jouet, Oulipo)

242nd Street 12:40 pm.   Open-air northern terminal of Mannahatta, Lenni-Lenape word, meaning “Rocky Place”. The #1 Broadway, 7th Avenue local, the good old IRT, from Van Cortland Park and the Bronx Zoo (where once a caged lion turned his back and arced his pungent piss on me) down to South Ferry.

238th Street    Train yard, resting cars, high-rise apartments nestling on Algonquin burial mounds.

231st Street    Young men in grunge eat hamburgers, french fries from paper bags. I salivate.

225th Street    Riverdale, and high school sweetie Marion Kane kissing with her mouth closed. Razor-wire loops on all rooftops.

215th Street    Spuyten Duyvil, Dutch: “Spitting Devil”, traversing the coupling of waters, Harlem to Hudson.

207th Street    White people, black people, brown, a Tibetan monk; ten-second stop but no one gets on.

200th Street    Dyckman. Fort Tryon Park on Manhattan’s bluffs where oilman John D. assembled a medieval cloister scavenged from France.

191st Street    Underground! The station a tomb, we sail through, a cortege, a ghost-ship; Charon wears a hard hat.

181st Street    Washington Heights. Rats, homeless men bunking in dark recesses between stations. Walks across George Washington Bridge, one foot in New Jersey, one foot in New York, on Shabbos.

168th Street    Memories! I went to medical school here, Columbia. I once jumped into the train track pit and almost couldn’t climb back up. Mother almost died here. Audubon Ballroom, Malcolm X assassinated.

157th Street    Memories! I grew up here. I knew every alley, backyard, basement, rooftop; every hand-hold in the rocks; every crazy pavement; boxball, curbball, stickball, “spaldeens” down the sewer.

145th Street    Like an airlock: not quite home, not quite not home.

137th Street    Music & Art High School, City College. My sister went to both, her memories—another universe.

125th Street    Daylight. Harlem. Harlem River to the left, Hudson to the right, New Jersey Palisades, visions of the old amusement park, neon lights quickening the river.
I never got off at 125th Street.

116th Street    Underneath again. Columbia, my college, the happiest unhappy time of my life.

110th Street    Cathedral of St. John the Divine, I made love in its shadow. I realize something:
no one drop-dead lovely ever rides the subway.

103rd Street    What? I’ve dozed off, lost track. Where did 103rd Street go?

96th Street    People eat, drink, read, think, sleep, emerge from cocoons only to get off.

86th Street    I’m exhausted. New York is exhausting. I can’t write so fast, the door closes like a guillotine, “No! Wait!”

79th Street    Upper West Side where fine Jews live. Zabar’s, Fairway Market, first cold-pressed extra virgin olive oil, six dollars a quart.

72nd Street    Riverside Drive starts here, the old West Side Highway, the old Viennese pastry shop where every Saturday my father met other survivors.

66th Street    A #2 express train glides past, or we’re moving backwards. I look into its windows, people in an alternate universe, perhaps I’ll see myself.

59th Street    Central Park, The Plaza (“Eloise”). Across from me, New York Post front page: “Millionaire X-dresser Chopped Up His Boyfriend’s Body. Bobby, Where’s The Head?”

50th Street    The pretty Latina looks at me. Does she know what I’m doing? I look at her. Do I know what I’m doing?

42nd Street    Cliché station, anus mundi, “Change here for the Shuttle, the A, C, D, Q, W, and R. Stand clear of the closing doors please. STAND CLEAR.” Who remembers an all-night hot dogs and knish stand? Blue balls at 3am.

34th Street    Penn Station! (“Lead us not into…”) Careless: the old one torn down while Caracalla remains. Careless: I rid myself of a wife.

28th Street    Mexican guitar trio, “buskeros”, hop on, sing a song, take money, run. Down here not sunny.

23rd Street    Nothing clever to say. Good. Shuddupaminute.

18th Street    Garment district where one summer I shlepped sample bags for a fat-ass shmatta salesman.

14th Street    Walk east to Union Square, my first pair of long pants at S. Klein-on-the-Square, and men megaphoned Communism.

Christopher Street, Sheridan Square    They called the school “NY Jew”. Greenwich Village, I heard Ted Joans at Village Vanguard recite Beat and Africa. Ted Joans, the poet, is dead. Amato free opera, my first margaritas, Ted Joans is dead. Fifty years later I read my own poems at the Cornelia Street Café.

