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National Poetry Month: poetry book #1

Welcome to National Poetry Month!

If you are looking for a full rundown on what NPM is, skip over to https://www.napowrimo.net/ for a prompt a day and links to lots else. I also want to recommend Chris Jarmick’s blog, Poetry Is Everything. Chris, the owner of BookTree in Kirkland, Washington, will happily provide you with great quotes, prompts (daily in April!) and more links to poetry enthusiasts. I notice that rather than posting daily (as I believe he has in past Aprils), he is lumping the prompts into groups. If you are patient, you can find all of them. (And write 30 new poems!)

The world is never the same once a good poem has been added to it. A good poem helps to change the shape of the universe, helps to extend everyone’s knowledge of himself and the world around him.”
― Dylan Thomas

I have a modest goal this month of sharing a poem a day from the pile of books beside my desk. Some of these I read in August during the Sealey Challenge. Others — well, it’s about damn time. I may not read a book a day, and I’m not pushing myself to do the usual blog reviews (though some may ensue), just this: one book, one poem.

Today it is Bones in the Shallows: poems from Mission Creek by Seattle poet Tito Titus. I reviewed his I can still smile like Errol Flynn (Empty Bowl Press, 2015) a few years back.

Tito Titus’s Mission Creek is located near Cashmere, Washington, and runs into the Wenatchee River. (Forgive me if I have any of this wrong.) As the title, Bones in the Shallows, suggests, the creek disappears every summer, drained by drought, by natural disasters, by greed. And in this slim book the creek, its creatures, and the people whose lives are lived on its banks are lovingly chronicled. Nature can heal us, Titus all but says, but only if we don’t destroy it first.

 

October coming down

How do you describe a creek?
Twenty cubic feet per second, the engineer said.

I toss a slender woody shoot,
watch it meander through ripples,
fouette through eddies,
dive from glittering rocks,
float toward the Wenatchee River —
a one-legged ballerina, dancing
toward the ravenous Columbia.
Past the equinox now, the creek
runs ten-feet wide, a few inches deep.

Still, no rain.

Now I know — in this parched tenth month —
how much water the upstream orchards
swallows when fish rotted on dry rocks:
enough to seduce innocent Coho
climbing freshwater reaches,
unaware of the Mission Creek murders
of their cousins, only a month before.

Twenty cubic feet per second,
enough to pretend the drought is done.

— Tito Titus

In “Last summer on Mission Creek,” we get a sense of all the beauty at stake:

Sumac leaves, stark and dark green,
wrestle summer winds.

Creek burbles play. Their watery laughter
climbs our woody bank.

And this poignant line: “My life becomes more beautiful than I knew, / and faster, too!” That’s nature’s power to renew itself, and our spirits.

Titus and his wife of 40 years now live in Seattle. You can find a copy of Bones in the Shallows at Edmonds Bookshop, or visit www.poetfire.com.

 

Sally Albiso, LIGHT ENTERING MY BONES

LIGHT ENTERING MY BONES, Sally Albiso. MoonPath Press, P.O. Box 445, Tillamook, OR 27142, 2020, 96 pages, $16.99, paper, http://MoonPathPress.com.

Because it is the last day of National Poetry Month, I decided this morning (April 30) to reread Sally Albiso’s Light Entering My Bones and share it with you. I hardly know where to begin, so, simply: these 61 poems, divided into 4 sections, completely bowled me over. Bittersweet? Poignant? Of course. Sentimental, not at all. Bold, yes. Deeply and beautifully wrought, moving? So much.

You’ll want to have your tissues nearby—the poems document Albiso’s diagnosis of pancreatic cancer, and her decline. But be reassured, too. She holds our hand all the way through, a close friend walking us home in the dark. “When the Snow Falls,” begins one poem, drifting from the title into the first lines: “and stars congeal, plummeting to earth / in frigid descent, we go out to greet them. / We make angels of our bodies / and petition the stellae to remain with us.” I think that sums up the book’s task as well as anything. Life is precious and fleeting; pay attention.

I’m tempted to try to do something skillful in picking out the subthemes. But perhaps sharing a poem will be enough. In this one, birds:

Birds Reside in Me

I cough up feathers
and dream of singing,
light entering my bones.
Ruby-crowned kinglets
flutter about my heart like valves
while gulls keen in my liver
like heirs feigning grief.
They want more of everything.

I open my mouth
so blackbirds lining my stomach
escape. How they call all day,

crowd the feeder, dark and slick
as if brushed with butter.
I’d bake them in a pie, brown their cries
beneath a flaky crust
until the house smells

of caramelized need,
the sweet scent of the satiated—
but I’ve only this throat
and a voice that fades.
When kingfishers dive
into my bloodstream
to gather platelets like fish,
I begin to bruise, contusions

decorating my body in the shape
of shadowed swimming. I scratch
at skin’s surface as if it were water
through which salt rises, take deep breaths
and submerge beneath sleep
while grosbeaks peck at the suet
between my ribs, an ache
like being elbowed aside.

—Sally Albiso

In Light’s introductory essay, Carmen Germain writes about exchanging poems with Albiso, and emphasizes the “honesty and truth” of this chronicle. Consider these final lines of  “Ambulance”:

In the morning,
an obstructed duct will be opened
so bile will flow freely again

and be passed by the body—a struggle
to live without bitterness.

If the poems feel at times brutal, they are brutally honest. They are also, as Karen Whalley points out in her appreciation of this book, “At their core, love poems,” “almost apologetic that [her husband] must be both witness and participant to her dying.” Her husband is an important character here. Consider the prose-poem, “Letter She Wrote Him,” where Albiso concludes, “Stars here, the sky a great camp with its fires lit, and daily the winter wren serenades, body turned to plea. Do you know the origin of mercy? From the Latin merces—the price paid for something.

