January 13, 2023

Anna M. Evans

STATE OF GRACE

for DF … and Wisconsin

I. Green Lake

 

Even the clouds look different, more defined.
The lake is silver, ripples flash like teal
minnows before the bow; the wake, behind
is jubilantly frothy. This is real.
You tell me stories of your lake-life youth.
They’re tinged with silver too and glow with joy.
The small boat’s engine counters: this is truth.
You tell me how you met your man, a boy
who made you laugh at parties. This is breath.
A light wind makes a halo of your hair.
I feel at ease with, although far from death,
And take a deep gulp in of summer air
to ask the question that this day makes clear:
would I be you if I had grown up here?

 

 

II. Interstate 41

 

Would I be you if I had grown up here—
this land of cloistered dairy cows and lakes,
straight roads that narrow till they disappear,
skirted by fields of corn? For argument’s sake,
the answer’s no, but maybe it’s a yes.
Aren’t we all products of our circumstances?
My English parents did, I must confess,
endow me with a decent set of chances
then add a lust to see and know and do
more than they did, which hurled me overseas,
led me to the place where I met you
and brought me to your state. This notion frees
me of the envy, loosens up the guilt.
Each of us owns the hard-won world she’s built.

 

 

III. Oshkosh I

 

Each of us owns the hard-won world she’s built.
Your house a twisted mirror of my own—
slate-surfaced tables, lots of wood, no gilt—
not perfect, but in every sense a home.
You have a tomcat who prowls countertops,
a dog who rests her muzzle on my knee.
We sit on your deck in tee shirts, shorts, flip flops.
I marvel at how much you are like me.
Except …
… out here, you always watch Fox News
and like Oshkosh, your vote is ruby red
while I’m a sworn-in member of the blues.
I quiet the stubborn voice inside my head
that says we can’t be friends. I will not hear,
won’t be constrained behind a wall of fear.

 

 

IV. Lake Butte des Morts

 

I won’t be constrained behind a wall of fear
and yet the rope is slithering from my grip.
You yell at your husband, but he doesn’t hear.
Keen to impress, I hold on till I slip.
Baptized in the shallow water of the lake,
I scramble up, reborn. We shake with laughter.
Whatever this friendship is, it isn’t fake.
I shed my sodden clothes, know each time after
that wearing them will summon up this day
and how my accent, too, began to slide
into the drawn-out O, the Wisconsin A.
I’m holding on now, in it for the ride.
The boat speeds from the boat launch and its silt.
I shape my mouth—my new Midwestern lilt.

 

 

V. Dockside Tavern

 

I shape my mouth around the Midwest lilt,
self-conscious in a bikini at the bar—
my clothes too wet to wear since I got spilled—
and order lunch to go. We’re heading far
across the lake to somewhere you call Stretches.
I have no data I can use to draw
comparisons. My overcharged brain sketches
and then discards ideas. When we unmoor
I try to relax, and suddenly I do,
my tense muscles uncoiling like a rope.
The sun casts blessings from a sky so blue
all apprehension vanishes in hope
a body can surrender like a voice.
Remember that contentment is a choice.

 

 

VI. Oshkosh II

 

Remember that contentment’s about choices.
The day before, we’d sat upon your bed
and shared our girlhood secrets in low voices,
a frank and warm exchange, which somehow led
to how the Supreme Court had undone Roe.
You didn’t want your state to be that way,
but when I tried to tell you how to show
your disapproval, you went on to say
you couldn’t vote for Democrats—not ever—
because we’re evil, arm around my shoulder.
I let it hurt, but couldn’t let it sever
the bonds we share or turn our friendship colder.
You cannot understand what you don’t see.
I have no way to make you think like me.

