Dorianne Laux, “On the Back Porch”

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Dorianne Laux was a great favorite of mine before she chose Sparrow for the Gell Poetry Prize, before she wrote the forward for Sparrow, before I met her at LitFuse in 2013. I’ve included her poetry on the blog before, but in doing a little research today, I found an interview at a fascinating poetry site called Dive Dapper; divedapper? Anyway, click on the link to find out more. I am all the more determined to see that our paths cross again. And again.

In the meantime, here is a poem from her early collection, Awake. 

ON THE BACK PORCH

The cat calls for her dinner.
On the porch I bend and pour
brown soy stars into her bowl,
stroke her dark fur.
It’s not quite night.
Pinpricks of light in the eastern sky.
Above my neighbor’s roof, a transparent
moon, a pink rag of cloud.
Inside my house are those who love me.
My daughter dusts biscuit dough.
And there’s a man who will lift my hair
in his hands, brush it
until it throws sparks.
Everything is just as I’ve left it.
Dinner simmers on the stove.
Glass bowls wait to be filled
with gold broth. Sprigs of parsley
on the cutting board.
I want to smell this rich soup, the air
around me going dark, as stars press
their simple shapes into the sky.
I want to stay on the back porch
while the world tilts
toward sleep, until what I love
misses me, and calls me in.

-Dorianne Laux

Joseph Millar, “Family Therapy”

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“Poetry is often regarded as a mystery, and in some respects it is one. No one is quite sure where poetry comes from, no one is quite sure exactly what it is, and no one knows, really, how anyone is able to write it.”
–Kenneth Koch

Here is a poem from Joseph Millar, who I was fortunate to take a workshop with — on depicting physical work in poetry — at LitFuse two years ago. He introduced me to (or reminded me of) Ideas I have been crunching up against ever since. “Family Therapy” is from his 2001 book, Overtime. 

FAMILY THERAPY

My brother’s brown eyes narrow
when I tell him about the money
I stole to pay Christmas bills,
the lies I told the IRS and the bursts
of cruelty to my son,
how close I came last week
to picking up a drink.

He slides the five-eighths boxwrench from its case
and leans under the hood,
tells me to pry up against the alternator.
The belt’s too loose, he says.

An evening breeze rustles down the pavement
as my niece comes out of the house,
long hair draped beside her face,
and leans against the fender.
Go back inside, he tells her.
Bring us a Coke. Then he turns
on me. Fuck
the government, he says.
Do you want to starve? He swipes
at the grease on his forehead
and the big knuckle on his right hand
bleeds down onto the wheel well.
Back off some on that pry bar
or we’ll break this goddamn thing.

The pale fists of the hydrangea bump
against the fence and a light
comes on in the kitchen, its glow
sifting onto the driveway
as his wife opens the screen.
Everybody yells at their kids,
he says quietly,
tightening the bottom bolt.
Get in and start it up.
We need to go for a ride.

Danusha Laméris, “Cherries”

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If I could, I would reproduce a dozen poems from Danusha Laméris‘s luminous book of poems, The Moons of August. Poems about losing a child, about losing a brother, about horses, about trees, about reading; somehow all hanging together and making up a coherent volume about grief and loss and healing.

I first encountered her work at the AWP conference in Seattle last year, when she read for The Sun. I sat mesmerized, wanting to go someone to sit alone and write. So, I share this poem in the spirit of wanting to inspire you to write with me.

After much thought (and partly because it is so late in the day), I’ve decided to share just this one, very short poem. I hope it teases you just enough that you will look into her work. If you go to her website, you’ll find a link to Garrison Keillor reading her poem, “Fictional Characters,” which is one of the poems she shared at AWP.

CHERRIES

The woman standing in the Whole Foods aisle
over the pyramid of fruit, neatly arranged
under glossy lights, watched me drop
a handful into a paper bag, said how do you do it?
I always have to check each one.
I looked down at the dark red fruit, each cherry
good in its own, particular way
the way breasts are good or birds or stars.
Doesn’t everything that shines carry its own shadow?
A scar across the surface, a worm buried in the sweet flesh.
Why not reach in, take whatever falls into your hand.

-Danusha Laméris

Reading at Edmonds Bookshop, tonight!

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This evening at Edmonds Bookshop, at 6:30, I will be reading with four other northwest poets (click here to see the list), including my friend, Bellingham poet Jennifer Bullis.

This morning, sitting in bright sunlight under a row of (I think) Acacia trees, I reread Jennifer’s book Impossible Lessons (see a review, here), and tried to choose just one to share. It is a rich book — mythology, horses, babies, birds — and I happily recommend the whole of it to you. But here, just in case you have any questions, her poem, “The Answer.”

THE ANSWER

After the windstorm, a pileated woodpecker
works the dead trunk of a newly leaning maple.

He pulls his scarlet-crested head back
the full length of his black and white body

with each pounding stroke of his beak,
scattering moss, bark, bits of rotted wood

on the forest floor. I want to know
why his head is shaped like an anvil

and why he is fated to hammer
for his food. I want to know why

this particular maple snag has lost its footing
among so many of its neighbors.

I crave a sound rationale as to how
this one, of all of them, was singled out

by the beetles and fungi that killed it
in the first place. But I learn nothing

except by the woodpecker’s breaking off
his analysis of the tree and flashing past

all my questioning, the red crest of his head
a sweet and vivid and impossible lesson.