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.”
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)
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?”
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.”
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)
“August Thistle” by Sonya SchneiderPosted by Rattle
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.
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.’”
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)