 

 

VII. Lake Winnebago I

 

I have no way to make you think like me,
but just for now, we’re visibly in sync,
sitting up front like sisters, knee to knee.
Your husband, steering, throws us a fond wink
then opens up the throttle to full force,
and now the boat is bouncing through the wake
of one in front as he sets a direct course
to our destination. This is a vast lake
to me, accustomed to the Jersey shore.
This body of water somehow dwarfs the ocean,
lacking the waves that find a sandy floor.
I am so thrilled to yield to the motion,
the motor thrumming like an inner voice 
in a rhythm that insists we all rejoice.

 

 

VIII. Stretches I

 

In a rhythm that insists we all rejoice
the boat converges on our destination.
I look around. It’s as if, with one voice
Oshkosh’s boat-owning population
has named this sandbar as the place to meet—
pontoons and motor cruisers, large and small
are roped in lines together, like a fleet
of sailing partygoers. Your friends call
and we tie up then anchor next to them.
Men stand in waist-deep water, beers in hand,
and women lounge on swim decks. You say, Come!
and help me lower myself onto the sand.
The opaque water’s warmer than the sea.
You’re showing me your life. It’s heavenly.

 

 

IX. Dublin’s

 

You’re showing me your life. It’s heavenly,
like how we visited the Irish bar
where your son cooks. You were so proud of me—
your friend, the poet—as if I were a star.
They asked me for a haiku, which I wrote
and after that, my glass was always full.
Why should it matter to me how you vote?
An afternoon with you is never dull.
It was a relief, not to have to think,
to sing the lyrics to an Irish song,
pull the tabs off lottery cards, and drink,
forget the ways the country’s going wrong,
put any hint of conflict out of mind,
surrender to the moment and be kind.

 

 

X. Fox River Brewery

 

Surrender to the moment and be kind,
which means that when you’re hungry you should eat
and tip well. I was in the frame of mind
to wear a sundress, something loose and sweet,
so we went home, got changed, and did our hair,
then found a table outside by the dock,
took pictures perched upon a huge lawn chair
and watched the sunset. The relentless clock
had never been so silent. Was it the band?
The lively music somehow soothed my soul.
Or was it that a day could be unplanned
and still be perfect? I felt peaceful, whole.
Of course, the salmon tacos were sublime.
It was a day outside of rules and time.

 

 

XI. Oshkosh III

 

It was a day outside of rules and time.
We swayed into your house, a little drunk,
and then we called as one, partners in crime
for eighties music—indie rock, not punk,
and danced barefoot and wild like maniacs—
Blondie, The Smiths, Aha, Kate Bush, The Cure
and Frankie Goes to Hollywood’s “Relax”
while belting out the words we knew. I’m sure
your husband thought that we were both insane
but still played barkeep, audience, DJ
until our energy began to wane
and then we put our teenage years away
amazed how much our music tastes aligned.
You were the friend I’d always longed to find.

 

 

XII. Stretches II

 

You are the friend I always longed to find.
We need sunscreen, you say, then spray it on
my skin, tan lines already well-defined.
I slide back in the water, but you yawn
and tell me that you’re going to take a nap.
I dunk myself then swim around the boats,
a slow and lazy breaststroke. Every lap
your husband checks I’m still okay….Your votes
seem so incongruous, as if a song
I loved turned out to have satanic meaning—
how can I feel so comfortable, belong
with people whose beliefs are so right-leaning?
You break the structure of my paradigm.
Except for this one dissonance, we rhyme.

 

 

XIII. Lake Winnebago II

 

Except for that one dissonance, we rhyme. 
On the way back, your husband stops the boat
in the middle of the lake, because it’s time
to watch the sun go down. We bob and float
as the sky turns pink, painted with copper streaks
reflecting in the lake as burnished gold.
I haven’t felt this calm inside for weeks.
The beauty of it makes me feel less old
and that all things are possible. I didn’t know
how much I’d love Wisconsin till I came,
how hard it would be then to let it go,
and that, back home, I’d never be the same,
shaken forever from complacency,
because you are so like, yet unlike me. 

