Wednesday, August 27, 2014

Appreciation From The Road

 

Home  again 
I unlatch the door
and wander though the house
dragging the slight luggage
of my bones.
 
They are lined with travel,
a silk-painted weariness
of the quaint and foreign.
 
Home  again
 I find your shoes
on the table. Polished but missing
their laces.
 
I want to string their holes
with a long strand of words.
 
A skein of sentence
that unravels
as I walk this room
touching:
your comb,  your decanter
of shaving cologne,
 
your white shirt
that lends cover
to a scratched chair.
 
A run-on reason
of why I bind myself
to you.  Our mutual journey
within.
_______________________________________________________________________
 
I thinks sometimes coming home after the travelling allows us to appreciate even more what we left and what is there to welcome us back. The journey taken enriches the mind and heart with new experiences and knowledge. And while that dazzles and intrigues, reflecting on what is not there, what is back at the familiar place, the home front, becomes a journey of longing. And once we return, off the road, a beautiful sense of appreciation arises. It comes in like a weary traveler ready to resume a way of living that has been put on hiatus but with new insight and fervor.

 
Note: The painting is called "The Green Bedroom, Morning" By Edward Hopper
 

Through The Doorway Unto A Canvas

 
The shop rattled. Antique bottles broke.
Oil and vinegar spilled
staining the stone pavement.
A painting of saplings
that caught the eye of the crow.
 
He landed keeping
his large wings open, umbrella'd
 as if to protect
this sudden print
crafted by the quake.
 
He clenched an olive pit
in his beak 
and dropped it at the point
where a sprig should leaf
and flower, reveal the bead work
of rain, the white  luster
of a moth. Where a  woman's hands
 
on a hillside terrace
tied string around a vineyard branch.
A tree she  had planted  to praise
her husband's return from the dead --
its tasting room
of mold  and shuttered light.
_______________________________________________________________________
 
Recently, with the occurrence of the earthquake in The Napa Valley, I was looking at various pictures of destruction done to cafes, shops, houses in the town and the  lay-out of  vineyards in the distance. What caught my attention was a photo of an olive oil and vinegar tasting shop/room that had suffered tremors from the quake. Bottles of precious oil and vinegar broke while the contents spilled out of the doorway onto the sidewalk. They stained the pavement with streaks that resembled saplings on a van Gogh or even Monet canvas. It was an entrance into sudden art crafted by the event. It left an impression, a design that tempted the mind to envision different scenes and to invite strange or familiar possibilities, memories. I thought of a crow landing there with an olive stone in its mouth, a guide to what this all could symbolize, how this spontaneous print could be a marker of hope, a link to somewhere else and someone else who had planted a vineyard tree in gratitude, in praise of her husband's return from dark depression. A splattering on the pavement that becomes a metaphorical gateway to new beginnings and growth.
 

 

Wednesday, August 13, 2014

Emily Coming In From The Moors

 
 we are also living the stories we planted - knowingly or unknowingly - in ourselves
                                                                                                              Ben Okri   
                                                                                                  
She enters the house with her skirts
frayed and field-stained. Her left hand
bitten by a dog. Oblivious to  pain, she grabs
a washbowl, hot iron from the hearth, rags
that were once her  brother's linen shirt.
 
Soon the wound is cauterized and dressed. In
the glass, she glances at her  face. Tangling hair
resembles the shade of dried blood -- or is the  broom grass
ruffling the broad lands in thick disarray. The thought
 
lingers along with the day's trauma
but none of its makes news in her diary. Her fingers
 pull aside a pale ribbon 
as if yielding to the mundane --  and she writes;
 
Branwell is coming home on a train from London.
There will be storm clouds over the moors and cold
gusts when he returns. We must ready the house
with plenty of light and food. Lay out fresh linens
and sheets of music on the piano. I think
I will play him a concerto by Liszt.
 
Then she shuts the leather shutters of her journal
and ends a daily routine. Rubbing her injured hand
 she remembers where  she disembarked
(days before)  and leans again into the twilight
of  that half-imagined scene. A girl clings
to the granite  ledge of a window
watching the young people inside.
Her legs  are scratched by the bramble;
and her ankle bone shines
 
like a white moon  drawing
the howl of wind and pit bull
straining to seize
the beautiful intruder.
___________________________________________________________________________________ 

Having seen the wonderful and uniquely crafted book sculptures on "The Myth and Moor"  blog site sponsored by author/artist, Terri Windling, I was left awestruck by the scope and diversity of the art. The one image  that haunted me long after the initial viewing, was a piece called "I shall not; finding out the secret" by Justin Rowe. 
 

 
The pages cut and left billowing as waves  along with the winsome girl standing near the edge , brought to mind Emily Bronte. Standing there with her bustle skirt wrinkled and a sprig of broom in her hand, I thought of the Victorian author coming in from the gust-swept moors. A poem was beginning to form as I also recalled a recent article in The Paris Review. The magazine's feature focused on the enigma of  Bronte's reclusive nature paralleled with the wild and expressive prose she exhibited in her masterpiece, Wuthering Heights. It contended that the diarist writings of this woman along with her letters were mundane and  unassuming. The reader as well as the author of the essay would be inclined to ask,  Then how could such a reticent  person write with that depth of passionate risk and abandon? 

