March 10, 2024

Erin Murphy

MAN WITH BIRDS AND BREAD

a cento

On the edges of the afternoon
we lie on the beach, gray waves
 
the only language,
the gun-gray curlings of salt-tongue.
 
A man slogs through the soft sand
with an expired loaf of bread.
 
Look how he kneels,
holding out his palms as if catching snow.
 
Seagulls peep like Erinyes wearing
white linen suits, sky-jockeying
 
into a swinging web of flying sound
on their parameter of hunger.
 
A cacophony of needs—
synonym for human, perhaps.
 
His home is an ocean away.
 
There / the moon hangs like a golden mango.
There / the beach is the wind’s body
 
flecked with violet
where the light, aflame,
 
used to hum in the siesta’s honey,
donde la luz zumbaba enardecida
 
en la miel de la siesta,
There / a song curls inside you,
 
songs of children, songs of birds,
cantos de niños y de aves.
 
All of a sudden:
a call, loud and mean, while flashes of light
 
rise just over the beach grass at our backs.
A four-wheeler.
 
Birds scatter
like fireworks on el Cuatro de Julio.
 
Hatred glosses
in the cave of the mouth—
 
a mouth as a cold wind.
Above, in the yellow sky, a phrase drifts
 
to us like smoke from distant fires.
The breeze isn’t silent.
 
Look how he kneels,
face toward the light,
 
a man who tilts his bread in the sun,
the bag of bones:
 
I am I am still here still here.
How bitter is the bread of bitterness.
 
If I burn the world around me—
el mundo que me rodea—
 
until it shines beautiful and brown,
how does one undrown?
 

Cento credits: John Hoffman, Pia Täavila-Borsheim, Erin Coughlin Hollowell, Linda Bierds, Peter Makuck, Rodney Jones, Dana Levin, Jennifer Foerster, Garrett Hongo, John Ciardi, Eva Alice Counsell, Reginald Shepherd, Julie Marie Wade, Michael Broder, Lola Ridge, Huascar Medina, Jonathan Wells, H.D., Olga Orozco (trans. from Spanish by Mary Crow), BrandonLee Cruz, Gabriela Mistral (trans. from Spanish by Ursula K. Le Guin), Juan Felipe Herrera, Lily Darling, Noelle Kocot, Ron Silliman, Emanual Xavier, Cynthia Hogue, Ellen Bass, Canisia Lubrin, Alexandra Peary, Marilyn Nelson, Myronn Hardy, Forrest Gander, Chase Berggrun, Joseph Fasano, Chim Sher Ting, Mahogany L. Browne, Khaled Mattawa, Ashley M. Jones, Niki Herd

from Poets Respond
March 10, 2024

__________

Erin Murphy: “Whenever I visit the Outer Banks of North Carolina, I see a Latino man feeding seagulls on the beach after work. He speaks Spanish to the birds, gesturing with his hands for them to come down to eat. The birds seem to recognize him and swarm around him for bread. This week, I witnessed a vehicle speeding along the beach and coming dangerously close to the man. The driver and passenger were yelling at the man and pumping their fists. The birds dispersed. I don’t think it’s an accident that this happened the same week that Axios reported that Latino activists are concerned about increasing hate crimes against immigrants. I chose the cento form for this poem because the experience called for a multiplicity of voices.” (web)

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March 9, 2024

Gary Lemons

END GAME

1.
 
In the beginning the earth was alone.
It had no language. Did not speak. Nothing
Disturbed the blue work of its dreaming.
 
It dreamed blood. Not just water.
Not just a salt filled basin of rain. Something
Momentary. Unable to feel anything
But the desperate ripple of its own stone.
 
Blood demanded blood. Killed to get it.
Dripped from the ceiling in the room
Where earth dreamed of rivers.
 
Let there be an end to lights rising
From windows, the smoke of machines, the
Crash of stricken roses as they fall.
An end to the cadence of hearts, an end
To bird songs. Let there be
An end to mothering the already dead.
 
The dream is over. Earth is awake.
 
 
2. Snake
 
Snake comes down the mountain with a ghost
In its mouth. Ghost feels no pain pierced by fangs.
Tells snake nothing is left alive. Only snake.
Snake don’t care. Snake eats what’s left.
 
When nothing’s left snake likes himself for a meal.
Snake hunt in trees for earth’s early dreams.
 
Snake find ’em and pop ’em in his mouth.
Eat a dream before it finds a dreamer.
That way snake rules in a world without light.
 
 
3. Snake Dreams
 
Snake dreams of water. Seeing
Babies strung with seaweed floating
Effortlessly toward the sun.
Snake is alone with a truth
Worn so thin it has no sides.
A dreaming snake makes no sound,
Leaves no trail, weighs less than air,
Can’t be heard, seen or felt by earth.
 
