January 23, 2025

Self-Portrait as a Prep School Llama by James Valvis, pastel drawing of a llama in a blue business suit

Image: “Self-Portrait as a Prep School Llama” by James Valvis. “The Grass Ceiling” was written by Kevin West for Rattle’s Ekphrastic Challenge, December 2024, and selected as the Artist’s Choice.

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Kevin West

THE GRASS CEILING

At his wildest Terry never dreamed
the journey from the Andes
to the corner window office
at Broadstone Bank outside Albany
 
was going to take so long,
the board’s closed-mindedness
looming like a chain of peaks
even as he kicked and spat
 
his way past the competition—
coddled milquetoast MBAs
with power ties and weak morals—
Broadstone’s balance sheets
 
rocketed up like a fuzzy tail,
all thanks to Terry’s wizardry
with risk management, his secret
weapons the swiveling ears
 
plucking whispers of futures
from the susurrus of stock tips,
every year bonuses doubled,
his supervisors shook their heads
 
in disbelief, and every year
Terry could hear the dry rattle
of the grass ceiling where his hopes
for promotion were dashed,
 
You’re too young, Terry,
Still missing some vital experience,
meanwhile Millie the bank manager’s
daughter shrieked in the break room
 
when her promotion was announced,
Terry’s ears fluttering sharply away.
Soon his studio overlooking the bend
in the Hudson started smelling like a stall,
 
Terry lost weight, developed mange,
worked himself wild with worry,
at all hours the halls of Broadstone
clacked with the beat of his two toes,
 
profits soared, and finally, finally!
Terry got the call: Next week,
dress well, you deserve it.
Down the street to the tailor
 
Terry waggled for a charcoal two-piece,
the new Amex, heavy with status,
rapping metallic against his toenails,
a black blade to slice through grass.
 
Until he paraded himself into
the boss’s office, Millie there, too,
all of them, faces aghast, eyes wide.
Is that mohair? somebody asked.
 
Terry paused, briefcase in hoof,
fought down the urge to spit,
I’m not an Angora goat, he said,
feeling the unseen grass above him,
 
still rough, dry, and harsh, no matter
his margins the board would only
notice his furry flanks, his dark eyes,
his ears pivoting toward the future.
 

from Ekphrastic Challenge
December 2024, Artist’s Choice

__________

Comment from the artist, James Valvis: “I love the mixture of whimsy and woe in this poem. I’m especially impressed by the whimsy. Poets are often too serious. It’s a llama in a suit! It’s ridiculous. (Kind of like its artist.) What’s not ridiculous is the poet’s skill and tight wordplay. Kudos to the winner, and a hearty thanks to all the others that made the choice its own challenge.”

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December 30, 2024

Paradigm Shift by Morgan Reed, abstract painting of people walking in the rain with umbrellas

Image: “Paradigm Shift” by Morgan Reed. “After Rain” was written by Michael Pfeifer for Rattle’s Ekphrastic Challenge, December 2024, and selected as the Editor’s Choice.

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Michael Pfeifer

AFTER RAIN

She appears as blue
shadows across the market
dust at Adiba
where the umbrella-makers rattle
and shape their ephemera,
confident as a mystery
waiting to be told.
Holding a ticket
for a train of sand and fear.
Pale resurrection sisters
surround her. Their dark
umbrellas eclipse the sun
to hide her face. Her face
a streambed of fog
and remembrance,
a collapsing umbrella after rain.
 

from Ekphrastic Challenge
December 2024, Artist’s Choice

__________

Comment from the series editor, Megan O’Reilly: “For a relatively short poem, ‘After Rain’ speaks volumes, using brief imagistic phrases to create a narrative that feels real and multifaceted. Morgan Reed’s image does this, too—the use of color and sense of movement allow the viewer to imagine the scene coming alive with sound and motion. The poet packs a great deal of meaning into illusorily simple phrases like ‘shape their ephemera,’ ‘confident as a mystery,’ and ‘a train of sand and fear.’ That one of the women in the painting—all of whom have their backs turned to us, in an artistic decision that seems significant—is described as having a face like ‘a collapsing umbrella after rain’ is both a beautiful, evocative piece of imagery and a congruous summation of the main themes of the painting.”

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December 19, 2024

Paradigm Shift by Morgan Reed, abstract painting of people walking in the rain with umbrellas

Image: “Paradigm Shift” by Morgan Reed. “My New Dress” was written by Sarah Carleton for Rattle’s Ekphrastic Challenge, November 2024, and selected as the Artist’s Choice.

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Sarah Carleton

MY NEW DRESS

with bodice and gathered sleeves
kicks up a gust of colors.
Here I come, a freshly ironed wave
 
that scrubs the morning clean,
skirt swinging beneath a parasol,
waistline the fulcrum cotton rustles
 
around on a tropical day stitched
with yellow piping and white petals,
washed in turquoise seawater,
 
dabbed with terra cotta, edged in pink,
drenched in lavender—I stroll
the market like a paint-splashed
 
palette, not a woman but women,
plural, a flock, each of me
so dazzling all you see is sunshine.
 

from Ekphrastic Challenge
November 2024, Artist’s Choice

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Comment from the artist, Morgan Reed: “What a difficult decision! There were many interesting and imaginative poems submitted, including a few that were remarkably parallel to my own thoughts in making the painting. ‘My New Dress’ takes the image in a different direction, but in the end, I was charmed by its freshness, sensory joy, and closing flourish.”

