Sally Albiso Poetry Book Award

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My poetry manuscript — The Pear Tree: Elegy for a Farm — has won the 2023 Sally Albiso Poetry Award from MoonPath Press.

I’m feeling stunned and honored and — even after a week has gone by — a bit disbelieving.

I’ve shared here some of my process in cobbling this book together, but just to recap, it’s the book that wouldn’t lie down and be “done.” Three years ago in a Hugo House course taught by Deborah Woodard, I rather shamefacedly introduced myself by saying I was working on a book of poems about losing my parents, adding, “I really should be finished with these poems.”

Deborah said, “Maybe the poems aren’t finished with you.”

That is exactly what it felt like. It’s about more than my mother and father; it’s about growing up on a farm, and it’s about giving up that farm after my dad’s death in 2010. It’s about letting go of trees, fields, cows, fences, wells, ponds, bee boxes, books, orchard trees, creeks, barns… It’s about my mother’s memory loss, and how keenly that paralleled our folding away the family place, the farm my grandfather had owned before my father owned it. It’s about…so much.

Last year I began sending the manuscript out as “Genesis” (meaning to evoke an idea of where I began, where I set out from), and despite having paid some hefty entrance fees, I withdrew it. It didn’t feel ready. Early this year I began sending it out again, rearranged, with poems added (and quite a few removed), with a stronger theme, or thread, poems about my maternal grandmother, running all the way through it, holding — I hoped — the long chronology together.

In May I reworked it yet again, and it was only then that I felt brave enough to retitle it as The Pear Tree.

I could not have been more shocked when it won. Lana Hechtman Ayers wrote in an email, “These are poems to feed the soul.”

They have certainly fed mine.

The book will be out this winter, and, never fear, I will be here, telling you all about it.

 

The Lexicon

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Lexicon: “the vocabulary of a person, language, or branch of knowledge”

A lexicon can be vast, but it can also be narrow and exact. Horse people have a lexicon. Dock-workers have a lexicon. Waitresses have a lexicon.

My first assignment in the poetry class I’m teaching is to list 25 words relating to a subject. I have heard this assignment called “a word bucket.” It is meant to be both non-threatening (an easy threshold to trip over, into the class), but also inspiring. I shared examples of lexicons I’ve written:

  • for parts of a horse bridle
  • for the names of every part of a piano
  • for the skilled-nursing home where my mother spent her last years
  • for northwest flora and fauna
  • for my farm childhood

We all have lists of this sort in our heads, but deliberately listing the words, I’ve found, results in more exactness, and — very often — surprising directions one might follow.

Recently I wrote a poem about the word “bless.” I had high hopes for the poem, and started by looking up the definition and etymology of bless:

bless (v)

Middle English blessen, from Old English bletsian, bledsian, Northumbrian bloedsian “to consecrate by a religious rite, make holy, give thanks,” from Proto-Germanic *blodison “hallow with blood, mark with blood,” from *blotham “blood” (see blood (n.)). Originally a blood sprinkling on pagan altars.

This word was chosen in Old English bibles to translate Latin benedicere and Greek eulogein, both of which have a ground sense of “to speak well of, to praise,” but were used in Scripture to translate Hebrew brk “to bend (the knee), worship, praise, invoke blessings.” L.R. Palmer (“The Latin Language”) writes, “There is nothing surprising in the semantic development of a word denoting originally a special ritual act into the more generalized meanings to ‘sacrifice,’ ‘worship,’ ‘bless,’ ” and he compares Latin immolare (see immolate).

The meaning shifted in late Old English toward “pronounce or make happy, prosperous, or fortunate” by resemblance to unrelated bliss. The meaning “invoke or pronounce God’s blessing upon” is from early 14c. No cognates in other languages. Related: Blessed; blessing.

( lifted straight from https://www.etymonline.com/word/bless )

I also looked up how many times “bless” appears in the King James Bible (lots, in various forms of the word, but I’ll let you check for yourself.)

Google makes it almost too easy to do this assignment. I picked out only certain words from etymonline, but as I wrote them into my notebook, I kept coming up with more. I scribbled it all down: religion, blessing, ritual, sacrifice, blood, holy, bend, knee, praise, thanks, bliss, hallow, bledsian, bloedsian (which made me think of druids, so), druids, pagan, church, bees (not sure where that came from, but I began to know at that point where the poem would be located, or the two places it would be located), pear tree, limbs, pears, blossoms, path, foyer (of my childhood church), yellow, “blood of the lamb,” washed in…, grandmother, stones, honey, bodies.

My list was longer, but many of these found their way into a rough draft of a poem about a pear tree. (I hadn’t expected the bees, or the pear tree.)

You can see that the assignment could be narrowly focused, but doesn’t have to be — you can free associate. What 25 words (or 100 words) do you associate with your mother, with the house you now live in, with your kitchen, with your cubicle at work?

It can be interesting, by the way, to do this assignment with someone else’s poem, particularly one that wows you. Start by listing every noun, maybe add the verbs. Are the words related? (Probably, but — again — perhaps in ways you didn’t imagine until you looked at them scrambled together on the page.)

Easy peasy.

 

Upcoming Poetry Class

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I am teaching a poetry class — a project a LONG time in the works, by the way — and deserving of some fanfare.