 

 

XIV. New Jersey

 

Because you are so like, yet unlike me
I’ve gifted you an audiobook I heard
on motherhood and choice. It’s not a plea
for change, but if there’s power in a word
maybe these ones will have some pull on you.
I’ve never thought the world was black and white,
so why accept it must be red and blue?
I’ve changed my desktop image to the lake
at sunset so I never will forget
the harmony. I think for both our sake
we always should be friends. I’m in your debt
because you and Wisconsin made me see
there’s hope for this sweet land of liberty.

 

 

XV.

 

Would I be you if I had grown up here?
Each of us owns the hard-won world she’s built,
won’t be constrained behind a wall of fear.
I tried to shape my mouth around the lilt,
remember that contentment is a choice,
and I’d no way to make you think like me.
In a rhythm that insisted I rejoice
you showed me how you live. It’s heavenly—
surrender to the moment and be kind.
And all these days were outside rules and time.
You are the friend I’d always longed to find.
Except for one big dissonance, we rhyme.
Is there—because you’re like, yet unlike me—
some hope for this sweet land of liberty?
 

from Rattle #78, Winter 2022

__________

Anna M. Evans: “Recent polls suggest that about two thirds of Democrats do not have Republican friends. Bucking this trend, I spent five summer days in Oshkosh, Wisconsin, visiting a woman I first met outside of both our home states, and it was blissful, even though our political views are complete opposites. Poetry can be used to explore such large, complex subjects, and because form needs to match content, this subject called for a heroic crown of sonnets. I have been advised that some people on my side of the aisle may object to the congeniality of my poem, and that is, of course, part of the point.” (web)

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November 9, 2022

Chris Huntington

I HAVE SEEN YOU IN MY DREAMS

In my dreams
I don’t wear glasses
or if I do, they are invisible
 
though in real life
whatever that is
I wear glasses everywhere, 
even to bed 
 
I still can’t see the smallest letters in my books
 
Even with my glasses, 
I am somehow fifty-two years old 
and rotting
eyes as dim as the moon in water
teeth the color of tea
a hairless head that looks like a skull
 
I remember
I used to be able to see quite well
but now my dreams, my life,
are both like the television of my childhood, 
everyone a few feet away, no close-ups
 
I have to hold books away from me
it looks as if I’m afraid I’ll spill them on my shirt
but really I just can’t see print
 
and people too
I hold away from me
 
My middle age 
 
has almost no kissing 
even less than a game show
where occasionally people forget themselves with greed and happiness
When I was young, my dream
was to live a life of adventure: 
Paris, broken windows, champagne, the moon
tree branches in the wind
love letters hidden inside a woman’s blouse,
dogs chasing horses
a boat in the harbor, but 
who can see—
at this distance
if the hanging sail is a message?
 
My real life is like a sitcom
everyone holding coffee mugs
and trying to be funny,
lines delivered 
to my cup of tea
years go by
 
ha ha ha
(the obvious and grisly fact,
much repeated,
that the laughter we hear
on TV shows
belongs to a studio audience
recorded sixty years ago or more
It’s the sound of dead people laughing) 
 
They say we don’t invent the faces we see
in dreams,
just remember them
 
so all these people and dogs I talk to
I must have met
or walked past them
in an airport
on the street
somewhere
 
I’m just remembering remembering remembering
though when I dream that I am flying
or doing the breaststroke at the bottom of the sea
That is something new
 
I dream sometimes
about my coworkers
who, in my dreams,
are all secretly in love with me
 
many uncomfortable confessions
most recently in a dark closet, the buttons of our shirts touching
her voice a whisper swinging birdlike around me
which has never happened
 
Zhuangzi said he wasn’t sure
if he were an old man dreaming
a life made of flowers and bending sunlight
or if he was a butterfly
dreaming he was an old man
 
Who’s to say?
 