Houston Street    Call it HOW-ston, land of Katz’s Delicatessen: “Send a salami to your boy in the AH-me”; Yonah Shimmel’s one hundred year old knisheria. Every Sunday: pastrami on rye washed down by Dr. Brown’s Cel-Ray Tonic. Tea in a glass (“Nu, vat den, in a pail?”) My father’s day off.

Canal Street    SOHO = SOuth of HOw-ston, once paddled by the Lenni-Lenape.

Franklin Street    Old warehouse district, now condominiums, John Kennedy Jr., R.I.P. TRIBECA, TRI-angle BE-low CA-nal.

Chambers Street    One stop from the World Trade Center at sealed up Cortland Street station.

Cortland Street

Rector Street    Still thinking about this inconstant world; but you know, we’re eager for change, something, like Cavafy’s Barbarians: “They were, those people, a kind of solution.”

South Ferry 1:34 pm.   Ferry to the Statue of Liberty, Emma Lazarus, “Give me your tired, your poor…” Ferry to Staten Island, once the cheapest date in New York, nickel each way. I landed here in December 1944, Jewish, refugee, age six. Only the first five cars open doors on the foreshortened platform and I’m in car seven, sealed in. But it’s okay, it’s okay, just another terminal.

Sabine Huynh: “Weaning” and “On Different Time Planes”


Sabine Huynh is a poet, novelist, linguistics scholar, and literary translator. Born in Saigon in 1972, she was raised in France and has lived in England, Israel, the US, and Canada. Her work came to my attention through Helen Bar-Lev, co-editor of the Israeli literary journal Cyclamens and Swords, where these two poems first appeared. Reprinted by permission.

Weaning

It’s in hunger
that I write best
about you, mother
when you don’t look
above my shoulder
presentable you are absent
or else you appear
your mad gaze searching
for my readiness to admire
but I was not born
to approve of you, mother.

It’s in hunger
that I remember best
how your love lacked
milk, mother
my mother so called
my property, so proper
beautifully groomed girl
who eyed my teacher after
school hoping he would think
I was your sister
or even your mother.

It’s in hunger
that you wove best
mother, I wish you were
an otter, short-legged
mustached, anything but
this sleek hysterical hyena
who couldn’t swim
only catwalked, no fish
remains for me
you relinquished mother
masked my pleas with a hood.

It’s in hunger you taught me
that less is best
how to sever
love for ever.

(published in Cyclamens and Swords, July 2008)

****

On different time planes

For a week I went to bed
knowing she’d called
forgetting she’d left
her voice in that space
between us.

“I’m calling randomly
not knowing the time difference
ignoring where you are.”

When I was ten you bought me a piano
you played it so well
while what I wanted the most
was an old bicycle
like my brothers’.

Did you know that
the dog you got yourself
dressed up and never fed
became my best friend?

Every night I brushed off
from your broken veins and split ends
burning lies, diamonds, and secrets
that tripped me off in my sleep.

(published in Cyclamens and Swords, April 2010)

Mark Hart: “Holy Communion”


Mark Hart is a Buddhist meditation teacher in Western Massachusetts. We’ll be giving a poetry reading together this February in Northampton. The poem below was first published in the Summer 2008 issue of Rock & Sling, a journal of faith and literature (sadly no longer publishing). Listen to an audio recording on the Bodhisara website.

Holy Communion

He spent one June head bowed
staring down from a timbered bridge
into still water mirroring blue.
From under the slender arching grass,
the wet, brown stone
of a muskrat’s head
arrowed grooves in that glass
and buckled a bladed sky.

Here was a quiet kingdom,
well-contained, a heaven on earth
of succulent roots and silken mud
where the brushed grass quaked
of her broad behind
and she preached her silent sermon
of simple grace, a creature in her place
gliding from bank to tufted bank.

She was his secret life
in the clutter of rooms,
the clatter of his kind,
and he knew the spot
where she entered
her cottage beneath the sod,
he knew the two that followed her
to their nest in that womb of earth.

The meek shall inherit
cool water, green fields
stroked by the breeze—
On a pew of creosote boards he sat
dangling his bare feet down
and partook of her holy communion
where air and earth come together
with a rippling flow between.

Regie O’Hare Gibson: Slam Poetry Videos


This weekend, at the Florence Poetry Festival , I had the great pleasure of hearing champion slam poet Regie O’Hare Gibson. We were both Massachusetts Cultural Council grant winners this year, and I am just honored that the panel thought I was in the same league as this guy. Enjoy these videos from his appearance at Hampshire College in 2008.

