June 21, 2024

Jana Bouma

THE THINGS WE FORGET

My dentist warns that my gums are letting go; they’re
threatening to set my teeth adrift on a current of words.
So I’ve bought myself an electric toothbrush, 
and my teeth, now, after brushing them 
are so clean that they are a wonder, 
and every day I trace them with my tongue, 
relishing their smoothness. And when I spit into the sink 
and turn on the faucet, all that roughness 
goes spiraling down the drain, through the pipes, 
into that long, tentacled river flowing continuously 
beneath our feet, carrying away all that we do not want 
to think about or see again, 
uniting stream with stream of effluent from my kitchen, 
my bathroom, the neighbor’s kitchen, and bathroom, 
every kitchen and bathroom in my small town, 
in the neighboring city, in a thousand cities 
across a continent. 
 
Away it all goes but leaves behind trace after trace 
in the pipes-become-channels-become-
subways that men can walk within and do 
walk within, looking for the leaks and the corrosion 
and the clogs that would flood a city street 
or back up into your basement if there were not 
someone         willing         to disappear 
into the street’s round, dark openings, 
to descend into a chamber knee-deep 
 
with the excrement and the sluice that we’ve all 
tried to forget, that we all have forgotten 
as soon as it leaves our sink or bathtub, and Mike Rowe 
has made a television series, an entire career 
out of the work that such men do (and such women),
unclogging the sewers, digging a river’s worth of silt 
from inside the dam, shovelful by shovelful,
stripping the feathers from bird carcasses,
carrying away the excrement of enormous animals, 
because hard work 
                                   is beautiful 
no matter the muck that you do it in, 
and the men and women who do it are, yes,
                                                                             beautiful, 
the women with fingers raw from turning seams in the coat factory, 
the men with faces blackened by the forge’s fire, 
the husband and wife toiling, bent over the long rows of strawberries, 
their infant bundled under a tree at the field’s edge, their ears listening 
for the sound of approaching sirens. 
 

from Rattle #84, Summer 2024

__________

Jana Bouma: “I love that poetry brings to our awareness the things and the people that we seldom think about, or that we actively avoid thinking about. For years, I tried to write this poem with that very intent until, one day, a visit to the dentist’s office provided me with that one ‘other thing’ that made the poem work, and the poem came pouring out.”

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June 20, 2024

Bird Ascending the Fire by Barbara Hageman Sarvis, painting in oranges and purples of a bird flying over a woodland lake

Image: “Bird Ascending the Fire” by Barbara Hageman Sarvis. “Wildfire Dreams” was written by Linda Vandlac Smith for Rattle’s Ekphrastic Challenge, May 2024, and selected as the Artist’s Choice. (PDF / JPG)

__________

Linda Vandlac Smith

WILDFIRE DREAMS

at night sleep slides
its matchbox open
sparks old torches
a woodland of flares
twizzling up through
brittle boughs of
dream all wick from
roots to treetops
 
everywhere lake
laps heat’s edge at
the border of what is
and isn’t afire what is
wind or what creates
it as smoke makes its
lateral move through
curve of vision nearly
 
obfuscates a bird risen
from shadow’s char
not phoenix but drone
misshapen angel or
ancestor I cry out for
any stranger born into
a wildfire of dreams
only a distortion of
 
myself parting troubled
clouds making orange
apologies from within
the same dark scowl
that ignites thunderstorm
this incubator of flame
that renews forest
with one jagged strike
 

from Ekphrastic Challenge
May 2024, Artist’s Choice

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Comment from the artist, Barbara Hageman Sarvis: “I loved the poems very much, but felt that the poet of ‘Wildfire Dreams’ did an excellent job creating words, metaphors, and a narrative that describe both literally and emotionally the visual imagery in my painting.”

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June 19, 2024

S. A.

GHAZAL—

The wine-dark pain spills over, in my bed alone.
In nighttime stillness is my heart beset alone.
 
Why did you make me this way, why did you make me?
O God, why did you make the world, thus left alone?
 
My lone soul that aches for others’ nearness,
Why not make me like you, and be glad alone?
 
My forebears made us for company in sorrow.
You, motherless, childless, cannot beget, alone.
 
Why was I born from another’s pain? A mother’s
body, carried me—but suffered and bled alone.
 
To what do I owe the tormenting of this heart,
A solitary drum that beats “not-dead,” alone.
 
What do I owe you, thus born into this sorrow,
Are we all bound to you in debt, alone?
 
I was anointed “shame” ere having seen the light.
Why give me to the world, naked, blood-clad, alone?
 
Why must we plod and sweat and toil to till the earth?
Answer me, Lord; we cannot live from bread alone.
 
We were abandoned, then commanded to find you.
Why send us prophets to die in your stead, alone?
 
I’ll renounce you too, God, unveiled, unfettered, I
sing, birdlike, free, and leave my prayers unsaid, alone.
 
