Ted Kooser, A Man with a Rake

A MAN WITH A RAKE, Ted Kooser. Pulley Press (an imprint of Clyde Hill Publishing), Seattle / Washington D. C., 2022, 32 pages, $14 paper, https://www.clydehillpublishing.com/pulleypress.

I admit I am phoning it in this morning, but who can resist a chapbook of poems by Ted Kooser? I saw this copy at Edmonds Bookshop, and, even though I already own most of his books, I grabbed it up.

Or, I thought I owned most of his books, until I reread his list of books this morning.

Anyway, I doubt any of my readers are new to Kooser. His Poetry Home Repair Manual: Practical Advice for Beginning Poets ought to already be in your home library. (Even if you’re not a poet.) He is a former United States Poet Laureate, won a Pulitzer Prize for Delights and Shadows, etc. Anytime I’m told, “if you lived back east, you’d be better connected,” I think of Kooser, living in the midwest, writing about farms and farmers and farmhouses, working as an insurance agent for much of his career (!), and still here, still writing.

I loved these lines—from Kooser himself—in his biography at Poetry Foundation:

“I write for other people with the hope that I can help them to see the wonderful things within their everyday experiences. In short, I want to show people how interesting the ordinary world can be if you pay attention.”

This poem struck me as appropriate, maybe, for Easter Sunday:

A Fox

for Dan Gerber

I saw a red fox stepping in and out
of the shadows of tall granite stones
in a cemetery’s oldest section, fur
flaring as she entered each patch
of sun, though her feet and the tip
of her tail were too darkened by dew
to be set alight. She was quite small
but in her presence the stones forgot
their names. Above her the canopy
was respectfully opening oak by oak
to light her way, though she offered
no sign that she expected any less.
I couldn’t move for fear she’d stop
and fix me with those eyes that had
already stopped everything there,
the headstones, the plastic flowers,
I, too, now breathless as I watched
her pass along that long, long hall,
a flame reflected in its many doors.

—Ted Kooser

If you need to know more about Kooser, visit his page at Poetry Foundation or https://www.tedkooser.net.

Claudia Castro Luna, Cipota under the Moon

CIPOTA UNDER THE MOON, Claudia Castro Luna. Tia Chucha Press, PO Box 328, San Fernando, CA 91341, 2022, 118 pages, $19.95 paper, www.tiachucha.org.

I blogged about Claudia Castro Luna’s This City, in 2020, while she was still Washington Poet Laureate. This year I meant to read and write a post about her book, Killing Marías: A Poem for Multiple Voices. Instead I came across her 2022 book, Cipota under the Moon, and I am so astonished by it I hardly know what to say. It is a heart-breaking, multi-lingual full-immersion experience in El Salvador—war, exile, and return. In “This Is Not a Poem,” Castro Luna begins, “Guerra doesn’t go away when the bullets stop, when the grenades go silent, when helicopters’ blades no longer kick up…,” and ends: “I highly don’t recommend it.”

I highly recommend this book.

In the early minutes of her Ted Talk, Castro Luna talks about her family’s journey, and the amazing human ability to heal from trauma.

At the Tia Chucha Press website, I found this description:

In Cipota under the Moon, Claudia Castro Luna scores a series of poems as an ode to the Salvadoran immigrant experience in the United States. The poems are wrought with memories of the 1980s civil war and rich with observations from recent returns to her native country. Castro Luna draws a parallel between the ruthlessness of the war and the violence endured by communities of color in US cities; she shows how children are often the silent, unseen victims of state-sanctioned and urban violence. In lush prose poems, musical tankas, and free verse, Castro Luna affirms that the desire for light and life outweighs the darkness of poverty, violence, and war. Cipota under the Moonis a testament to the men, women, and children who bet on life at all costs and now make their home in another language, in another place, which they, by their presence, change every day.

Here’s an example form the poems before immigration:

Garrison

Two girls slinked alongside barb-wired brick walls on their way to swimming lessons, doing their best to remain collected past the turrets stationed with armed soldiers. Ensconced in their look-outs, the troopers held their metralletas close to their bodies, as if they loved them, but not so much they would not use them ill. After our lesson, we headed home the same way we walked to the pool, guillotining chatter and laughter, scurrying along the garrison’s walls. Only the sound of our flip-flops striking our heels betrayed us. What if today’s soldiers were in a foul mood and pulled their triggers? What if they noticed our bulging bags, our weekly comings and goings, and tagged us as informants? What if, right leg, what if, left leg, we got through it that way—like prayers in a rosary—one bead, one foot in front of the other, one bead, one foot, one bead, one foot all the way home.

—Claudia Castro Luna

And here, a poem during and after:

Cloven Moon

The officer in charge of processing my family’s entrance to the U.S. stated that from that moment on my name was to be Claudia Castro. The passport says her name is Claudia Castro Luna, my mother objected. Here we use one last name, said the officer, and closed the matter with the gavel of his voice. Your moon got taken away from you, said my friend when I recounted the story. But when the officer eclipsed the Luna of my name the sensation was more like having a limb chopped off. For years I walked like that, cloven, until pen in hand, I began to weave into blank pages tamales de elote, scent of yerbabuena, spells of flor de muerto, the riot of a Tuesday market in Ahuachapán, the Nahuatl sageness of my abuela. I did not know then that weaving like this, warp of memory, weft of daring, had the power to sew back the name chopped off at an INS center on a January morning in 1981. All I know is that one day I walked into a Social Security office, took a number, and waited my turn to expand the canon of last names in this country. I pilgrimaged the department of motor vehicles, registrars’ offices, bank-teller windows, and once La Luna hung again in the firmament of my name, its light spilled beneath my skin and filtered back into the open mouths of a million pores.