The class begins Friday, May 26 — two classes, sort of — one on-ground, 3:30-5:00 (at my house; there are a couple seats left), and one on-line, 11:30-1:00 (plenty of room).

The title is “Your Memorable Poem.” My theme is inspired by a friend who, looking at a poem by Naomi Shihab Nye, said, “I could never write a poem like that.” Of course it’s not easy (if it were, then we wouldn’t need NSN), but I think you could. The way to begin is to look very closely at how the poem is made, not to “slice and dice it,” or “master it,” but to sit with the poem, as if interviewing it, or sharing a meal. What did this poet do, in order to create this poem’s effect on us? We’ll have a little time to write, and time to offer feedback to each other.

The class runs five Fridays (May 26, June 9, 16, 23, and 30). Given the nature of Junes in my past (with children graduating and vacations to launch, etc.), and because this is an introductory class, I am happy to substitute an hour one-on-one for you if you must miss a session.

Here’s the one-paragraph description.

Many of us come to poetry because of gorgeous, memorable poems that inspired us years back, the sort of poems we carry with us and share with friends. As children perhaps it was a poem by William Wordsworth or Robert Frost, but even as adults, as accomplished poets ourselves, we may find ourselves saying, “I wish I’d written that,” after reading a poem—for me, “Happiness” by Jane Kenyon, or “Beannacht” by John O’Donohue. I remember a recent trauma when Adam Zagajewski’s “Try to Love the Mutilated World” kept me from sinking into despair. Some grittier examples come to mind, too. (Inspiring poems aren’t always gorgeous. Sometimes they convey a hard truth that hits us in the gut.) In this class we’ll look at a range of such poems—you can bring your favorites, too—to see how they’re made, especially noticing the gestures we can borrow as we make our own poems.

If you’re curious, contact me for more information, including the cost: bethany.alchemy@gmail.com

poetry word cloud – handwriting on a napkin with a cup of espresso coffee

Kevin Young, Brown

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BROWN: POEMS, Kevin Young. Alfred A. Knopf, New York, 2018,

Luis Alberto Urrea did such a fine job capturing this book in his 2018 New York Times review, that…well…why should I even try?

Kevin Young’s necessary new book of witness creates a parade through time, and I love a parade. Especially one with such good music — the poems in “Brown” dance through bebop and into James Brown’s megafunk. Marching players include B. B. King and Ol’ Dirty Bastard. Sitting on that float decorated with bombed churches and flogged backs, baseball bats and basketballs, Fishbone records and railroad tracks, are Lead Belly and Howlin’ Wolf playing dusty blues for Big Pun. The parade is coming all night, blowing up dust in the crossroads, churning with music, mad for music, swearing “I Would Die 4 U,” grinning just a little so the initiated will feel the love burning like Jimi’s guitar at Monterey. Scrappy kids dive into public pools and hit line drives with broken bats. Every line of “Brown” is aware that this storm must scare the hell out of people who have locked their doors and kneel before Fox News Channel asking God what went wrong. —Luis Alberto Urrea

Yes, yes, yes. All that, and more. 161 pages of sparkling, pure Kevin-Young vernacular. A delight to read aloud.

Kevin Young is current editor of The New Yorker (to which I proudly subscribe), and recipient of so many awards (see his page at Poetry Foundation for the particulars).

Here’s a poem, which, trust me, is only a tiny sample of what’s possible in this book:

James Brown at B. B. King’s on New Year’s Eve

The one thing that can solve most
our problems is dancing. And sweat,
cold or not. And burnt ends
of ribs, or reason, of hair
singed & singing. The hot comb’s
caress. Days after
he dies, I see James Brown still
scheduled to play B. B. King’s
come New Year’s Eve—ringing
it in, us, falling to the floor
like the famous glittering midnight
ball drop, countdown, forehead full
of sweat, please, please,
please, please, begging
on his knees. The night
King was killed, shot
by the Memphis moan in a town
where B. B. King sang, Saint
James in Boston tells
the crowd: cool it. A riot
onstage, heartache
rehearsed, practiced, don’t dare
be late or miss a note
or you’ll find yourself fined
fifty bucks. A fortune. Even
the walls sweat. A God-
father’s confirmation suit,
his holler, wide-collared, grits
& greens. Encore. Exhausted
after, collapsed, carried
out, away, off—not on a gurney,
no bedsheet over
his bouffant, conk
shining, but, boots on,
in a cape glittering bright
as midnight, or its train.

—Kevin Young

In his review, Urrea also says,

Did I say this was a political screed? A radical’s blurt of invective? Forget it. The Rev. Kevin Young has opened the Book of Jubilees and the Book of Lamentations, and he is here to pray.

It’s an urgent, necessary poetry, a poetry of witness, as Urrea says, contemporary American letters at its best, a perfect book to wrap up my 30 days of blogging for National Poetry Month.

You can listen to any of numerous podcasts, listed at Young’s website. This one, at the Slowdown with Ada Limón, shows another side of Young’s obsessions (start at 1:09 to skip the ad; Young’s “Egrets” begins at 4:30):

https://www.slowdownshow.org/episode/2022/02/28/620-egrets