November 25, 2024

Garnet Juniper Nelson

WHEN YOU MEET A TERF

… thank her for her service, like a veteran
(tho you don’t believe in the war). She will have borne
the burden of her body sincerely, despite her insistence
that concession is the bastard child of resistance,
that somehow in insisting she is imprisoned
within a definition she frees herself from the same.
Don’t think about the money concealed
behind her megaphone, her blue check. This girl’s gone
just a bit further than her mother: full circle, in fact.
To her, equality is a bust. Better to enforce
old roles, she thinks, refence the corrals, increase
the collars’ volts to keep the new colts from bolting.
They grow up thinking they have the run
of the desert, whole stretches of sage-ridden
sands upon which to pound out
in broadest strokes the tale of a species
entrusted by nature to exist outside with their elders.
It is of no consequence; they are corralled and tagged,
government vets treat mustangs and cull their hordes
when they grow too numerous. I am to be culled
if or when a definition is enforced
that estimates a woman amounts only
to this or that flower petal, this or that syllable
or zygote. In the end, we will all be confronted
with consequences of our complicity or defiance—
but she will have long since ceased listening
to this or asserted How does womanhood
live in you? to which we all know the answer is obvious:
it was instilled in me by my mother & is imbued
with her spirit & that of her mother, for once
we both were nested within her, larval,
waiting to join our sisters—including the disbelievers,
who will not be convinced. Do not try. This is intrinsic:
I was entrusted by my mother to exist
as she did: with kindness. All other origin stories are duplicitous.
So thank her, leave, & persist, for we will not be corralled
like horses; nor can we ever grow too numerous.
 

from Rattle #85, Fall 2024

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Garnet Juniper Nelson: “A century after publication, an image of the poem ‘When You Meet a Member of the Ku Klux Klan’ made waves on the internet. It was written by Robert L. Poston, one of the leaders of the Black nationalist Universal Negro Improvement Association alongside Marcus Garvey, and was originally published in the association’s weekly newspaper. The poem directly advocates for violence against KKK members. I have no qualms with the piece, but it made me curious how a contemporary poem might address issues of liberation involving my own community. So remember, if a man with a suspiciously manicured beard—or anyone else who purports to know it all—asks ‘What is a woman?’ the answer is simple: there are diverse paths to womanhood. I would also note that TERF is itself a contradiction in terms; there is no such thing as uninclusive feminism.” (web)

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November 24, 2024

Alicia Rebecca Myers

THE MOST BEAUTIFUL WORD

To me the most beautiful word in the dictionary is tariff.
—Donald Trump

Terrible and terrific come from the same root:
terror. Most days I assume difference
means divergence. Most nights my horizontal
body lies down next to my son’s to ensure
he grows up to be a tender-hearted vertical
citizen. Last night, it snowed up the hill
from here, over a foot, but only rain
where we are. It is a failure of empathy
to not recognize how another person’s weather
might turn before yours. For years, graupel
was my favorite word, the term for soft
hail that forms on falling snow and makes
a rimed crystal. I love the idea of gently adding
to something already moving. Bishop
wrote that Florida is the state with the prettiest name
but the ugliest politics. We collaborated
on that last part. I think madre lactante might be
the most beautiful word, although technically it’s two.
I can’t understand why so many elected officials
want to impose a high price on love. The root
of the issue, as I see it, is a fear of stepping outside
of themselves for fear of seeing themselves more
clearly. Do not be afraid is the most repeated
command in the Bible, which, to be honest,
is protesting a bit too much. On the same page
as tariff in my childhood dictionary is tarboosh.
The stressed whoosh of that melodic second syllable
gets me every time. This morning, I buried
a mouse that had crawled inside a toy farmhouse
and died, one tiny paw on a cloth window, no way
of seeing the other side.
 

from Poets Respond

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Alicia Rebecca Myers: “Reading about Trump’s proposed high tariffs made me reflect on the high stakes of this election. It still astounds me that what one person finds beautiful is at the root of another person’s fear.” (web)

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November 23, 2024

Stephen Kessler

ANY HACK CAN CRANK OUT A HUNDRED SONNETS

Any hack can crank out a hundred sonnets
if he has to; all you have to do
is set up your metronome and start typing,
taking dictation from the day’s small gifts,
whatever presents itself in the street
or dredges itself up from memory
or dreams itself out of your transcribing hand.
It’s an insidious form, because it’s almost
easy, leading you by the wrist through rules
and rhythms as old as the English language
translated down the ages in idioms
transformed by time and driven by dying breaths.
It gives you a false sense of what you meant
when the closing couplet clinches your argument.

from Rattle #32, Winter 2009
Tribute to the Sonnet

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Stephen Kessler: “When I started writing poems in earnest, as a teenager, I had no use for free verse, but the formal structures and rhythms of English poetry—especially that of Wordsworth, Shelley and Keats—provided the models for my own earliest efforts. In time I became more ‘contemporary’ in my approach to form, opening up to more unpredictable lyric structures, but my ear had been trained to hear rhythm and rhyme in a way that continues to serve me more than 40 years later. These sonnets were written during what could be called a cool-off lap after translating about 70 sonnets by Borges for his complete sonnets, to be published in 2010 by Penguin. While they are not formal sonnets in the strictest sense, I think they are close enough to give an illusion of sonnetude.” (web)

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November 22, 2024

Eric Nelson

LOUDER

The dead speak louder every day.
I listen to their volume grow,
But I can’t tell you what they say.
 