Real life
whatever that is
not something I could have ever imagined
just remembered
though
incompletely
like when I pick up a thread or button from the closet floor
and it looks familiar
but I don’t know where it has come from
even when I pass my hands from shirt to shirt
 
what is this life
that leaves so little
behind
 

from Rattle #77, Fall 2022

__________

Chris Huntington: “I recently read a harrowing essay by John Matthias in which he asked his wife, who was suffering from Parkinson’s, if she was awake. She answered, ‘I don’t know,’ which terrifies me every time I think of it. I’m trying to make something beautiful out of this idea instead.” (web)

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July 18, 2022

David Galloway

THOUGHT, ON VIEWING ZINAIDA SEREBRIAKOVA’S AT THE DRESSING TABLE FOR THE 42ND TIME

Google it, I’ll wait. If not, then here: a shockingly
stunning artist captured mid-stroke as she brushes
her long brown hair that must reach to her waist,
gazing into the mirror with a Mona Lisa smile.
 
I doubt there’s a name for this, no multisyllabic 
mouthful to capture my feeling, but surely the
Greeks could produce a word ending in –philia
Hopeless love for a person in a painting. 
 
I am, have, have been loved, I am no fool to
throw myself at her, I recognize the futility,
but confess to you because you will not betray me,
though there are no consequences to betrayal
 
except she has no eyes for me. As she painted,
her husband and two children roamed the house.
She was twenty-five—that’s all, far too young we
might think, to be this magnificent, but skepticism
 
here is misplaced: she’d already studied with Repin,
master of masters, trained in Italy and France; when
the painting is exhibited the Tretyakovskaya Gallery
will snatch it up so I can find it there in a mere century.
 
Those eyes that know, that look into your soul. And 
hair—let us not forget all the totemic significance. 
Russian peasants feared young women’s long hair. 
It could be seen, but only in a single braid, and once
 
married was locked up, coiled inside a headdress 
like her sexuality, locked away, only accessible by her 
husband. But rusalki, those pale-blue-green spirits 
of the thick waters who call men to their own 
 
destruction, had unbound hair, tresses that signified 
unbridled power, and she brushes hers as if to say
this is my strength, this is my womanhood, here
bound into but unconstrained by marriage, potent.
 
Do not dare butcher her name that means “life of Zeus.” 
Not Zin-aid-a, but Zin-eye-EE-da. Zina, to those who 
know and love her. Love her for sheer talent and
beauty, which trick us into the belief that life is good.
 
She dips her brushes as snow falls through 1909, but Zina, 
Zina, it is all falling apart. The next decade brings two more 
children, then revolution, husband dead from typhus, and 
you a Russian widow, one of the 20th century’s millions.
 
But this painting, before Europe consumed itself twice in
fires of male rage, captures the glory of youth and beauty,
the folly we all undertook at twenty-five when we asked
the mirror how the world had prepared itself to receive us.
 

from Rattle #76, Summer 2022

__________

David Galloway: “I’ve been to the Tretyakovskaya Gallery in Moscow more times than I can count, but I will always remember the first time I encountered Serebriakova’s painting. It was winter, my favorite time to travel to Russia, which creates a different feeling when you’re in a museum, a kind of humans grouping together for warmth sensation because there’s no rush to experience the weather outside. It wasn’t very crowded, and after the umpteenth time of studying it again and delving into Serebriakova’s life, I wrote this to celebrate her and to interrogate what the painting means to me.” (web)

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June 25, 2022

Michelle Bitting

THE SACRIFICE

I think about how you stayed up nights, Mother,
drinking coffee at your sewing machine.
The time you never went to bed
finishing my Isadora Duncan costume—
diaphanous number cut from a swell of black crepe
for the mad-grief dance after her children accidentally drowned.
Remember waking to find the garment realized—
dark offering you draped across the ironing board,
the fastidiously stitched seams that stroked
my just-coming curves so I’d be beautiful,
drunk in the lights of my junior high stage,
and you out there in the hushed cool of your reserved seat,
hands folded, resting now, the little bobbin of your heart
spinning inside its quiet nook while you watched me
do the hard, privileged work of feeling for both of us.