“When They Speak of Our Time”

“Greek Tragedy for the Ig’nant”

Tara Bray: “Once”


Despite an email backlog in the triple digits, I kept returning to reread this poem this week because of its delicious language, and its dissection of the human-made distinction between sublime and “ordinary” time. Reprinted by permission of American Life in Poetry, a project of the Poetry Foundation.

American Life in Poetry: Column 285

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

In our busy times, the briefest pause to express a little interest in the natural world is praiseworthy. Most of us spend our time thinking about other people, and scarcely any time thinking about other creatures. I recently co-edited an anthology of poems about birds, and we looked through lots of books and magazines, but here is a fine poem we missed, by Tara Bray, who lives in Richmond, Virginia.

Once

I climbed the roll of hay to watch the heron
in the pond. He waded a few steps out,
then back, thrusting his beak under water,
pulling it up empty, but only once.
Later I walked the roads for miles, certain
he’d be there when I returned. How is it for him,
day after day, his brittle legs rising
from warm green scum, his graceful neck curled,
damp in the bright heat? It’s a dull world.
Every day, the same roads, the sky,
the dust, the barn caving into itself,
the tin roof twisted and scattered in the yard.
Again, the bank covered with oxeye daisy
that turns to spiderwort, to chicory,
and at last to goldenrod. Each year, the birds—
thick in the air and darting in wild numbers—
grow quiet, the grasses thin, the light leaves
earlier each day. The heron stood
stone-still on my spot when I returned.
And then, his wings burst open, lifting the steel-
blue rhythm of his body into flight.
I touched the warm hay. Hoping for a trace
of his wild smell, I cupped my hands over
my face: nothing but the heat of fields
and skin. It wasn’t long before the world
began to breathe the beat of ordinary hours,
stretching out again beneath the sky.

American Life in Poetry is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2006 by Tara Bray, and reprinted from her most recent book of poems, Mistaken for Song, Persea Books, Inc., 2009, by permission of the publisher. Introduction copyright ©2010 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.

James Brock: “Upon Hearing That My Grant Application Was Passed Over…”


“Your poem should touch God in places only Emily Dickinson has dared touch….Your poem cannot save anyone. Your poem must be seven words or fewer, or two thousand lines or more. Entry fee: all of your boss’s money,” James Brock directs in his witty prose-poem “The Jim Brock Poetry Contest: Guidelines”, which appears in his new collection Gods & Money (WordTech Editions, 2010).

The poem below is reprinted by permission from his previous poetry collection, Pictures That Got Small (WordTech Editions, 2005). Denise Duhamel calls this book “a lush, sexy, nostalgic (in the best sense of the word) look at old Hollywood, the experimental films of Matthew Barney, and home movies of southern Florida. Irreverent and unpredictable, intelligent and haunting, deadpan and dead serious, these poems are buoyant and felicitous.”

Upon Hearing That My Grant Application Was Passed Over and the Winner Was a Bio-Tech Professor Who Has Designed Genetically-Altered Protein for Buckwheat Seed

      —for Denise

Okay, call me Tallulah Bankhead. I wanted that award,
the crystal glass eagle, the pendant, the certificate,
the lapel pin, the thousand bucks, and the parking space
next to the university president’s spot—the whole
platinum and sapphire tiara. I knew I should have
written that poem on the manipulations
of amino acid balance in buckwheat seed proteins.
I knew I should have named that new genetic
strand Omicron-Brockide-32, should have brokered
the patent rights to Monsanto, let them spread the seed
of my pumped-up, high-octane, drought-tolerant,
American-can-do-know-how buckwheat
to sub-Sahara Africa and southern Mongolia.

One year later, then, I would have written
the grant report, presented it to the committee
on PowerPoint, and finished off my presentation
with a streaming video clip, showing some adolescent
boy, from Gambia, say, and he would be eating
my buckwheat flat bread, and there he would be,
digitalized, smiling, full, and muscular. Yes,
and at that moment, vindicated and wise,
teary-eyed and generous, the grant committee
would gather and lift me on their shoulders, laughing
and singing, joyful for all the corporate sponsorships that
would follow me and bless our humble home
institution. For me, dare I dream further confirmations?
O, to be Nationally Endowed, Guggenheimed, MacArthured!

