PEACE, PEACE they say

PEACE, PEACE  they say, poems by Martine van Bijlert, Rainfed Press, 2024 (paper, $15.95).

Every February for the last six or seven years I have taken part in a postcard exchange for peace.

It’s somewhat informal. There’s no cost. A friend of mine runs the sign-up list and gets all our addresses straight. She calls it the Peace Poets Postcard Exchange. Which is exactly what it is. This year there are 5 groups—participants from numerous United States, and several other countries—each of us sending a postcard to 26 or 27 other people in the month of February, each postcard with an original poem about peace.

I think of it as a way to put more peace into the world.

In 2022 a Dutch mixed-media poet, artist, and writer named Martine van Bijlert joined our ranks. She is no ordinary participant, but has worked as an aid worker, researcher, and diplomat, mostly in Afghanistan. PEACE, PEACE they say is the extraordinary result of her three years of postcards. It is dedicated “to the peace makers” and in her introduction she writes:

As I sat down to write about peace, I kept turning to war, wondering whether I would stand out—a sender of dark collages and words that refused to sound upbeat. A poet who kept reaching for memories of aftermath and foreboding. (p. 3)

Having spent “a large part of [her] life surrounded by ripples of war” she found herself groping for the stock images. “Somewhere along the way,” she writes, “I lost the words.” It is a stirring and beautiful introduction, and ends with these words:

So we live. We can’t be overcome by despair and we can’t pretend [war]’s not there. We can’t keep calling peace what isn’t peace, but we also can’t disparage what is, or what could be, however insignificant it might feel. We should speak of it, even if we can’t find the words. Because we need to hear from people who no longer know what to say. (p. 4)

This is the first poem in the book:

and on this first day

I realise I know
how to write
about

riddled bodies
a whole country
in mourning

how to listen to
longing and people
who still dream

how to feel anger how to
watch the young their
eyes still shining but

I don’t know

where I left this
elusive thing

that was given to me
for safe keeping too

—Martine van Bijlert

The poems are sometimes tentative, raising hard questions: “is happiness always built on oblivion / and forgetting // always stacked on the bodies of the tired”; “listening // to a lone bird sing… / I woke to rain // wanting to know where I could  // learn a song / like that”; “can we talk about peace building // about saying bodies / and meaning institutions // saying agreement / and meaning a document.”

Some of the poems are hopeful, as if the poet can’t help herself (and I couldn’t read the following poem without thinking of Dickinson’s abashed bird in “’Hope’ is the thing with feathers”):

while I was away

summer swept in suddenly
rained down sun and coaxed out buds

bursting with impatience

leaves unfolding everywhere
shiny and tiny

and abashed
by their own brightness

—Martine van Bijlert

The 2023 poems are colored by the unexpected and “too early” death of a friend:

my friend died

and I’m not grieving

the books he’ll
never write

         but the hole

burnt in the fabric of time

the rooms that will
never get to greet

his stooped
frame

—Martine van Bijlert

I apologize for putting—in a review!—three entire poems, but they are so short, and I found the cumulative effect of them so moving. In this last one, the words “but the hole” stand alone in the poem, indented, set off by white space on all sides, a hole in the poem. The poet writes “I’m not grieving,” but we don’t believe her. The poem is made of grief.

I hope some of you will find this book for yourself. Her website is a good starting place: https://www.martinevanbijlert.com.

Or you can order the book by following this link: https://bookshop.org/p/books/peace-peace-they-say/5e8d047f184d048a?ean=9789083457406&next=t&.

As I write this I think of Gaza, Afghanistan, and the other 45 countries where the Geneva Convention reports armed conflict. This week marks the three year anniversary of Putin’s unlawful invasion of Ukraine. And there is our own deeply divided United States. As van Bijlert writes, peace belongs to all of us. So does violence. I wish for you the words you need to express all that you feel in this tumultuous year, and, despite the tumult,  I wish you bright moments pocked by peace.

Last Call of the Dark

My review of Mary Crane’s Last Call of the Dark just went up today, on-line at Raven Chronicles. Follow the link to read the full review!

As a bonus for reading my blog, here’s a poem – about spring, which cannot get here fast enough for me.

Hazel Catkin

I greeted the first spring-like day
with exhaustion, no appreciation
of a small portion of sun
in gray mosaic, and a stiff wind.
I was tired. The retreating season
offered no space for my small needs,
as the world iced over in suspicion
and decent people passed away.

I once fell in love with a hazel catkin –
heads drawn together, breath quickened,
we gazed into its bright red styles
instead of one another’s animated faces.
I don’t need to recreate the love
but the fall – the descent into desire
as the buds swell up, the body warms,
and a blush reawakens into life.

—Mary Eliza Crane

Crane is a western Washington poet who has resided in the hills above the Snoqualmie Valley for nearly four decades. Our paths have crossed at poetry open mics in Kirkland’s Book Tree and at Easy Speak in Wedgewood (Seattle); she is a co-host of her local poetry night in Duvall. To learn more about Last Call of the Dark, see my review (of course), or visit Cirque Press.