from Rattle #27, Summer 2007

__________

Michelle Bitting: “I was at a workshop in Florida writing this poem, halfway into it, had conjured Isadora and the sewing element. I decided to do a little extra online research into Ms. Duncan’s life. Lo and behold the father of her children was none other than Eugene Singer, the sewing machine tycoon. Synchronicity: I knew I was on the right track.” (web)

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April 3, 2022

Shavahn Dorris-Jefferson

ONE OF THE GOOD ONES

To their surprise, the prince was a black man—fresh
kicks, flat lips, tight crown coiled around his head.
Still, they loved him. Though everything made it

difficult. Wasn’t it an uncle who said they’re savages?
And what about the stories of how they loot and kill
then step over their dead? But thoughts of him

gave them comfort. Something they could cling to
when they weren’t clinging to their purses, something
they could hold when they weren’t violently pulling

their children away. But a prince is just a man, and a man
is just an animal cloaked in skin. That’s what I tell my son
when the prince wounds and is wounded. I cup his brown

face in my hands and say, Baby, you don’t have to be perfect,
which must be what they tell their sons when they storm
the castle, when they try to take over the world.

from Poets Respond
April 3, 2022

__________

Shavahn Dorris-Jefferson: “The commentary, online and elsewhere, about the slap at the Oscars is troubling on many levels, but what has been most disturbing is when people suggest that Will Smith’s behavior somehow reflects badly on all black people. I read one post by a black man that said white people saw him as ‘one of the good ones,’ as if Smith took away white people’s ability to feel good about liking at least one of us. Even Kareem Abdul-Jabbar suggested that Smith’s actions were a ‘direct hit’ to the black community. It’s disheartening that many white people perpetuate the idea that black people are a monolith, but it’s even worse when black people buy into that narrative. Just recently, we’ve seen white people try to overthrow the government, and a white man just invaded another country for what seems like no reason at all. And yet we don’t say, ‘See what they did. That’s just how white people are.’ When white people behave badly, we don’t paint with such broad strokes, and we are much more forgiving.” (web)

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March 28, 2022

Ann Giard-Chase

ENCEPHALON

I remember her smile—quick and fleeting
on the day she arrived in the EEG Lab.
She was tentative, curious, quizzical.
What’s wrong with me? she asked.

She knew the drill, understood I’d fasten
electrodes like tiny ears to her scalp, connect
a wiggle of wires to the EEG machine
as she lay on the gurney and I began to calibrate,

roll the paper across the console, wake
the stainless steel pens. This was a long time ago.
I was young; it was my first job and only a few
years before the CAT scan and MRI began

dragging the heavy iron lid off the human brain.
For millenniums, the brain lay buried,
hidden like an ornate jeweled sarcophagus
until the bony inflexible bowl that holds

the “crux of you” suddenly fell prey to the prying
eyes of magnets, radio waves, and x-ray beams.
But what did I know then of the brain and disease?
And what did this young woman know of me?

I was nameless to her, just another hospital
tech conducting another test. Yet, fear staggered
around in my gut; I was afraid of what the EEG
might find in her cranium, the dark forest

of a hundred billion cells, branches, and roots.
They have their language, a chatter of whispers,
hums, and roars. They send messages to each other
that rise and fall in waves. I heard a faint click

as the EEG began to transmit the brain’s voltage
into a clatter of pens, scribbling the ancient dialect—
alpha, beta, delta, and theta waves across the page.
Down, over, and through the brain’s plump

hemispheres, the fissures, the lobes,
the wires and threads, the knots of neurons
and convoluted folds the EEG went, winding
its way through the rhythm and resonance,

the oscillations and cacophony. The brain
too has its instruments—an ensemble
of percussion, strings, and brass. Every
now and then, the keyboards chime in.

