August 14, 2024

Shannan Mann

IN THE HOUSE OF GOD

Doubt—dirt—blood—there is no bliss in the house of God.
How do you keep your shit together? You piss in the house of God.
 
He walks and does not walk. To hear him, not ears but fear.
To see? Wear fire. Bullet and ballad kiss in the house of God.
 
A million arrows we shot from here—
each one missed in the House of God.
 
Unaware Eve danced in the garden before
a serpent hissed in the house of God.
 
Culted and sculpted, I left a temple in tears and scars.
No one reached forth—such abyss in the house of God.
 
Communist heart—why weep in vain, in vanity for the lost?
Everyone else’s prayers too are dismissed in the house of God.
 
Begins like a joke but ends in guns—three men walk
—an American, a Nazi, a Swiss—in the house of God.
 
Apsaras, smoke, mirrors, rivers of alcohol, battle-soaked
axes, dirty underwear—all of this in the house of God?
 
Your farewell: Shannan, I’ll meet you beyond all that is right
or wrong. Beloved, betrayer, I await our tryst in the house of God.
 

from Rattle #84, Summer 2024
Tribute to the Ghazal

__________

Shannan Mann: “Karan Kapoor introduced me to the form of the ghazal by sending me his most-favorite Agha Shahid Ali poem, ‘After You,’ which is a short, explosive ghazal. I immediately took to the form and started practicing it. Not much later I found I was working toward a book of ghazals which is now near complete. I am happy the form is still thriving, even in a ‘foreign’ language.” (web)

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August 13, 2024

John Philip Johnson

MIDAS ON THE BEACH

When Midas went to the beach
everyone in his kingdom was nervous.
They liked the foot-shaped patches of golden sand,
scooped up like cattle patties,
and they were used to the nimble ruckus
of the entourage, staying somewhat close
but avoiding the bump. Their fear was for the sea,
for his first step, for the yellow muck hardening
around his ankles like it did in his brief Saturday night baths.
They would rescue him, of course, if the water trapped his feet—
throw him chains which they would later add to the treasury
once he’d grabbed them and been dragged
over the sharp, concreted waves.
It was a matter of some speculation for them,
but as he stared across the water,
their anxiety rose, and they muttered
about the loss of the fishing industry,
imagining the blue sea becoming gold.

It was the philosopher’s punishment, anyway:
He’d been estranged with his daughter
long before he’d hugged her to death. Like everything
else in his kingdom, she’d become an object
of evaluation. Even the words he used to describe things
were like little boxes of confinement, little rocks
he threw at the moon, separating him further,
bringing him pieces, lodestones. And the guilt
of his isolation—he’d sworn off concubines,
it was that look in their far-off eyes, the crackling realization
reaching their minds that they’d been bought,
while he caressed the distant, perfect object in his hands.

He went often to the beach and stared like other people do
at the meditation before him.
The sun’s long dangling finger across the water,
the honeyed line, shimmering like a zipper
on what he was coming to understand about it:
one conclusion, or another, here a god, there a god,
everywhere a god-god—he was aloofness itself,
and by that held the upper hand, the sponge,
squeezing it while soapy runs splattered
into gold chaos on the gray rocks; the servants
scrambled, able but wary, picking up his treasured flotsam.

Age made it worse. Aloha girls waved,
ever receding, their swaying hips
making the horizon like the hem of a grass skirt.
At least there was the gold. And he was the king,
king of the homunculus, giver of sciences,
wolfing down salad leaves before they lodged
in the back of his throat, cutting off fingernails,
letting them fall with a shrill clatter
onto the smooth golden floor which mirrored his feet.
He would cough, and wonder if his spray of golden spittle
would ignite the air into golden brightness
and make him fall with the last tinkling music
into the consummated, unabdicated otherness.

from Rattle #32, Winter 2009

__________

John Philip Johnson: “One afternoon, a long time ago, before you were born, I was reading Byron. I couldn’t believe it when, in Don Juan, I found him rhyme gunnery with nunnery. I thought, good grief, anybody can do this. I wrote reams of poetry, lost most of it, and published some. Recently I woke up in middle age, with the children (cinque bambini!) finally able to dress and feed themselves. So, I’ve been scribbling again, a lot, and editing this time, like a born English major.” (web)

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August 12, 2024

Mike Hopkins

AT THE DOG TRACK

Wednesday and Saturday evenings
were like winter all year round,
the chill air chased cigarette smoke 
and stale beer smell across the concrete stands
of White City Stadium, 
above the yelps of greyhounds, 
the baying of bookies,
the manic twitching of tic-tac men
signaling the odds back to the boss,
the chalkboards chopped and changed, 
number three, five to four, four to one the field.
 
Greyhounds were just numbers,
no “Secretariat,” “Sea Biscuit,” “Phar Lap,”
just dog one, dog two, dog three, 
dog four, dog five, dog six.
 
My job was the lowliest, holding a gateway
between lower stand and upper stand,
my toes freezing in my school shoes, 
only punters paying extra allowed through
to the better bar, the better view,
the better toilets, the bigger bets.
 
The races dully repetitive,
dogs pushed into the backs of boxes,
an electric hare set whirring on its inside rail
tripping the trapdoor as it sped past,
the hounds falling for the same old trick,
haring after the uncatchable, inedible lure,
bolting for the inside line,
scrambling around the bends,
kicking up dirt in the straight.
 