If I could I would write a whole essay on how, in the second half of the book, Albiso delicately leaves a trail of salt, glimpses of Lot’s wife, as if reminding her beloved—and us—to keep our faces forward and not look back.

The poems lead us forward. Hope in the dark. A promise of light.

*
I reviewed Albiso’s 2018 book, Moonless Grief, in 2023. You can find out more about her at her page at MoonPath Press, and at Finishing Line Press.

Tracy K. Smith, Wade in the Water

WADE IN THE WATER, Tracy K. Smith. Graywolf Press, 250 Third Avenue North, Suite 600, Minneapolis, MN 55401, 2019, 96 pages, $16 paper, www.graywolfpress.org.

For my last poet in #nationalpoetrymonth, this book is too perfect. Here’s Graywolf Press’s description:

In Wade in the Water, Pulitzer Prize winner Tracy K. Smith boldly ties America’s contemporary moment both to our nation’s fraught founding history and to a sense of the spirit, the everlasting. Here, private utterance becomes part of a larger choral arrangement as the collection includes erasures of the Declaration of Independence and correspondence between slave owners, a found poem composed of evidence of corporate pollution and accounts of near-death experiences, a sequence of letters written by African Americans enlisted in the Civil War, and the survivors’ reports of recent immigrants and refugees. Wade in the Water is a potent and luminous book by one of America’s essential poets.
https://www.graywolfpress.org/books/wade-water

I lack words enough to describe this book. “Choral arrangement” helps (beginning with the gospel title). “Luminous” seems overused, but I knew when I found the audio version of Wade in the Water, that I would have to try to write about it. It captures both transcendence and terror, life itself. “I Will Tell You the Truth About This, I will Tell You All About It,” one title promises us, and Smith delivers. I would love to know more about the process of writing these poems, or “creating” them, as some are erasures and others, collages of voices of slaves, and of Black Civil War soldiers and veterans. Smith brings it all to the page, and hearing her read this book aloud made my day.

Smith’s first book Life on Mars won the Pulitzer Prize; she served as U. S. Poet Laureate from 2017-2019. She is a must-read.

This is the first poem in the book, far more conventional than poems later in the collection, but easier for me to reproduce for you. (Find more poems at https://www.poetryfoundation.org/poets/tracy-k-smith#tab-poems.)

Garden of Eden

What a profound longing

I feel, just this very instant,

For the Garden of Eden

On Montague Street

Where I seldom shopped,

Usually only after therapy

Elbow sore at the crook

From a handbasket filled

To capacity. The glossy pastries!

Pomegranate, persimmon, quince!

Once, a bag of black beluga

Lentils spilt a trail behind me

While I labored to find

A tea they refused to carry.

It was Brooklyn. My thirties.

Everyone I knew was living

The same desolate luxury,

Each ashamed of the same things:

Innocence and privacy. I’d lug

Home the paper bags, doing

Bank-balance math and counting days.

I’d squint into it, or close my eyes

And let it slam me in the face—

The known sun setting

On the dawning century.

—Tracy K. Smith

I found numerous recordings on the web, and felt this one–her thoughts on the history and witness of Black poetry, and a tribute to Amanda Gorman–was the perfect one to share.

Brenda Miller, The Daughters of Elderly Women

THE DAUGHTERS OF ELDERLY WOMEN, Brenda Miller. Floating Bridge Press, 909 NE 43rd St, $205, Seattle WA 98105, 2020, 41 pages, $10, paper, www.floatingbridgepress.org.

Not only are these poems I wish I had written, but they are poems I should have written. It’s a meditative, almost spiritual collection, but busy, too—like a care-taking daughter—with minutiae. Doctor appointments, dust, hospital rooms, post-it notes nudging a failing memory, loss.

I knew of Brenda Miller because of her brilliant essays, and her book on writing, co-written with Holly J. Hughes, The Pen and the Bell: Mindful Writing in a Busy World (Skinner House Press, 2012). She teaches at Western Washington University and is the author of several books of essays. An Earlier Life won the 2017 Washington State Book Award.

The Daughters of Elderly Women won the 2020 Floating Bridge Press Chapbook Award. And even though it took me on a trip down the rabbit-hole of memory, I read it hungrily. I lapped it up. These poems (several of them titled “The Daughters of Elderly Women”) made me remember that I, too, was a member of this strange tribe. I am happy to recommend it to you.

The Daughters of Elderly Women

are planning ahead.

They print it all out:
Advanced Directive, Power
of Attorney, Last Will and Testament.

In hospital rooms,
at the edges of beds,
they hold a neon form

in their palms
as if it were an oracle—
Physician’s Orders for Life-Sustaining Treatment,

beneficent and dangerous
all at once. POLST—almost
pulse, what we look for—

faint throb, Morse code of the heart.

If the body
wants to go, watch it go.

They use the simplest words
possible. They say
it’s up to you

knowing nothing is up to us,
that the body does what it does,

fierce flesh that keeps living

no matter the circumstance.
They explain how CPR damages:
crushed ribs, deprived brain.

The daughters remind
their mothers about the fathers,

the ones who had heart attacks, ended
up in nursing homes, so frail
they couldn’t turn over in bed.

The daughters try not to speak
so fast, words a scatter
of birdshot that dissipates

before reaching the target.

That’s not what you’d want, right?
the daughters say, looking their mothers
in the eye, voices soft
as they’ll ever be.

—Brenda Miller

To learn more about Brenda Miller, visit her website. I found several essays on-line, including this one, “The Blessing of the Animals” (a favorite of mine) at The SunIf you want to purchase the book, you can find it (perhaps on sale) at Floating Bridge Press.