November 12, 2020

David Jordan

LET’S MEET YESTERDAY

Puzzling over his date book,
our chairman says: The next meeting
will be—hmmmm. Yesterday.
That must be wrong, don’t you think?

Not at all. I’d love to meet yesterday.
I’d ride in on my red Schwinn,
the one with white rubber mud flaps,
battery-powered horn hidden
in the crossbar, dented fender
where I clobbered the neighbor lady’s
parked car. I’d bring Midnight, my dog
Pop shot after he caught distemper,
and Calico, my cat who died
after Walter Bongi kicked her. I’d sit
on that yellow plastic kitchen chair
I chewed a hole in during a tense
moment listening to “Bobby Benson
and the B-Bar-B Riders.” We’d drink
Bosco, eat Moon Pies. During the break,
we’d argue whether Duke Snider
and the Brooklyn Dodgers are better
than Willie Mays and the New York
Giants. I’d jot notes on a lined sheet
of paper made with wood chips
big as my fingernail, then wad
it into the back pocket of my jeans
with the iron-on patches at the knees
and go home to Mom Quigley,
who would feed me cinnamon rolls
and sing “The Old Rugged Cross”
while she sweeps the floor, never once
mentioning the stroke that put her
in a coma for five years before she died.

from Rattle #26, Winter 2006

__________

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.'”

Rattle Logo

September 19, 2020

Sarah Lao (age 15)

FIRELIGHT

April & I fist the days as if 
the calendar’s pages were the ruffles 
on my sundress. I dress the nicks
on my jaw with springs & hands. 
Undress & redress. Make it tick 
in time with the neighbor’s world 
clock. Let me tell you again about 
last Tuesday, when Mama had me 
cut her bangs straight across, 
the split ends forming all the dodged
questions left over on the floor. 
Look, the living room is so full
of old takeout and fossils. How 
honest. In another life, I imagine
the bones must discover themselves
in a sheath of blubber & teach me 
how to backstroke. Feel the river’s
slow pulse & the slick of fish
coiling around me like twine. 
I confess: I want to touch my body 
in the dark. Hands empty & gullible. 
To play cartographer & mark the 
frontline of every frontier with 
red flags. Should I rewind. Should 
I stop the mailman. Should I pick 
up the landline. Then maybe this time 
I’ll see the lightning before
it hits the prairie. Or the back-
hand before its crack.
Either way, this house will
overturn as the cosmos spirals
on its axis. The alarm 
clocks will trip & shatter 
& I will be left holding 
onto nothing but my dazed 
sundress. Here we are, 
the ground in splinters 
of kindling, soot tracking 
the grass. Watch: this sky 
blemished. This field. 
Our two bodies—
everything burning 
like it was meant to.

from 2020 Rattle Young Poets Anthology

__________

Why do you like to write 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.”

Rattle Logo

July 10, 2020

Carolyne Wright

TRIOLETS ON A DUNE SHACK

“… snuggled in between two small glassy dunes, facing the ocean.”
—Lester Walker, from The Tiny Book of Tiny House

1.
We make love only once in the dune shack.
Our reflections stroke each other in the mirrors,
The pot-bellied stove by the bunk bed glowing black.
We make love only once in the dune shack.
Atlantic winds rattle the French doors,
Sand drifts against us on the bolsters.
We make love only once in the dune shack.
Our reflections stroke each other in the mirrors.

 

2.
Let’s say: we never made love in the dune shack—
We kissed and walked away, dunes glassy around us.
We gazed out to sea, we never looked back.
We tell ourselves: we never made love in the dune shack.
We stopped short, where the weathered driftwood found us,
And turned away in the lee of the dune grass.
We never made love, we say, in the dune shack.
We kissed and walked away, the dunes glassy around us.

from Rattle #67, Spring 2020

__________

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)

Rattle Logo

June 23, 2020

Rachel Mallalieu

JUNE 2020

You took them hiking today
where the river smells green
the way the Schuylkill smelled when
you ran beside it in med school
before you married,
before you bore the boys and
adopted a girl—a brown skinned child
who suddenly wore your pale name,
back when the only dead body you’d touched was
the one you dissected in anatomy lab

Before you intubated the woman already
four hours dead when her husband
carried her into the waiting room
her eyes wouldn’t close but you
gave her the benefit of the doubt
and when you moved her
tongue aside you felt the chill of it
through two sets of gloves
Before a man’s tears collected in the
pools of his temples when you
told him he needed the ventilator and
all you could do to comfort him
was stroke his hair and tell him you would pray
Before your life became masks & goggles
& gowns & hair nets & fear
which settled in your throat

Before the country convulsed and some
of your friends didn’t understand why
though you knew it could be your daughter
under that knee someday
And you needed to write so you
tried to write about a Black
cemetery in 1858 which advertised
undulating hills and tree canopied paths
where lawyers and Civil War veterans
would rest together beneath the willows
But when the land became valuable,
they quietly razed the graveyard
and built a dollar store
(only history would tolerate such a cheap metaphor)
The bodies were discovered
beneath the parking lot last year and
you imagined the dust of
pulverized bones riding
the wind like seeds and landing in soil
made rich with blood

These words are slick and slippery things like
the minnows which darted between
your fingers in the lake
behind your childhood home
And while you construct the
story you think she needs,
those seeds have already taken root
in your daughter’s wild heart
Tonight, the river scents her hair as she
leaps into the pool, silhouetted
against the sun’s dying embers,
arms flung wide as if to say,
This too belongs to me

from Poets Respond
June 23, 2020

__________

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.”