My poem attempts to answer this question with its openings scene where Emily enters with her hand bitten by a wild dog. Without hesitation, she tends to the wound and then proceeds to write in her journal. The contrast between what she writes, what she has experienced  and what she later imagines as a continuing scene in her novel, is  distinct and diverse. It underscores the epigram by Ben Okri. In the appearance of our nature and everyday life, we function one way--  but underneath, imagination stirs and we slip into those stories that shape our inner desires and other identity. Maybe the shadow of our character that keeps its distance but still casts its influence through art.
I should also mention the poem's reference to the dog bite and dressing of the wound is based on an incident from her real life.
..............................................................................................................................
Credits and Links:
 
Justin Rowe's Gallery:   http://www.daysfalllikeleaves.com/book-sculptures/
Article in Paris Review: http://www.theparisreview.org/blog/tag/emily-bronte/
 Terri Windling's Blog, Myth and Moor: http://windling.typepad.com/blog/
 

 
 

Wednesday, July 30, 2014

During The Cease Fire

 
A girl stands on the roof
feeding pigeons. Swabs of  bread
litter the cement. The bird's bubbling song
brings comfort -- like the light, lyrical verse
 of a nursery rhyme
 
Downstairs, her  white-veiled  mother
 is cooking stew. Embalmed in the scent
of garlic, lemon and mint, she feels
 they are still in a safe section
of the city. Wind riles the curtains
where trees mirage their presence
in shadow. She remembers a hillside
 
terraced in stone with high grass
and olive branches looming on each ledge;
the air soaked in light and sea.
An ancient place  where she walked
lost in a labyrinthine of time
and thought, an incentive
that would give her  daughter a  name
meaning beloved garden..
 
Crowds chant loudly  in the distance.
She drops her spoon and leaves
to retrieve her child -- wondering
if they will stay safe,
taste the evening meal, and fall asleep
on bed linens taken
clean from their own closet.

Tuesday, July 22, 2014

Summer's Shade

 

Summer's Shade
( Mississippi, 1964)
 
Oh! Child, sharecropper's girl,
you hold a book in your hands
under that tree with the flowers
so large and white -- it seems blasphemous.
 
The pages smell -- hope chest old
and the words are old
written by a slave woman
generations before.
 
On the water, a damsel fly
hovers around the wide leaf
of a water lily. its wings checkered
like the author's gingham gown
you saw on the cover.
 
The insect dances, delighting
in the wind's language of heat
and grass scent. In her poems,
the woman writes of singing
 
 
in  a warm grassland
where young women weave baskets
out of the  marsh straw
and cast their shadows proud
and slender on the foot paths.
 
From the evening bush, birds rise.
a sharp flock, a spear head
to honor their  grace and distaff.
The magic craft, the ancestral fingers
minding their skill.
 
Oh! Child, sharecropper's girl,
you  look at your own hands.
They bear the same color
as the writer's. They touch her book.
They will make a difference.
___________________________________________________________________________
 
In the Summer of 1964, The Civil Rights Movement took a major step in promoting the education and voting rights of the African American community. At this time period, Southern States made if extremely difficult for black people to vote demanding they pass literacy tests and other questionable tasks to qualify. Many people of this ethnic group were poor and undereducated. Black people were not allowed access to  libraries among other educational facilities that served  a Caucasian  population. Leaders of the Civil Rights Movement recruited teachers and educators from all over the nation to come to Mississippi and train the  young Black kids to read and write with accuracy, encouraging their knowledge of literature and their own cultural identities. They were exposed to literature written by Black poets, essayists, historians and other people of great, ethnic distinction. My poem is an example of a young girl being exposed to a writer, a freed African Slave woman from the 19th Century, who wrote poems about her homeland in Africa where women were honored for their domestic talents, fertility, wisdom etc. A culture that was closely connected to nature and the grassland. Though, my character is fictitious , she does symbolize the opening of a door, the possibility of a young black female developing an awareness of herself and her historic identity/legacy. The slave woman referenced in this poem is actually based on some black women writers of the era I have found on-line. Several of which wrote poems but were simply titled as anonymous.

Monday, July 21, 2014

Contemplating A Rose

 
In the old books, a silk merchant
steals a rose for his daughter
from a private garden. The rose
is fabled to be the most exquisite
in the kingdom. Its pallor
could match that of the fairest maiden.
 
 
Often, I dismissed the idea
of a single rose gaining  such status
or summoning such desire. After all,
it was a storyteller's song.. Yet, last night
when the desert cooled at dusk
you found a branch of the rose bush
blocking the sprinkler. You snipped
the  sprig with a frail bud
about to open --  and brought it inside.
 
I placed the plant in a glass vase
with  water -- expecting it might die. This morning
a symmetrical  bloom
leans forward in praying mantis pink. Just there
bidding me to sigh, to trace
its contours with the light hand
of  the heroine in the fairytale,  to know
and feel as she did when first given
the flower, the coveted gift.
 
 
I sense her subtle pulse
radiating through  stem, leaf
and petal, the vine work
of my own wrist. This is Beauty's rose
our rose. Summer's offering
in the worst of dry  heat and rainless hours
A bribe to believe.
_____________________________________________________________________________________

 
The lovely painting is by French artist, Marie-France Riviere and entitled --
"Une Première Dame en liberté ". More of her lovely work can be found here -- www.griviere.com/expo2000
 

Sunday, July 13, 2014

To Fate


(On a point called the rest area with no name.)
 
Come, bury  my fear
within this Salt Wash rock
where yellow flowers rise
from bone and ash -- remains
 
of a woman
who won daylight
from the creator
 
and shared her bright
gains with the tribe.
 
Come, sweep my breath
harried and hopeless
into stone lungs
 
that smell of rushing water
and pine. Come, let it fade,
seep and settle
 
into palisades
that shift and shatter
over time -- until
 
another sculpture
shoves its way
out of the ruin. An overhang.
A prow guarding its field
of tidal grass.
 
A solid calm.
where the shaken self
has been re-cast
 
into the wing drift
of mist or white-tailed hawk,
the presence of prayer.