October 1, 2024

Lynne Knight

AFTER HER AFFAIR

Here’s what he does to reclaim the ravine:
He puts on leather gloves and strips 
the bank of brambles. This takes weeks.
He burns the debris in a pile late one night
while sparks shoot out like stars into the dark.
 
Then he digs for hidden roots and rakes
the bank clean. By now it’s summer.
He plants spider yarrow, witch hazel, 
arbutus and wild ginger. Lady’s mantle,
slender hairgrass, wild lily of the valley.
 
Hellebore along the narrow path above,
fireweed by the creek bed. All winter 
under rain the ravine readies itself. 
Buds, bursting. And when the flowers
come, the ravine studded with yellows
 
and whites, reds and grape blues, 
he stands at the window, his hands
still sore from the digging and planting,
the tending, his bones aching a little
deeper, the brambles nowhere to be seen.
 

from Rattle #42, Winter 2013

__________

Lynne Knight: “I walk by this ravine almost every morning. Years ago, it was overrun with brambles. Then one year, whoever lived in the house by the ravine slowly cleared the brambles and planted wildflowers. I walk at dawn, so I never saw anyone at work. But it was easy to imagine a source for all the energy it must have taken to reclaim the ravine, the way it was easy to turn the brambles into metaphor.”

Rattle Logo

September 30, 2024

R.G. Evans

SHAKING HANDS WITH THE DEAD

They took a piece of cadaver
and put it in my wrist,
dead ligament better than
no ligament at all.
I wiggle my thumb,
now free of all pain,
and think of the rest of the body
that gave itself unknowingly
to free me of my suffering.
The dead are generous that way,
corneas and kidneys,
piece by piece making life
more livable for the living,
these messiahs among us,
the Kings of Pieces
waiting to live again. 
They even give their hearts
and ask for nothing in return.
 

from Rattle #85, Fall 2024
Tribute to Musicians

__________

R.G. Evans: “I’ve played music in bands and solo almost all my life, but since retiring from teaching I’ve spent much more time than before playing at wineries, country clubs, and listening rooms all over New Jersey. I’ve dedicated myself to songwriting, too, with two albums already released and a third I’m in the process of recording now. How has music impacted my poetry? I believe the transaction is the other way around. My work as a poet has helped me write lyrics that are tight, image-driven, and (I’m told) very original. I don’t allow myself the easy out of ‘moon/June’ rhymes or other cliched conventions of popular music, and that rises from my belief that a poet—and a songwriter—has a duty to write something that’s never been written before, not something that’s already familiar. Take for example the opening lines of my ‘love’ song ‘Hearts and Minds’: ‘We go together like a weapon and a wound.’ I like to think that my favorite songwriter, the late great Warren Zevon, would approve.” (web)

Rattle Logo

September 29, 2024

Joshua St. Claire

HAIKU

 
 
 
 
his smile
as he signs the bomb
Guernica
 
 
 
 

from Poets Respond

__________

Joshua St. Claire: “I was born during the Cold War. I remember talking about nuclear war with my mom when I was a tiny child. I lived through Desert Storm, Bosnia, Somalia, Afghanistan, and Iraq. Endless unrest in the Middle East. Escalation with China. Russia’s invasion of Ukraine. I’m tired of it. What reasonable, normal person wants war? It’s the worst thing we humans do. Now, we have this latest, indelible image of my governor signing munitions—killing machines to keep the war raging. Will we ever have peace?”

Rattle Logo

September 28, 2024

Olivia Sung (age 14)

ALL’S FAIR

The bell rings
And Love and Hate come in for lunch
 
Love orders soup with coffee
Hate orders salad with whiskey
 
I return balancing two plates, a mug, and a shot
Love reaches for their plate as I move to put it down
Hate makes no offer to help
 
I place down the drinks and turn to walk away
From behind me I hear Hate’s voice for the first time
 
“I ordered wine,” they say
 
In one moment I’m dry
In the next I have whiskey in my eyes
 
Love’s eye twitches
Hate looks proud
From the neighboring table I hear Sense, Composure, and Judgment go silent
 
My eyes blur as they water
Vaguely I hear Love yelling
I look up and lock eyes with Hate
 
Love not-so-gently pushes Hate forward
Hate turns away
 
“Sorry,” they say
 
Love gives me an awkward smile and takes out their card to pay the check
Their hand is hit away when Hate’s card takes its place instead
 
Love and I get whiplash as our necks turn in Hate’s direction
Hate plays with the ring on their empty hand
Love and I’s mouths open in identical ‘o’s as I silently take the card
 
Hate’s card declines
Love pays the rest of the bill
 

from 2024 Rattle Young Poets Anthology

__________

Why do you like to write poetry?