Rattle Logo

March 26, 2020

Ekphrastic Challenge, February 2020: Artist’s Choice

 

photograph of billboard with posters peeling to reveal previous layers, including a young child with curly hair

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.

[download: PDF / JPG]

__________

Stephanie Shlachtman

THEY TRIED TO COVER HER UP

She witnessed the induction of matter
into everything, and they, too, witnessed
the induction of matter into everything;
a constitution for the cosmos. But that was
eons ago when the quiet creases

in her dress were fresh, the hemline a
proper length. (They were afraid of those
curls: Those curls would turn to spider silk
in fifteen years or so; a girl who can look you
in the eyes speaks volumes—too

loud.) And now, Canis Major endeavors
to ascribe her effulgence to its unfettered
glow, now that she, too, is a constellation. Now
that she, too, can fill the space without

apology. How did night not see her (of course,
it did) on the lens of a telescope, when
“all luminaries” did not mean “all luminaries,”
when her painted elements were immured
by skylights in a nebula. When her little lights

cried, her older ones, too. When her little lights
died, her older ones, too, because of
disproportional brushstrokes, because of
unequal distances to and from the sun.

from Ekphrastic Challenge
February 2020, 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.”

Rattle Logo

November 25, 2019

Chisom Okafor

BIRTHING

In memory of Akin, beaten to death on the 17th of February, 2017, for being homosexual

Someday, a soul will come out of the field to claim it
and then, we will know.
—Kwame Dawes

i.
Here, seven nautical miles away, we let our canoe
trail the direction of wind. 
Here, where all things take their roots and a symphony still remains
of the water creatures below, like colours strewn on palettes, 
we’re pilgrims advancing by sight (and sound),
willing this cathedral of our bodies to find home again, 
within the glassy shimmer of water.

 

 

ii.
When my companion casts his net, 
I see the hands of a javelin thrower, and
I want those hands in exchange for mine.
To hold and be held like mine, at nights when rain clouds gather, 
and I’m looking up at the stars and not finding them there.
But there is no hidden starlit constellation overhead now, 
not even deep into nightfall yet,
and we’re rowing to the shacks on the other side,
lined up on dry land in a solemn procession,
and we’re pitched on both ends of this canoe, paddling away 
past boat parts in disuse, past tired retreating fishermen, 
past floating fish traps to dry land
where there are bamboo pillars, straight as soldiers on parade,
ready for the mating call of a whistling thrush hoisted onto a dais
on the riverbank. 

 

iii.
My lover swears he could trace the scape of the highland 
far into the village beyond, from this distance; 
the ridges stretching so thin that they disappear into the sunset.
There is a serenity in water that builds nests in my head,
shatters only when he grips his paddle again
for one more stroke like the swing of a broken racket, 
before we let us drift downstream with the tide.
They can’t follow us to this place, he tells me.
You can’t lynch who you don’t see.
Consider that all waters spring from an unseen circuit.
That love is water, which means that mine is a summation 
of thick droplets that heralds a rainstorm.
That love smells like loam washed clean at sunrise 
by liquid, ordinary as rain. 
That love is sunrise, 
which means that mine is the petals of a freshly watered rose 
blooming in the sun.
That love is a flowing stream.
That here, on this body of water is where lovers—
boys left for dead by the wayside—
find their names again.

from Rattle #65, Fall 2019
Tribute to African Poets

__________

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)

Rattle Logo

October 29, 2019

Rattle Poetry Prize

Conversation with
Robin Coste Lewis

Rattle #66 cover, painting of an angel playing diceThe 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.

 

Open Poetry

Audio Available Amy Alvarez When You Ask Why My Arms Are Empty
Audio Available Chaun Ballard If You Were to Ask Me the State of My Country …
Wendy Barker In the Endoscopy Center
Audio Available Grace Bauer Unspeakable Elegy
Audio Available Jefferson Carter Life Partner
Jeanmarie Evelly History of a Body
Alan C. Fox Wherefore Art Thou?
Audio Available Michele Graaff Channel 37
Audio Available Albert Katz On Hitting 70
Sam Killmeyer Play like a Boy
Audio Available Cindy King When Your Mother Asks if You’re Seeing Anyone …
Danusha Laméris Twin Strangers
Jenna Lyles The White Man’s Wife Will Bear Him Triplets
Audio Available Clint Margrave When Death Travels
Stephen Morrow Neighbors
Tyler Mortensen-Hayes Autumn Elegy
Arielle Moss Damn, You’re Tiny
Audio Available Anna Newman Gurney Season
Audio Available James Ragan Taming the Sloth
Audio Available The Bitters at Henley
Audio Available Jasmin Roberts Self-Selection for Preservation
Audio Available Denzel Scott Seven People Dancing
Audio Available Tim Skeen That Other While Ago
Audio Available Michael T. Young The One in Power

Poetry Prize Winner

Audio Available Matthew Dickman Stroke

Finalists

Audio Available Kathleen Balma Punch Line
Audio Available Susan Browne Bonanza
Audio Available Barbara Lydecker Crane Mother and Child
Audio Available Maya Tevet Dayan Foreign-ness
Daniel Arias Gómez Cathedrals: Ode to a Deported Uncle
Red Hawk The Never-Ending Serial
Sue Howell Gender Studies
Audio Available Kimberly Kemler From Oblivious Waters
Audio Available James Davis May Red in Tooth and Claw
Audio Available Gabrielle Otero Self-Portrait, Despite What They Say

Conversation

Robin Coste Lewis (web)

Cover Art

Polly Alice (web)