I trace my finger ’round the mirror Pleiades.
Around me Time winds its unending thread, alone.
 

from Rattle #84, Summer 2024
Tribute to the Ghazal

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S. A.: “As a multilingual poet growing up speaking Arabic, I’ve always been fascinated by classical Arabic poetry, and how these poems and poetic forms can be read, appreciated, contrasted, reworked, reflected, and reimagined. I wanted to see if the ghazal form could work as well in English as it would with the mellifluous, dense imagery of the Arabic language. I wanted to evoke many of the same images, phrases, and ideas that show up in ancient Arabic, Persian, and Urdu ghazals, and this decidedly heretical ghazal is still grappling with the same themes of love, loss, and god.”

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June 18, 2024

Jeannine Hall Gailey

TO A SELF-PROCLAIMED MANIC DEPRESSIVE EX-STRIPPER POET, AFTER A READING

Remember: you are a blank page
no amount of shopping can cure.
One night you go out in tassels
and the next like a nun, but we still
love you. Can’t hold your liquor?
Never mind. Little angel, little bomb-thrower—
where would our malls
be without you? And the readings
you give in your corset are always good
for a crowd. I didn’t stop to give you
any advice. Get moving, screams Self
Magazine, or get medicated. Stay in the sun.
One more roast beef sandwich to watch you
wear yourself out for the muse. In the mirror,
you continue to shrink and I tell you—
eat this piece of cherry pie. It’s laced with cinnamon,
and maybe lithium. Also, write, but remember
writing will not be the death of you, or the life.
Keep watching the skies. Or skis. Sign a happy tune.
If this world doesn’t know the magic they behold,
create it for them. Remember to paint over the lines.
Forget your high heels and dance, Cinderella, dance.
 

from Rattle #24, Winter 2005

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Jeannine Hall Gailey: “Since memorizing ‘Anyone Lives in a Pretty How Town’ for a fifth-grade poetry recitation contest, I’ve been in the thrall of language and the elegance of this art form. I’m still working on writing something worthy of memorization by a future fifth grader.” (web)

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June 17, 2024

John Arthur

WAYFARE

I spent most of a day 
putting the crib that came 
in 48 parts together, tightening 
every screw just enough, 
but not too much, the memory 
of its assembly living somewhere 
in me while you dreamt inside it 
for one thousand nights,
it later taking only ten minutes
to disassemble and one minute
more to box it up, to put it out 
onto the curb where the city 
came to take it away. 
 

from Rattle #84, Summer 2024

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John Arthur: “I’ve always been perplexed by poetry. I read and write it to make some sense of the confusion. My favorite poems surprise me and help me understand what I feel with more clarity. I don’t fully understand why I am drawn to poetry, but I am glad that I am, always have been, and likely always will be.”

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June 16, 2024

Terri Kirby Erickson

MY FATHER

My father was a whistler and a penny
lobber. He had no use for the lowest
denomination of hard money, so handing
pennies to him for change was followed
by a quick coin toss to the sidewalk. Dad’s
one-cent pieces are all over this town,
including the pockets and piggy banks
of strangers, something he never met.
He could talk to anybody and they talked
to him. While paying for paint or car
parts or anything at all, cashiers would
tell my dad the stories of their lives and
he would listen. Once my ex-husband,
who my father later referred to as a bad
penny, was yelling at me because supper
wasn’t hot on the table when he came
home from work. He didn’t know that
Dad was upstairs until he came bounding
down saying, Boy, if you’re so hungry, why
don’t you eat a goddam cracker? which
was one of the most satisfying moments
of my entire life, and still worth a whistle.
 

from Poets Respond

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Terri Kirby Erickson: “Thanks for everything, Dad. I miss you every day.” (web)

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June 15, 2024

Ace Boggess

“WHAT IS YOUR IDLE JOB?”

—question (with typo) in a mass email’s subject line

I wait for lunchtime at my desk, spinning
like a boy in a barber’s chair. Come noon, a walk
past pretty girls in flowered clothing, faces blooming
from sunlight’s brownish blush. I sit awhile,
lotus-like beneath a shadowy willow, breathe smells
of cut grass, melting chocolate.
I feed squirrels, sing love songs to pigeons,
watching as they bob their heads in rhythm.
Then it’s back to the office for coffee
tasting like gasoline, maybe a doughnut on the sly.
If my boss pops over, checking my progress,
I greet him with a good-natured pat on the back
to wipe the sticky glaze from my fingertips. After,
it’s time for all the important tasks: I shuffle
blank pages, transfer calls to disconnected numbers.
I wink at my window-reflection. I liaise. Mostly,
I deal with people come looking for me.
I give directions, always surprised if they reappear,
winded & flushed, to ask me where I am.

from Rattle #23, Summer 2005
Tribute to Lawyer Poets

__________

Ace Boggess: “I just like watching things, from at a distance at first and eventually from the center of the scene. I started writing as a way to take photographs of the things I was watching and, later, living. I began with songs as a fun way to take those photos, then moved on to my real love, novels. I picked up the bad habit of writing poems when I finally realized writing novels takes so long that too many important photos never get taken along the way.” (web)

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