Christopher Howell’s Love’s Last Number

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I had a lovely day. This morning I saw two old friends, women I met in Nelson Bentley’s poetry workshop 30+ years ago. I had the time wrong to pick up my daughter, by an hour, and so was able to take a walk on a nature trail I discovered between Lynnwood and Edmonds. This afternoon, my husband I went to see The Post, which was splendid, and had dinner out.

Plus: I spent spare moments all day reading this luminous book of poems: Love’s Last Number, by Christopher Howell (Milkweed, 2017).

Choosing which poem to share with you is not easy. One of the things I admire about Howell is that he is able to begin with one subject–the disappearance of the dog he had in childhood, for instance–but deftly shift to something you wouldn’t have guessed was related: “And what of the sea, another sort of road, Beowulf’s / whale road, St. Brendan’s miracle passage.” Except now, thanks to Howell, it’s obvious that they are related.

Many of the poems here reflect on the poet’s experiences in the Vietnam War. Throughout the book, time walks rough-shod over us, and also hauls us back, willy-nilly, into memories that shatter — or delight.

Here is the first poem in the book:

A Short Song

This is a song of our consciousness, that faltering
old man who will never make it across the bridge,
who sits down in the grit and dust of it with his wrinkled sack
of groceries that will have to last. A song of his foolish bravery
and terror, his hope that will not stay focused, that wanders
a springtime path between peach trees
and the berries, humming something, forgetting,
and humming again. A song of his wishes
tossing their hats in the wind and watching the last boat
depart, its cargo of nameless meaning casting flowers, waving
out of sight as the sun goes down.
It is a song of memory’s little ways and sudden corner-like loveliness
turned to smoke and broken glass it eats and eats
to stay marginally alive. A song of the bridge that never ends
really, and never whispers this
as the old man listens for the one spot of silence
or the one clear voice that might be his.

 

You can buy Love’s Last Number on Amazon: 

Melissa Kwasny’s Where Outside the Body Is the Soul Today

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Who is Melissa Kwasny? How is it that I hadn’t known of her before this? How did she come to write this startling book?

Where Outside the Body Is the Soul Today, the 2017 entry in the Pacific Northwest Poetry series, simply blows me away. It’s perhaps a tough sell to a general audience, but I’m going to try. (With one opening couplet that reads thus: “Faint. Uncombed. Awash in rain. / They share the kind of beauty shared by older women.” What on earth will this poem be about?) It was not the sort of book I normally set out to read in one day. These are poems that one needs to mull over, to live with. Ultimately, it’s a book I will keep on my shelf to reread at a slower pace. A book that I already know will reward rereading.

Here is one prose poem from a series of 6 titled “Another Letter to the Soul”:

4.

You are the sound of rain, if it weren’t falling but rising from below, a ground-nester, not a tree one, such as the bobolink or longspur, created below our feet, like the oil is. Rain in the ears and snowmelt rushing through the heart, a distant sound, as of the past retreating. Though loud, continuing its retreating presence. What can the flood teach me about you? I see frothing at the surface and watch myself pulled in, as if identity were an antithesis to gravity. Yet not knowing is part of you, whether I sink or swim, whether I abandon the body or stay and fight for it. When someone says, “you will know when the time comes,” does she mean the soul speaks? What part, then, indecision, net of doubts we might call debris, web of plastic tape roping off the danger? Mudbanks where the deer’s leg sinks in?

I’ve been fascinated by the soul, by the concept of the soul, since I was a kid. I won’t go into that right now, except to say that Kwasny’s book shows me that I am not alone in my obsessions. (And floods! “What can the flood teach me about you?”) Her poems make me want to open my notebook and write my own meditations, to ride them as far as they will take me, even if I end up falling into a mudbank. First, after all, there’s the soaring.

Linda Pastan’s Insomnia

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Just the title alone would be enough to make this book resonate with me. But it’s also by Linda Pastan, who wrote “An Early Afterlife,” and — so far as I’m concerned — could have retired after that and still stayed at the top of my list.

Instead, we have Insomnia (Norton, 2015). As Pastan grows older — she is 83  (“Why are these old, gnarled trees / so beautiful, while I am merely / old and gnarled?”) — her themes turn toward long marriage, illness, sleepness nights. She has always handled domestic subjects — like death — deftly, with grace and accuracy. Her eye is as sharp as ever.

Consider the Space Between Stars

Consider the white space
between words on a page, not just
the margins around them.

Or the space between thoughts:
instants when the mind is inventing
exactly what it thinks

and the mouth waits
to be filled with language.
Consider the space

between lovers after a quarrel,
the white sheet a cold metaphor
between them.

Now picture the brief space
before death enters, hat in hand:
these vanishing years, filled with light.

-Linda Pastan

Danusha Laméris: The Moons of August

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It is National Poetry Month, and having gone through all of my books in March (and letting go of a great number of them), I thought I would read an entire poetry book, each day in April, and then tell you about it.

A few years ago, when AWP was in Seattle, I attended a presentation featuring readers from The Sun, and that is how Danusha Laméris hit my radar. As soon as I got home, I looked her up and ordered her book. The Moons of August, I learned, once it was in my hands, was selected by Naomi Shihab Nye for the 2013 Autumn House Press Poetry Prize. When I read the list of acknowledgments in the back (Ellen Bass, Dorianne Laux, Joseph Millar), I knew that I was surely destined to find her.

Laméris writes poems that so delight me, poems I have read over and over again. A few of her poems overlap with my own themes (for instance, “Fictional Characters,” which begins, “Do they ever want to escape? / Climb out of the white pages / and enter our world?”), but more often poems that I simply wish to goodness I had written. I write her poems into my own notebook, and see if I can imitate them, determined to write something that will please me half as much.

The Moons of August is like a series of hallways and stairwells that take you deeper and deeper into a house. You turn a corner and find a picture of her late brother, or her lost infant. Sometimes, you find hieroglyphics or cave drawings on the walls. There’s the funny story about her mother measuring penises, that turns into a reflection about God counting the hairs on our heads. We see people walking ahead of us, catch only a glimpse of Jack Gilbert or Temple Grandin as they disappear into a basement or climb out a window. Humor and heartbreak and a wry, forgiving and encompassing compassion are threaded all the way through.

I was thinking of the difficulty of picking just one poem to share with you, and then, I reread this poem. In it, Laméris displays that wonderful Ted-Kooser-like ability to take an ordinary moment in a woman’s life and turn it into something extraordinary.

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: The Moons of August (Autumn House Press 2014)