And if you are looking for an open mic, you can find it here: Western Washington Poets Network.

Dusk-Voiced, poems by Jayne Marek

I learned this week of the death, January 9, of my friend the literary scholar and poet Jayne Marek. My friend and my comrade poet. You can read her inspiring obituary here. My review of her new book, Dusk-Voiced (Tebot Bach, 2024), is waiting to be posted at Escape into Life (apparently there is a problem with distribution of Tebot Bach’s books). You can hear Jayne talk about and read from Dusk-Voiced at the Meter-Cute substack.

Jayne and I met at a writer’s conference. Because she lived in Port Townsend and I live in Edmonds, we did not often see each other. Neither of us were crazy about long phone calls. We did not become the sort of friends who hang out on Zooms together, or share poems vis email, though we did share publication in Triple No. 10 from Ravenna Press.

Every November, for the last 7 or so years, both Jayne and I were invited to the Glen Cove Writers’ Retreat on Hood Canal, and every year (with the exception of 2020), we went. At Glen Cove we took long walks together and bird-watched. Jayne was an avid naturalist, and she took amazing photographs of mushrooms and bugs. Evenings, we drank wine and read each other poems.

Recently, when we were asked to share a poem with our Glen Cove hosts, this is the poem that Jayne offered.

Friday Morning

I slice cucumbers and tomatoes in sunlight
that swaths the kitchen counter with heat.
I think of my friends who have passed
who also chopped vegetables for their families,
friends and visitors, themselves. All of us
feeling solitary (though their spirits are at my shoulder),
our hands warmed, our minds intent on the task
and its goodwill of sharing and feeding.

Out the window, ducks swim and dive.
They surface with fragments of eelgrass
in their bills, ruffle their wings
to throw off water—their medium,
their home, but only one of their worlds.
I suppose they see my shape on the other side
of this glass, moving, my human actions
mysterious but understandable: these things I do,
they do theirs, our spheres visible to one another.

There seems no way to cross over, to explain to the ducks
how I prepare food, to ask how birds learn to forage.
Sunlight probes the water a few inches deep,
shines through the windowpane and in the woods,
farther than any of us can see. I think of friends’ names
and what they liked to cook—more, how they would think,
surely, as I do now, of time and eternity, the divider
of death, the ways water and sunshine touch,
whether any of us may learn to understand.

—Jayne Marek (1954-2025)

Glen Cove, Nov. 2024

The Phoenix Requires Ashes

Given my teaching schedule and other commitments, I may not blog every week in 2025, but I am continuing with my project of reading a book of poetry each week. This week I read a collection of poems by Bellingham poet Maureen Sandra Kane, The Phoenix Requires Ashes: Poems for the Journey (Gray Matter Press, Seattle, 2022).

According to her bio, Kane is a former winner of the Sue C. Boynton Poetry Award, and a mental health therapist, interested in and for literacy, homeless youth, health care access, and disability awareness. Judging by her poems, I would like to add to her list of passions: bodies, all things Zen, and madrona trees. Consider these lines:

I believe I would like to be a Madrona in my remaining years:
Comfortable on the edge,
holding fast to the earth without concern for falling.
Knowing how to shed my skin for growth.
Welcoming wind and storms because I need them to become strong.
Embracing soft, exposed flesh,
trusting that new bark always comes.
Growing toward the light wherever it is.

—from “Madrona”

Although many of these poems look back to Covid, others look forward, offering strength to the reader for the fight ahead: “I speak for the sinew that pulls at my bones. / Red and raw—gaping and mawing. / Holding all together, the strength required astounds” (from “Her Body Speaks”). The poems cycle down through isolation, sleepless nights, despair, then up into love, compassion, and an invitation to join life’s dance. Ultimately the message here is one of optimism and hope. In an epigraph borrowed from Neil Allen: “Life is rigged for the good.”

Kitchen Floor

What if I could sweep with delight?
Peer deeply into detritus
to see a microcosm of visitors.
Like how sand under a microscope becomes shells again.
To gather and honor, not just discard.
How many venerated guests have I thrown away?
Remnants of dinners shared together,
cat litter from the old kitty who pains to use the box,
maple leaves from the peaceful refuge of backyard sanctuary.
All here to bring awareness to the macro in the micro
in their quiet, unassuming way.
What if everything could be this delightful
in its own being
as it does nothing but lie silently on the ground?

—Maureen Sandra Kane

“Scan the body, / watch the breath, / notice thinking. // Watch the fear,” Kane advises in “Yes.” Which strikes me as all that is necessary.

You can read more about The Phoenix Requires Ashes, by visiting this page at Kane’s counseling  website: https://www.maureenkanecounseling.com/poetry-book/.