—Claudia Castro Luna

Most of the poems are prose poem. A few are in El Salvadoran Spanish. Even the poems reaching back to the Eden of early childhood seem tainted, overshadowed by war. On every page, I was struck by the metaphors. “the sulphur reek of his step” (“Shade Grown”); “Violence spread like tincture inside a water glass” (“El Salvador 1980”); in a long poem, “Dios Madre,” these lines, “Cupped in his hands / his ten-year-old daughter / in her school uniform / passed from smiling / to hardened concrete.”

I hope you will further explore Castro Luna’s work on your own. Here is a review: https://www.poetryfoundation.org/harriet-books/reviews/157890/cipota-under-the-moon

And here, a link to a one-hour interview and reading from Cipota under the Moon:https://www.facebook.com/watch/live/?ref=watch_permalink&v=5205831112787187.

Carmen Germain, Life Drawing

LIFE DRAWING, Carmen Germain. MoonPath Press, PO Box 445, Tillamook, OR 97141, 2022, 76 pages, $16 paper, http://MoonPathPress.com.

Such a pleasure to spend the morning rereading these poems!

On the back cover, Joseph Powell describes Life Drawing as “poetry that embraces the ordinary and sees art as a way to both praise, and make sense of the world.” “Making the ordinary extraordinary” is how I would put it. Familiar territory, at times: Scotch broom, pickup trucks, a father’s war stories, wasps, “horse on a rope in the fog.” But also Van Gogh, Dante, Gorky. This is quintessential Germain, twining her themes together, making a whole that is both fragmentary and lush.

I keep picking out lines: “Only the poets / twine music line by line, / breath of being alive” (from “The Evil Counsellors, The Despots,” dedicated to the Ukrainian people); “hermit despising false / gold, sound of money clinking hand to hand” (from “Choose Your Own”); “finicky clutch, shifting gears as though conducting a symphony” (from “After Your Heart Attack, I Return to This Poem”); “Cochineal crimson / in July, the indigo of August / bursting into sugar among bees” (from “Thorn on a Riff of Sweet”).

Germain is also a (brilliant) painter (as you can see in the images), and this epigraph opens the book:

“don’t be afraid, and don’t try to make it pretty” –Vincent van Gogh

Germain has swallowed this advice. Life Drawing looks at many subjects, but we also get a sense of her whole life, the range of places she has lived, her obsessions, her loves, sifted and drawn, offered to us.

So, one poem to maybe illustrate:

Butterbur (and Wild Pansy)

on a painting by Morris Graves

Pure luminosity, the butterbur, scarlet off-white frothing,
striking and spirited, each stamen’s pinpoint of light

in a skyrocket of smoke and noise, the way happiness
like a festival takes over, fireworks staving off darkness

in a barrage of pyrotechnics.

In a translucent bottle, purple-blue petals in five directions,
a wild pansy poses next to this ballistic. It’s said violets
grew wherever Orpheus put down his lyre

and I like to think because he honored music so much—

his beautiful song—the viola spread its leaves
to open more to listening.

Three red-orange rosehips

lean forward, alert to the darker tone of these petals,
how men prefer this shade while women, like Persephone,
are drawn to the lighter. Still the butterbur catches me first,

stolid in its bronze vessel. How it thrusts shoulders forward
like someone in charge about to shout orders.

But it’s the wild pansy where I keep returning, how it emerges
from milky glass not shrinking, how two leaves rise like hands

to praise such fragile peace.

—Carmen Germain

If you visit her page at Moon Path Press, you’ll find a brief biography, and a recording of the Covid-safe launch (32 minutes!) of Life Drawing. 

Sandra Noel, Hawk Land

HAWK LAND, Sandra Noel. Middle Creek Publishing & Audio, 9167 Pueblo Mountain Park Road, Beulah, CO 81023, 85 pages, $18 paper, www.middlecreekpublishing.com.

Sandra Noel is a Marine Biologist and the current poet laureate of Vashon Island. I read Hawk Land last year and wrote a cover blurb for it. This year I read the book itself and am in awe of Noel’s steady adoration of the natural world. If you look at her design website, you get a sense of why birds and water play such a prominent role in her poems. Her publisher, Middle Creek, is all about “The Literature of Human Ecology.” And in her bio notes, you learn that Noel is a dedicated meditator, with poems in journals such as Buddhist Poetry Review.

The poems in this book, too, are meditations:

Space Cannot be Punctured by an Arrow

After many hours on the cushion
thinking about these words
understanding comes
on the drive home
waiting for the ferry.

—Sandra Noel

Noel’s “reverence for nature illustrates the power of place [and] the power of the sacred in nature” advises a cover blurb from David Anthony Martin. Reading these poems, you, too, are out for your morning run, witnessing, lamenting, grateful.

I Heard a Small Stream

I heard a small stream singing
its culverted and corrupted waters
frothed with phosphate
from a nearby field
still, it carried on
a joyful rhythmic cacophony
rolling over small stones and debris
following the sounds of seabirds.
We feed it our poisons or dam its courses
but if there is the smallest breach
it will break through and run.

Once a great mountain not too far from here
erupted and buried a river
under hundreds of feet of earth
but in less time than you can imagine
its waters carved a meandering path
that wore a way through.

I want to be water
and find my way again
winding and flowing
through and over obstacles
pouring out all I am into a vast sea
letting go at last.

—Sandra Noel

Poster by Sandra Noel