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November 28, 2024

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

Image: “Zaubererturm” by Jennifer S. Lange. “The Scene Is Set” was written by Rose Lennard for Rattle’s Ekphrastic Challenge, October 2024, and selected as the Editor’s Choice.

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Rose Lennard

THE SCENE IS SET

Time slows like ancient windows flowing,
reflections warp, horizons bend their bounds
and history is waiting to get going.
The trembling ash sing all the root-found
songs of hope they know; sound a warning
in shades of myth, the mauve around a wound.
Towers that fell have risen again this morning
vine-wound, cloud-capped, tall ships marooned.
 
Ravens hang forever turning overhead,
their blessed eggs lie cool in distant nests;
they dream of naked chicks with noisy gapes
to stuff with dug-up grubs until they fledge.
The screen awakes, the scene is set.
You cast the spell, the world remakes.
 

from Ekphrastic Challenge
October 2024, Editor’s Choice

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Comment from the series editor, Megan O’Reilly: “‘The Scene is Set’ is masterfully composed in every way–the flawless rhymes, the fluid cadence, the depth of meaning. Lennard’s descriptions of Jennifer S. Lange’s piece are both visually and acoustically striking: ‘vine-wound, cloud-capped, tall ships marooned.’ The poet references ‘shades of myth,’ a fitting interpretation of ‘Zaubererturm’ and its soft, subtle invocation of fairytale and folklore. There’s an otherwordly quality to the image, interpreted by the poet as a different kind of reality (‘time slows … reflections warp…horizons bend …’). The poem’s ending, and its depiction of a temporal, illusory world, feels like a perfect homage to a gorgeously enigmatic work of art.”

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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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October 29, 2024

Have you ever eaten breakfast here before? by Barbara Gordon, oil painting for two construction barrels leaning toward each other as if in conversation in an empty parking lot

Image: “Have you ever eaten breakfast here before?” by Barbara Gordon. “Reverie Work Ahead” was written by Zeid for Rattle’s Ekphrastic Challenge, September 2024, and selected as the Editor’s Choice.

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Zeid

REVERIE WORK AHEAD

two traffic barrels wonder if they should crack the street / split the asphalt like an egg / see what spills out. or if they should imagine themselves as spiderwebs / snaring a city’s descending ashes / clung tightly to circular frames. one barrel whispers to the other / the reply is a stuttered hymn / a plastic rasp. they are the pulse of rust and rain / flickering stripes / smoke-glint on iron / ghosts of a steely and dust-bitten world. they lean closer / barricade lights nearly touching / soft pulses under blue sky. they whisper of silver platters and things they cannot eat / oil-slick dreams sliding between orange bands. a yellow caution tape snake slithers by / coiling in a wind’s clutch / curling toward and away from the barrels. they wait for the night crew / who’ll roll them back to their stations / with street tremors below weighted bases. for now / they press into each other’s shadows / the city’s hum beyond the frame / the asphalt cooling as the day exhales. still / the question hovers like fog above street / should they crack the ground beneath them / or let it hold / fixed / silent / as / fault / or as choice?
 

from Ekphrastic Challenge
September 2024, Editor’s Choice

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Comment from the series editor, Megan O’Reilly: “This image, on its own, is a poem, the way the artist breathes humanity into commonplace objects and winks deftly at a more complex narrative. ‘Reverie Work Ahead’ puts words to that narrative, imagining the untold story of two traffic barrels. It takes a skilled writer to achieve this without veering into absurdity, and Zeid pulls it off impressively. Inspired phrases like ‘ghosts of a steely and dust-bitten world’ and ‘coiling in a wind’s clutch’ captivate and give dimension to the world the poet creates. The last line, in the form of a question, feels profound and consequential, and reminds the reader that great poets and artists can create the deepest meaning out of the most ordinary subjects.”

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October 24, 2024

Have you ever eaten breakfast here before? by Barbara Gordon, oil painting for two construction barrels leaning toward each other as if in conversation in an empty parking lot

Image: “Have you ever eaten breakfast here before?” by Barbara Gordon. “[construction cones]” was written by Cindy Guentherman for Rattle’s Ekphrastic Challenge, September 2024, and selected as the Artist’s Choice.

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Cindy Guentherman

TANKA

construction cones
tilted a little
toward each other—
how we lean forward
to say what matters
 

from Ekphrastic Challenge
September 2024, Artist’s Choice

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Comment from the artist, Barbara Gordon: “It’s amazing how all of the poets constructed so many different stories about my painting. I’m down to these two. This tanks really captures the essence of the painting, I think: the feeling of the two barrels leaning over to talk: a little quirky, a little funny, a little tragic. The barrels and cones talking to each other, telling little stories.”

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