David Jordan: “When asked why I write poetry, I like to quote composer-writer-performance artist John Cage: ‘I have nothing to say and I am saying it and that is poetry.'”
Sarah Lao: “I like to write poetry because there are no rules. If I want to cut out all the punctuation or make every noun a verb, I can, and if I want to spend two hours writing one line, I can. In that sense, it’s very freeing. I can put all the emotions I’m usually not sure how to express into a set of images, and somehow, whether it should work or not, it does.”
Carolyne Wright: “My poems have grown more narrative over the arc of years, but I continue to challenge some of these poetic narratives to present themselves athwart formal structures—structures that compel the stream of incident and emotion to flow into unexpected conduits and to make unanticipated discoveries, as with the poems here! Wit and mischief, and sly love, take shape and reveal themselves obliquely in such a dance of form with content.” (web)
Rachel Mallalieu: “Because I am an emergency physician, 2020 has already been one of the most challenging and difficult years of my career. I am also the adoptive mother of a Black child, and while I am encouraged that the United States is grappling with the brutal realities of systemic racism, there is still so much work to be done. But I have hope.”
“They Tried to Cover Her Up” by Stephanie ShlachtmanPosted by Rattle
Ekphrastic Challenge, February 2020: Artist’s Choice
Image: “Indietro” by Marc Alan Di Martino. “They Tried to Cover Her Up” was written by Stephanie Shlachtman for Rattle’s Ekphrastic Challenge, February 2020, and selected as the Artist’s Choice.
Comment from the artist, Marc Alan Di Martino: “What stopped me in my tracks were the last lines: ‘because of / disproportional brushstrokes, because of / unequal distances to and from the sun.’ Is it a veiled social critique, a treatise on painting, or an essay on cosmology? Perhaps it’s all three together, which is why it has to be a poem.”
Chisom Okafor: “I was born in Nigeria and still live in Nigeria. The themes of sexuality, history, my own childhood and family bonds (especially in dysfunctional families) influence my writing. I also write as a way of conversing with myself and finding a way to document my own memories.” (web)
The Winter 2019 issue of Rattle is fresh out of the oven, and we can’t wait for you to dig in to this diverse selection of poetry—from Grace Bauer’s “Unspeakable Elegy,” an understatedly powerful portrait of grief, to Jasmin Roberts’ “Self-Selection for Preservation,” an unflinching depiction of a grandmother who “lived her entire childhood in a segregated south.” We’ve got sharp-as-a-tack formal poems, poems whose titles are poems in themselves (“When Your Mother Asks You If You’re Seeing Anyone and No Longer Means a Therapist”), poems with insights so searingly true you find yourself holding your breath for a moment (“He wants to know what it’s like to be a woman / so I say, we all got touched in ways we didn’t want.” —Jeanmarie Evelly).
In addition to all that, we’re proud to present the results of the 2019 Rattle Poetry Prize, including a sonnet based on a painting by Alice Neel, an ode to a deported uncle, and many others, all of which beg to be read again and again. And then, of course, there’s our 2019 winner, “Stroke” by Matthew Dickman, a poem so good it feels more like an experience than words on a page.
Last but not least, Alan Fox sits down with Robin Coste Lewis for a conversation that is as illuminating as it is varied, touching on fame and public life, the evolution of language, Sanskrit, mythology, and much, much more. You won’t want to miss it.