Olivia Sung: “I love the flexibility of being free from grammatical rules. Poetry allows me to manipulate words in the way that I see fit while still granting me the freedom to express myself in a unique way that all other mediums cannot. I also love the beauty in poetry, in that it is able to capture the charm of both the little and large things in life.”

Rattle Logo

September 27, 2024

Partridge Boswell

PSALM

after Mister T

Words, sounds, speech, men, memory,
thought, fears and emotions—time—all related …
all made from one
—John Coltrane

I pity the tongues of those for whom
cilantro tastes like soap. Pity the bruisers
and galoots who got sucked so easily
 
into Ali’s rope-a-dope. I pity the fear
that finds rest solely in a mirror’s graven
mug, never its ashen creosote. Pity the
 
solipsist for whom love’s assimilation
will always be an asymptote. I pity ears
that won’t sync mercy’s words & music,
 
thought’s vibration with a sung note.
I pity the indigent soul with nothing
but hollow-boned birdsong to build
 
its levees and bridges of hope. Pity
the soloist convinced we’re born
to live and die alone. I pity the fool
 
who listens to A Love Supreme
and hears a saxophone.
 

from Rattle #85, Fall 2024
Tribute to Musicians

__________

Partridge Boswell: “For me—a ‘troubadour’ lacking a word in his native tongue to adequately describe the fusion of things he does as a poet, singer, songwriter, teacher, musician, and spoken word artist—poetry and music are one and the same, a seamless inseparable symbiosis. This spring, our trio’s on tour in California, the deep South, and Ireland (where poetry and music aren’t estranged and still reside under the same roof), a rare and adaptable trans-genre animal. In the spirit of Federico Garcia Lorca—gifted musician, legendary poet/playwright, and ebullient performer—we fuse poetry and music in a passionate and surprising mash-up. Los Lorcas blur boundaries between spoken word and song, weaving poetry with Andalusian ballads, blues, rock, folk, reggae, hip hop, Americana, and jazz in pursuit of the cante jondo (deep song) Lorca ardently championed. Invariably this means one moment playing clubs, pubs, and coffeehouses, and the next bookstores, libraries, schools, and literary festivals. All our song lyrics are published poems, and many also enjoy lives as spoken word pieces. Our setlists typically feature roughly 60 percent of our own poetry and 30 percent paying homage to the work of other poets we admire wedded to our own arrangements and translations, which strive to do justice to each poem’s innate original music. While our poetry concerts may nonplus purists who assume we’re just moonlighting, we aim to build bridges and cross invisible, unnecessary borders. From creation to ovation, the active symbiosis of poetry and music we espouse encourages us to pay close attention to a poem’s musical qualities and/or a lyric’s poetic mien. Song or poem, call it what you will—we believe this fusion translates to a deeper, more accessible metapoetic experience for our audiences.” (web)

Rattle Logo

September 26, 2024

Forage by Tammy Nara, mixed media watercolor of a thistle on an expressive blue and brownish pink background

Image: “Forage” by Tammy Nara. “August Thistle” was written by Sonya Schneider for Rattle’s Ekphrastic Challenge, August 2024, and selected as the Editor’s Choice.

__________

Sonya Schneider

AUGUST THISTLE

Now that their bodies hurt, they listen
from their bedroom window
to the goldfinch song—
 
sweet repetition, it sounds
like po-ta-to-chip with a very
even cadence.
 
Wild canaries, says Pa.
They must be feeding
on thistle seed, says Mom.
 