But what lurked? What crouched in the dark?
What shadow lay awake in some spiny crevice
plotting against this young woman, the least
of her dreams still wingless within her?

I kept going, eager to complete the test, quell
her fears, and have the neurologist scrawl
within normal limits” across the EEG report.
I stared at the paper; her brain was spelled out

before me like the score of a vast symphony,
alpha and beta waves scurrying up-tempo,
brisk and lively in the opening sonata as she
lay awake. Soon, an adagio of delta waves

came waltzing by, swirling like petticoats
across the page as she drifted into a dreamless,
drowsy haze. Next came the stately minuet
of REM, her eyes dancing back and forth

as she dreamed in three-quarter time.
The test was nearly over. So far, so good.
Everything looked normal. I could relax again.
Suddenly! a stray beat, a wrong note, the strings

were playing out of tune, the snares drumming
in a waning staccato, tick … tick … tick …
like the stroke of time winding down.
When I saw it lurking in its deep trench,

I knew it for what it was. The EEG pens
vaulted out of control, surged into a rondo of spikes
resembling tuning forks bolted upright.
Tumor! Tumor! Tumor! screeched the EEG

as the pens feverishly scribbled their ill-fated
news across the page. No! No! No!
I felt as if I were caught in an undertow—
some dark wave pulling me under, some

jaws clenching in the tide. I saw both of us
teetering on a rock ledge and me reaching out
with both arms trying desperately to pull
her back. Too young, I was shouting to myself,

the sound of my inner voice like the shriek of metal
being sliced or the way thunder drags
itself across a bruised sky, a vibration, a low
frequency swell upon which I floated with fear

and recognition. I never saw her again. Perhaps
in time, a decision was made and she was wheeled
down some long, sterile corridor into a miracle,
and somewhere she combs her daughter’s hair,

packs lunches, drops the kids off at school, drives
to work. Or there is that tragic song that plays over
and over again; you know what I mean. I thought of her
often as I wound my way through my own years,

how her life had brushed against mine, soft as a bassoon,
teaching me life’s unending refrain, the rhythm of time
that spirals on and on, and fate—the dark flame
flowing past us like a river, heartless and infinite.

from Rattle #74, Winter 2021
Rattle Poetry Prize Winner

__________

Ann Giard-Chase: “The title of this poem, ‘Encephalon,’ denotes the upper part of the central nervous system that resides inside the human skull. When I graduated from college years ago, I worked as a registered EEG (electroencephalography) technologist in the neurology department of a major hospital. Patients of all ages and disease states came and went, presenting with a variety of symptoms to be analyzed by attaching electrodes to the patient’s head and recording their brain’s electrical activity. Based on this data, neurologists were able to detect certain brain abnormalities since brain waves change as a function of disease states. Being young myself, I was especially saddened when a young woman whose EEG I conducted was diagnosed with a brain tumor. I hadn’t dealt with early death or the potential for early death at this time in my life, and it impacted me greatly, and I never forgot her.”

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February 7, 2022

William Logan

PRIVATE ROAD

Dusty, sun-stroked,
the attic rose in sepia haze, a photograph
c. 1880: broad floorboards laid down

before the Civil War, square-nailed,
lined up in lockstep. The old colonial,
ours for two decades, reached

the low point of that once vast estate,
the winding drive half gone to grass,
two antique oaks slanted toward firewood,

and, in the back quarter, shrubby remains 
that forgot to be formal gardens. 
The basement, walls old boulders

lain to foundation, seethed a cheerful 
vegetable air. Reduced to two acres,
the mansion had been surrounded by houses 

generations younger, like an old roué
by children whose names he cannot remember. 
The massive horse-chestnut

trailed its skirts on barren ground,
concealing a bower of greenery within.
From the demilune windows in the attic,

on a clear day you could see Connecticut.

from Rattle #74, Winter 2021

__________

William Logan: “I write poems for the only sensible reason, the big bucks. The muse is good company, but she doesn’t carry a wallet.”

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