I can’t see them and can’t look away
From the canyon where they echo—
The dead speak louder every day.
 
I feel how much their voices weigh,
Like pockets filled with river stone.
But I can’t tell you what they say.
 
We’re taught to whisper when we pray.
The frequency of God is low.
The dead speak louder every day.
 
In dawn’s first light, gray as age,
The chorus rises out of shadow.
But I can’t tell you what they say.
 
The more I hear the less afraid
I am of knowing what they know.
The dead speak louder every day.
But I can’t tell you what they say.
 

from Rattle #85, Fall 2024

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Eric Nelson: “The first poet I discovered on my own (by way of Simon and Garfunkel’s take on ‘Richard Cory’) was E.A. Robinson. I loved his piercing character sketches and his tight, restrained language. The first villanelle I ever read was probably Robinson’s ‘The House on the Hill.’ I didn’t know it was called a villanelle, but I was fascinated by the pattern of repetition and the irony of saying over and over again that ‘there is nothing more to say.’ I wasn’t consciously thinking of ‘The House on the Hill’ when I wrote ‘Louder,’ but it’s easy to see parallels. Such, I guess, is the enduring influence of early loves.” (web)

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November 21, 2024

Zaubererturm by Jennifer S. Lange, abstract illustration of a dark gray tower in the woods

Image: “Zaubererturm” by Jennifer S. Lange. “In the Clearing” was written by Devon Balwit for Rattle’s Ekphrastic Challenge, October 2024, and selected as the Artist’s Choice.

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Devon Balwit

IN THE CLEARING

No longer youthful, my skin crepes
walls, windows, and doors. Cracked,
I go mossy. The weather enters. Memories
wheel and alight in flocks. Passersby assume
I am lonely. I am anything
but. In the gnarled shadows, hosts
clamor: youngest sons prepare
for battle; widows sniff for mushrooms.
What some call grey, I call mother
of pearl—the full moon polishing the sky.
That screech is an owl or a board pried
from a window. Already, the kindling
catches as the curious lean in.
I make a space for story.
 

from Ekphrastic Challenge
October 2024, Artist’s Choice

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Comment from the artist, Jennifer S. Lange: “I chose the poem ‘In the Clearing’ because, while it is like some other poems entered that use the tower as a person, this one spoke in first person and spoke well, seeing things from a tower’s perspective. I particularly liked the lines about the tower not being alone despite people assuming it to be, and the definition of grey being really mother of pearl—the ability to differ a great mass of small detail is a skill people seem to be losing, and I am glad about any reminder to look more closely. The most delightful however I found the last line, ‘I make a space for story,’ which to me as an illustrator is the best thing anybody can say about my images—weave a story, tell yourself what’s going on, interpret, play with it, it’s yours now.”

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November 20, 2024

Philip Metres

THE ELDERS

already are starting to retire. First
the color of their hair, then their hair,
their once-smooth gait now upgraded
 
to gimp. Then their quick quip, the witty
banter, with friends whose names,
like the titles of books, are cities
 
now surrendered. Their hawkeyed sight
is losing its feathers, perched in the fog
of an ordinary day—early evening, say—
 
forgetting suddenly where it was
they were heading, what they were
looking for—and sometimes even a foot
 
retires, sometimes a lower leg
right up to the right knee, which ached
every time they had to get out of bed,
 
and wasn’t much use anymore
anyway, really. Now the smooth clarity
of their voices is drying to a bag
 
of gravel, now their crystal hearing’s
cracked, stuffed with leaf fall—they’re
retiring, seceding, disappearing before
 
our very eyes, magician’s assistants in a box
we can’t get back
open, now we’re here
 
and now we’re snowbirds in a distant
land marooned and it will never—
not ever—turn spring again.
 

from Rattle #85, Fall 2024

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Philip Metres: “This is a poem of a certain age about noticing that I’m occasionally (suddenly! inexplicably!) the elder poet at certain gatherings. Writers and teachers I thought would work and live forever suddenly become citizens of the land of retirement, or light out for the lands farther than that. We would be lucky, one day, to join them. Time is undefeated. Dust to dust, earth to earth, life’s lust, death’s dearth.” (web)

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November 19, 2024

Timothy Liu

INDEMNITY

Mudslides aren’t covered.
Nor jewelry over fifteen-hundred dollars
 
unless you have a rider.
 
A live tree taken down by a storm
and falling through your master bedroom?
 
Covered. But a dead one?
 
Not. You’ll have to give the assessor
access in order to make a full
 
determination. Mice chewing up
 
old wiring underneath the floorboards
and ushering in a pity party
 
of epic proportions? Tots!
 
Walls of flame on the next ridge over?
Nope. Tell me. Is an angry voter
 
flicking a cigarette butt
 
out of a Range Rover just an idiot
or are they a bona fide
 
act of God—adept at doing the Lord’s
 
mysterious work? I haven’t
cracked open John’s overblown account
 
on the island of Patmos
 
for quite some time, but I miss
that mildewed smell seeping through
 
our family Bible. It gets me
 
thinking about all the things I can’t
control. Flood insurance
 
more retro than Noah going off
 
the grid. Grandpa’s vintage
porno stash but a conflagration on VHS
 
no one can bear to watch.
 

from Poets Respond

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Timothy Liu: “Looks like the wildfires on the West Coast and Southwest have now made it to the East Coast where we’re in the middle of a flash drought.” (web)

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