Snake is the last living thing. Earth hunts
Snake. Snake dreams and can’t be found.
 
When snake is sufficiently invisible
He will awaken and the clock begins
Ticking toward the time earth will
Feel the faint slither of the last blood
Filled tube moving on its skin. Earth
Sensing, snake sensing.
 
Before then snake will eat himself.
Snake will become the distance
Between inescapable beginnings
And inevitable conclusions expressed
By the dying sun over quiet water.
 
Snake will surface in the pink light
Surrounded by pale children whose
Hands are filled with bones that once
Were inside their bodies.
 
 
4. Snake in the Grass
 
Sure snake like a good slither in wet grass
But only if the grass is wet with blood.
Ghosts don’t bleed so snake don’t like ’em.
 
There are billions of ghosts, dandelion puffs
Singing as they fly, screaming when they land.
But snake moves through snowstorms
Of souls knowing his hunger is punishment
For worshiping god one bite at a time.
 
With snake gone the earth would be alone.
Out of compassion snake remains alive.
 
For now snake slithers through a field
Of ghosts looking for vestiges of god to eat.
 
Snake thinks and chews old leaves—thinks,
No, these are only leaves, only old leaves.
 
 
5. Snake Eyes
 
Snake has no eyes. Don’t need to see.
Ain’t nothing to see in the entire world
But snake hisself and snake done seen hisself
In the face of things he ate alive, seen
Hisself in the pool of liquid that came out
Of them when snake squeeze ’em good.
 
Now snake be blind. Sharpen his other senses.
Knows when to freeze, knows the voice
Of every dead soul hanging in the air,
Knows especially when earth has felt him.
Knows then to dream his self away,
Leave behind his skin for earth to mince
While snake drifts through possible doors
Of awakening, not seeing, just knowing
When it’s safe to be reborn.
 
Why do snake pursue another snake to be?
Why not give it up, go be dead? Stop hungering.
Be a ghost like all the rest. Be easy.
Just hold still. Let earth come. Let earth
Rise. Feel the ground tremble. Feel his belly
Sawed open by stones and dirt slide in.
Feel earth inside and no longer be snake.
 
Haw. Haw. That funny. Snake can’t die.
Snake must live so not another world begins.
 

from Rattle #27, Summer 2007

__________

Gary Lemons: “It’s almost a cliché to speak of poetry as a transformational process by which the poet begins, through the writing of the poem, the sacred work of becoming a better human being. I believe this. Each poem is a gift much like each prayer is a lesson. What matters to me is the tissue-deep shift I feel each time the words come out in that spare and clean way that tells me I have spoken as truthfully as I can in my own voice. The poem as it is written becomes my window as well as my mirror. I am grateful for this every day.”

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March 8, 2024

Simone Muench

WHAT WE WERE TOLD

the beautiful woman in front of you
is not your wife
though you’d like her to be.
You woo her with bouquets
from the garden every day.
 
She insists on a list and to your astonishment
the names fly out of your mouth
with the speed of hummingbird wings:
agastache, scarlet gila, cosmos.
You’re an architect
 
of petals. You tell her you’ll twist wisteria,
the scented limbs of cherry trees
into a home. You assemble a gazebo
of leaves for her to wait
while you erect your castle of flowers. Of course,
 
you will fail. You were never told every fairy tale
is tinged with soot. Look back
over your shoulder
already the woman is dismantling
your carefully constructed hut, the flowers
 
in your hand have wilted, the castle’s caving in.
A few startled birds flutter in the air,
your voice calling after her.
That’s all that’s left
and nothing else.
 

from Rattle #14, Winter 2000

__________

Simone Muench: “I am a Southern Baptist atheist from Shreveport, Louisiana, currently obsessed with pool, musicians, and religious myth.” (web)

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March 7, 2024

Gregory Orr

*

Weeping, weeping, weeping.
No wonder the oceans are full;
No wonder the seas are rising.

It’s not the beloved’s fault.
Dying is part of the story.
It’s not your fault either:
Tears are also.
But
You can’t read when you’re
Crying. Sobbing, you won’t
Hear the song that resurrects
The body of the beloved.

Why not rest awhile? If weeping
Is one of the world’s tasks,
It doesn’t lack adherents.
Someone will take your place,
Someone will weep for you.

from Rattle #24, Winter 2005

__________

Gregory Orr: “I know these words are hard to work with, because they sound naive. But they’re not naive, they’re fundamental. I think when I read a poem that deeply moves me, that feels beautiful and moving, I feel as though I’ve been given more courage to live.”