Of course, in Gambia, and other geographies
beneath the sweep and hoozah of fellowships
and announcements in The Chronicle of Higher Education,
the newly nourished could be striking the flint
of their first syllables of their first poems, poems
whose phrases—under the most subdued of flames—would
coolly scorch and burn our best American intention.

****

Read more poems from this book here.

Chinese Poetry in Translation by Kenneth Rexroth


Winning Writers subscriber Wesley Willis recently discovered Kenneth Rexroth‘s translations of ancient Chinese poetry and was so enamored of them that he shared these poems with me. They’re taken from Rexroth’s anthology Love and the Turning Year: 100 More Poems from the Chinese (New Directions, 1970). I was moved by their meditative quality; each moment is simply observed, each feeling simply described, so that the reader naturally slows down and becomes immersed in the poet’s present experience. Read more selections on the Bureau of Public Secrets website.

Sorrow
by the Poetess Chu Shu Chen (late Sung Dynasty, 13th c.)

The white moon gleams through scudding
Clouds in the cold sky of the Ninth
Month. The white frost weighs down the
Leaves and the branches bend low
Over the freezing water.
All alone I sit by my
Window. The crushing burden
Of the passing days never
Grows lighter for an instant
I write poems, change and correct them,
And finally throw them away.
Gold crysanthemums wither
Along the balcony. Hard
Cries of migrating storks fall
Heavily from the icy sky.
All alone by my window
Hidden in my empty room,
All alone, I burn incense,
And dream in the smoke, all alone.

****

Amongst the Cliffs
by Han Yu (768-824 AD)

The path up the mountain is hard
to follow through the tumbled rocks.
When I reach the monastery
the bats are already flying.
I go to the guest room and sit
on the steps. The rain is over.
The banana leaves are broad.
The gardenias are in bloom.
The old guest master tells me
there are ancient paintings on the
walls. He goes and gets a light.
I see they are incomparably
beautiful. He spreads my bed
and sweeps the mat. He serves me
soup and rice. It is simple
food but nourishing. The night
goes on as I lie and listen
to the great peace. Insects chirp
and click in the stillness. The
pure moon rises over the ridge
and shines in my door. At daybreak
I get up alone. I saddle
my horse myself and go my way.
The trails are all washed out.
I go up and down, picking my
way through storm clouds on the mountain.
Red cliffs, green waterfalls, all
sparkle in the morning light.
I pass pines and oaks ten men
could not reach around. I cross
flooded streams. My bare feet stumble
on the cobbles. The water roars.
My clothes whip in the wind. This
is the only life where a man
can find happiness. Why do I
spend my days bridled like a horse
with a cruel bit in his mouth?
If I only had a few friends
who agreed with me we’d retire
to the mountains and stay till our lives end.

Peter Everwine: “Rain”


I love it when a work of literature captures a feeling of mine that is so specific yet so hard to name, particularly when it involves glimpses of the transcendent. I grew up in a more urban environment than the narrator of the poem below, so for me, that distinct blend of nostalgia, longing, and mystery often arose when I looked out of my apartment window at dusk, as the outlines of high-rises turned lavender and misty on the horizon.

The text below is reprinted by permission from American Life in Poetry , a project of The Poetry Foundation.

American Life in Poetry: Column 278

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Peter Everwine is a California poet whose work I have admired for almost as long as I have been writing. Here he beautifully captures a quiet moment of reflection.

Rain

Toward evening, as the light failed
and the pear tree at my window darkened,
I put down my book and stood at the open door,
the first raindrops gusting in the eaves,
a smell of wet clay in the wind.
Sixty years ago, lying beside my father,
half asleep, on a bed of pine boughs as rain
drummed against our tent, I heard
for the first time a loon’s sudden wail
drifting across that remote lake—
a loneliness like no other,
though what I heard as inconsolable
may have been only the sound of something
untamed and nameless
singing itself to the wilderness around it
and to us until we slept. And thinking of my father
and of good companions gone
into oblivion, I heard the steady sound of rain
and the soft lapping of water, and did not know
whether it was grief or joy or something other
that surged against my heart
and held me listening there so long and late.

American Life in Poetry is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2008 by Peter Everwine, whose most recent book of poems is From the Meadow: Selected and New Poems, Pitt Poetry Series, Univ. of Pittsburgh Press, 2004. Reprinted from Ploughshares, Vol. 34, no. 1, Spring 2008, by permission of Peter Everwine and the publisher. Introduction copyright ©2010 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.