My younger brother sleeps
facing the wall, in the room
across from them. Every night,
 
they lift him to his bed, change
his diaper, tuck the blue quilt
with green squares
 
around his fetal bend.
After forty-two years, there is still
that awkward moment
 
when he wets their hands
with his warm piss. He is music
without words. Still, I ask—
 
When will it be time
to find him a different home?
My father looks out across the dense
 
thicket of invasive species:
prickly-winged stems, bright
purple flowerheads,
 
releasing into the wind.
We love the birds so much, Pa says.
Wild canaries, Mom says.
 
Their bristle-like spines shine
in the moonlight. My brother
sings in his sleep.
 

from Ekphrastic Challenge
August 2024, Artist’s Choice

__________

Comment from the series editor, Megan O’Reilly: “The thistle depicted in this image is bold, sharp, and undeniably beautiful, and in ‘August Thistle,’ we witness the sharp beauty of love as we watch an older couple care for a beloved adult child with disabilities while enduring the hardships of their own aging bodies and minds. I love the way the poet subtly connects the ‘sweet repetition’ of birdsong to the dailiness of caregiving tasks, and how much she reveals through the father’s response to the question of rehoming the child: ‘We love the birds so much.’ There is love in the way the poem speaks of this family, love in the parents’ devotion to their child, love in the way the couple admires the birds and the flowers, love and pain coexisting: ‘prickly-winged stems, bright / purple flowerheads.’”

Rattle Logo

September 25, 2024

Ned Balbo

SHIRTS OF THE DISTANT PAST

I remember you some mornings in the midst of getting dressed
Surprised that I recall exactly when I wore you last
 
The paisley patterns spilling over sleeves
The Nehru collars nobody believes
… were popular
The turtlenecks no turtle ever wore
Those V-neck disco shirts that dance no more
… Spectacular!
 
Are you lurking in the closet among other clothes I own?
I gently touch your shoulder—a brief flash, then you’re gone
 
The concert souvenir shirts we outgrew
The obligation gifts we always knew
… were wrapped in haste
Thick cotton plaids lost lumberjacks would covet
That college T tossed out, but how we loved it
… still, such a waste
 
You promised transformation, but what else did you require
The full ensemble led us toward transcendence or desire
(Attire of another age, accessories all the rage)
 
Bell-bottom flares that took flight as we walked
Embroidered jeans so tight that people talked
… of nothing else
Those bomber jackets earthbound boomers froze in
Those leather wristlets grunge guitar gods posed in
… with death’s head belts
 
You folded in your fabric everyone I used to be
Now that you’re gone, I realize I’m left with only me
But if I run across you in some thrift shop bargain rack
Or rummaging recycling bins, what else would you bring back?
Who else will you bring back?
 
Some nights I see you in my dreams of places far away
I’m wearing you as if I haven’t aged a single day
Shirts of the distant past, shirts of the distant past
 

from Rattle #85, Fall 2024
Tribute to Musicians

__________

Ned Balbo: “I’ve played guitar since I was 5, keyboards since I was 13, and ukulele since I was 42, but my time as a ‘professional’ musician—someone paid to play—is scattershot and humble. Ice rinks, a Knights of Columbus Hall, a campers’ convention in Yaphank, a crowd of disco-loving retirees at Montauk’s Atlantic Terrace Motel, company picnics, school dances, private parties, and more—these were where I played guitar, sang, and devised versions of the Beatles, Bowie, et al. in two Long Island cover bands. The Crows’ Nest or Tiffany’s Wine-and-Cheese Café hosted noise-filled solo acoustic gigs, with more receptive listeners for original songs and covers of Elvis Costello or Eno at my undergrad college’s coffeehouse. More recently, I’ve written lyrics to Mark Osteen’s preexisting jazz scores (look for the Cold Spring Jazz Quartet on Spotify, Amazon, CDBaby, and elsewhere) and returned to solo songwriting and recording with ‘ned’s demos’ at Bandcamp. As a relic from the age when lyrics were sometimes scrutinized with poetry’s intensity, I listen closely to the sonics of language, whether sung or spoken, and look up to lyricists whose words come alive both aloud and on the page.” (web)

Rattle Logo