Two futile laps, the photo finish flash,
then scooped up by the handlers,
led back to the under-stand kennels
and who knows what fate for the failures.
 
I counted the minutes from six until eight, 
a tea break, past the kennels, the dog handlers,
the stench of dog piss and shit,
fifteen minutes nursing a chipped white cup of pale tea,
listening to the old lags, fag ash falling 
from the corners of their mouths
as they droned on, every other word “fuckin,”
“hotfuckintipmatefuckinnumberfourisasurefuckinthinginthefuckinlast”
 
The last race at ten, then home,
thirty windswept minutes along the A4
on my Lambretta Li 125,
the one pound fifty in my pocket 
barely enough to cover petrol for a week,
and a copy of Charles Buchan’s Football Monthly,
less if I’d listened to a hot fuckin’ tip.
 

from Rattle #84, Summer 2024

__________

Mike Hopkins: “I’ve had some terrible jobs in my life, but none more depressing than at the dog track. The first job I ever had was two nights a week, guarding a gate between the lower and upper parts of a stand at the White City Stadium dog track in West London in the ’60s. The stadium has since been demolished. My previous lives include many years as an IT analyst and shorter spells as an up-and-coming slam poet and a teacher of English in Vietnam.” (web)

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August 11, 2024

Rex Wilder

HARD LABOR

A chrysanthemum petal makes me think of a swapped
prisoner. What was given up for this beauty pressing
against the marble countertop like a face? My country
regularly brings an innocent home in return for cold
blood, an art teacher for an assassin. A bottle of sky-
blue Windex stands by the photo frame by the bananas
like a guard. Prisoners clean their own cells, I’m told.
To wit, I feel your soft hand on mine as I shine the glass
at all hours, removing the smudge of our separated lives.
 

from Poets Respond

__________

Rex Wilder: “Inspired by the prisoner swap with Russia.”

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August 10, 2024

Sophia Hall (age 14)

LOOSE BRICK

On the last Saturday of August,
an ambulance sirened past Valley Forge.
Your red Toyota was our caboose.
The cyclists who found me, squashed,
waved and went on.
 
Above me, a clean-shaven man in white smiled.
He told me I was brave.
 
Your electric toothbrush
vanished from Mom’s medicine cabinet.
My kitsch cast was claustrophobic with sharpie.
The maple trees out my window turned red.
How did the Continental soldiers survive
six months of wind whipped backs?
Were chalk blue fingers
suffering as usual?
 
Maybe if there was no Days Inn
no road trip no grasshopper girl
no garden wall     no loose brick
no tumble              no pavement
no falling                  no crumple
no left arm,         cracked in two
maybe you   would  have stayed.
 

from 2024 Rattle Young Poets Anthology

__________

Why do you like to write poetry?

Sophia Hall: “Writing poetry not only allows me to express gratitude for the seemingly ordinary moments that compose my life but also lets me heal from childhood and current events. In my poetry, I believe that the personal is powerful and political. I hope that when people read my poetry, they find companionship and feel a little less alone.”

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August 9, 2024

Alison Luterman

VIBRATO GHAZAL

Like a trembling tower of fruity gelato,
ladies and gentleman—my vibrato.
 
Even though my voice teacher says not to
warble like a church lady, my vibrato
 
blurs the pure tone, a little rubato
(how we hate to be confined)—because my vibrato
 
has a mind of her own, even sotto
voce you can hear the tremulous vibrato.
 
Like a wren chirruping to her inamorato— 
hard to quell that pesky vibrato.
 
Or an operatic artiste, alone in her grotto,
practicing arias, throbs forth the vibrato.
 
Lee, glancing at this notebook, asks if I sought to
write an ode to my vibrator? No, babe! My vibrato!
 
Sing smooth as honey, that’s my motto,
but there she goes again! Vibrato, vibrato.
 

from Rattle #84, Summer 2024
Tribute to the Ghazal

__________

Alison Luterman: “I started playing around with the ghazal form recently and became enamored of its flexibility and capaciousness as a form. It can be sensual, humorous, erotic, spiritual, political, or all of the above. This one just arose spontaneously out of whatever I was thinking about at the time.” (web)

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August 8, 2024

Ruth Bavetta

ELEGY FOR MY 1958 VOLKSWAGEN

Beautiful blue beetle,
curved and dumpy, lovely
as a lumpy German mädchen
overly fond of kartoffeln.

Four cylinders chugging
in the rear, it was like being chased
by a busy washing machine.

Air-cooled engine slow
to warm my feet.
I loved how I could tuck it
into tiny San Francisco parking spots.

No gas gauge, just guess
the gas to get you there.
No synchromesh first gear,
no coasting through stop signs.

Small outside, it still thought big.
Record load—seven bags of groceries,
five kids, one friendly neighbor,
two dogs and a pair of bowling shoes.

I sold it. Never realizing
that it prophesied my life—
the inability to pass abruptly,
the slow fade on the long uphill grade.

from Rattle #38, Winter 2012

__________

Ruth Bavetta: “I was a visual artist for years, until I found I also wanted images that could be painted with words. I wanted to use words, as I used images, to help me make sense of my life. Now, at the age of 76, I’ve become convinced that neither words nor images will suffice, because there is no sense-making. There is only what is and what has been. It’s enough to know I am human, separate and mortal, and that’s where I find my poems.” (web)

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