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March 6, 2024

Miracle Thornton

PRAISE DANCE

I.
 
i close my legs. i’m starting to smell
like a woman and the other girls can tell.
 
they spread wide and bend forward,
breathe giggles into the floor. clean
 
like new soap, talking in clicks about pastor’s
son—i am in love—about the way he feels.
 
they quip about how he kissed sharp
like a punishment in the back room off
 
the narthex. i felt him with my foot, says an usher’s
daughter and other girls shiver in her pride.
 
Sister comes to open me up and my jealousy
reeks like cabbage: pungent my yielding body.
 
 
II.
 
we balance on the ball, my ankles spurred out
and trembling. the girls step on my feet to make
 
my arch collapse. they don’t ask me where
it hurts and i don’t bother to tell them.
 
take me to the king and we carve lazily for Him,
our palms drawn upward, so open
 
i can’t breathe. this practice, pushing good
from the ground to the apex to the pews.
 
afterward, the girls dance for the boys straight out
of bible study. the girls ripple, laughs tart greens,
 
dressed still in paneled white tunics slick
over their curves. one of the boys begins
 
to beat on the altar a rhythm that makes me want
to whine into my seat. the girls’ hips clock against
 
one another. the pastor’s son humors a pew stain.
the others hooting, enraptured; blanched, i gnaw.
 
 
III.
 
on stage, Sister is violent for the Lord. fruit
washed in vinegar, she’s bitter white spit
 
down the apron. i don’t mistake her passion
for devotion. she’s giving it to the ushers
 
shaking wicker hats full of change, their gloves
browned at the tips. the elders with butterscotch
 
bulged cheeks clap fans against shiny
bad-ass boy heads, hallelujah
 
from the chest. fathers bop babies off knees
and my mother ducks her head in her purse,
 
chewing red vines and sucking her teeth. seen
from our pristine line of girls, i hide my head
 
in the thicket of hair gifted to the tallest of us.
i marvel behind the black halo at Sister’s war
 
of limbs until she comes
to a halt. the flock erupts.
 
i have to breathe in.
 

from Plucked
2023 Rattle Chapbook Prize Winner

__________

Miracle Thornton: “When I encountered the Aesop fable, the moral of the story—an individual caught between pride and loyalty—immediately resonated with me. Growing up, I always felt pulled between the environment of my home and my hometown. It was difficult to understand who I was when it changed depending on the room, depending on whomever else occupied the space. The bird was a powerful conduit and spoke to the illusive aspects of my ever-evolving sense of self.”

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March 5, 2024

Kelly Sargent

THE “L” WORD

 
 
plucking my eyebrows
he likes me
he likes me not
 
 
 
chocolate fondue for two—
double-dipping
the banana
 
 
 
their candy hearts—
I swallow more
sweet nothings
 
 
 
a single boa feather
floats in the coffee—
the morning after
 
 
 
fallen petals—
how he used to
call me pretty
 
 
 
threadbare—
my heart no longer
on my sleeve
 
 
 
Valentine’s Day—
without a word
he takes out the trash
 
 
 
anniversary dinner—
the harvest moon
in the ladle
 
 

from Prompt Poem of the Month
February 2024

__________

Prompt: Write a haiku sequence that talks about love without mentioning it by name.

Note from the series editor, Katie Dozier: “Kelly’s poem gathers many familiar symbols of love, such as candy hearts, and slices them with the haiku’s knife. The result is a sequence that captures the breadth of romantic love and even takes us out for fondue in the process.”

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March 4, 2024

Jeff Vande Zande

IN EARLY DRAFTS, ROBERT FROST RELIED HEAVILY ON THE THESAURUS

Discontinuing By Timberland
on a Fleecy Eventide
—Robert Frost

Whose copse this is I speculate I get.
His domicile is in the township, yet;
He won’t monitor me refraining here
To observe his pines congesting with wet.

My petite steed must reckon it bizarre
To knock off with the next shanty so far
Flanked by boscage and glaciated loch
The blackest eve of Earth’s loop around star.

He gives his tackle’s carillon a flap
As though he’s inquiring, “What the crap?”
The single other racket is the zoom
Of cozy zephyr and pubescent scrap.

The thicket is cute, sooty and abstruse.
But I’ve contracts that I don’t want to lose,
And 5,280 feet more until I snooze,
And 5,280 feet more until I snooze.

from Rattle #33, Summer 2010
Tribute to Humor

__________

Jeff Vande Zande: “I guess I was reading a lot of student papers in which students were compelled to try to make their papers sound ‘better’ by using the thesaurus. For instance, one student had been arguing why people should take up jogging and then, in the middle of the paper, started arguing why people should take up cantering. I thought it might be funny to rewrite a Frost poem under the premise that Frost was a thesaurus abuser. Then, after reading it, Tim Green said, ‘I like it, Jeff, but can you make it rhyme?’ That’s three hours of my life that I’ll never get back!” (web)

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