March 10, 2023

Robert Cooperman

I SEE HIM

I see him everywhere,
our friend who died at twenty-five;
as if it’s his young ghost
protesting, before
he disappears, forever.
 
Once, in a snowstorm,
there he was, head down,
fighting wind, tiny nails of frost,
but with such a smile,
as if he were in the middle
of a snowball fight
when school was closed
for a blizzard.
 
Another time,
he sat behind the wheel
of a sports car,
something sleek as a cheetah.
He had always talked of owning such a car,
so fast, nothing would catch him.
 
And I saw him with a woman
beautiful as biblical Ruth,
as the first petal of spring
opening wide as the arms of angels
when they praise God
and gaze down upon the world
going along, for once, splendidly.
 
Each time, I’m about to shout,
to open my arms and hug him.
But his ghost rushes past,
too hurried by death
for a short chat with an old friend.
 

from Rattle #7, Summer 1997

__________

Born and raised on the not so mean streets of Brooklyn, New York, Robert Cooperman now calls Denver home, where he has turned his love of the Old West into a cottage industry of poetry collections about the Colorado Territory and other aspects of frontier life.

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March 9, 2023

Robert Cooperman

YARD SALE CHAIR

There’s not a yard sale
I can just drive past.
At this one, I’m hooked
by an easy chair: $3.
What, I ask, is wrong with it?
The woman shrugs, half
caveat, half come-on,
so I sit and test it out.
 
My God, I could rest
weary bones forever.
Only later, do I smell it:
like a horse
that’s pulled a junk wagon
the length of America.
Still, my wife observes
after she’s sighed, content
as a woman awakened by a kiss,
the covers can be cleaned.
 
I ease myself into it again,
wonder when it’ll crack,
collapse like an exhausted camel,
or if moths in the thousands
will flutter from a tear
in the fabric: an orange lurid
as a high school team jacket.
 
But Lord, it’s comfortable,
books more enjoyable
while I’m curled in it:
a kindly grandfather
with a soothing voice
and more stories
than the Arabian Nights.
 

from Rattle #7, Summer 1997

__________

Born and raised on the not so mean streets of Brooklyn, New York, Robert Cooperman now calls Denver home, where he has turned his love of the Old West into a cottage industry of poetry collections about the Colorado Territory and other aspects of frontier life.

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March 8, 2023

Jeanne Yu

SCINTILLA

One of the reasons I fell in love 
with my husband is every once 
in a while, he uses a word I read 
somewhere, but I had never heard 
out loud.  
 
It wasn’t I was so impressed with 
his vocabulary as I was impressed
that I felt he was very ordinarily 
valiant in trying to rescue these 
words, those that were harder to 
say, or had more nuanced meaning 
or because it often took effort to
think of them, and through no 
fault of their own, had lost their 
way and were fading into 
obsolescence.
 
Never was he boastful about this 
gallantry, nor did he overthink it, 
he just in no extraordinary way 
hunted momentarily and rather
than offering his handkerchief 
as he often did, he would instead 
gently pull out a salvaged word 
and place it in that perfect 
moment before sunset 
so we could hear it aloud
together, one more time.
 

from Rattle #78, Winter 2022

__________

Jeanne Yu: “I write to make sense of life in this world … and to make sure I am paying attention to the little things that matter as well as the big things, because I have come to know they are all connected. I’m an engineer, mom, and environmentalist, every day trying my best—some days are harder than others—to live from a place of my hope for the world.”

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March 7, 2023

Kerrin McCadden

INTERSECTION

At the four-way stop I wave you on,
a kindness. You wave no no, you go. I wave, go.
We keep on. You insist. Me: no you,
please. A bird shifts, a sigh. The penned
horse tosses, pacing. I mouth you go.
There is a fleck on your windshield. I notice your hands.
Rain falls. Your hands cup the wheel
at ten o’clock and two, then float
past my knee and only sometimes land.
One hundred times on my back, they tame me.
Cars line up. Birds lift. I nod my head into your chest.
There is a trail of clothing. I walk to the
plank door of your room. This takes hours
and hours. This is a small cottage and there is sand
on the floor and nothing on the walls, crows calling,
dishes in the sink. Days go by. We are still making
our way to the bed. This is an inventory:
black telephone, board games, frayed chairs,
coffee table spotted with the old moons of drinks,
curtains pulled back on tiny hooks, single pane glass
windows like the ones I used to sneak out of at night, lifting
them as slow as this stepping, and when you talk
into my neck the words settle in the hammock
of my collarbone, puddle there and spill,
slide over my breasts and I am slowly covered,
and rinsed. I do not close my eyes. Nothing hurts.
The dust rises in swirls. Dogs bark. You turn
your windshield wipers on intermittent.
Your car rolls into the space I have built between us.
I am up to my belly in a northern lake, cold. I am afraid now.
When I get home, everyone will see.

from Rattle #32, Winter 2009

__________

Kerrin McCadden: “I really like water, and birds—especially the Winooski River and swallows. I like to be the one who starts applause. I have recently learned to love olives. I love dailiness, hydrangea, old words and incongruous things, including a poodle. I write poems because they let me have everything I want, and words are better than yarn. Syntax, diction: knit, purl. And because a poem is an impossible thing, unlike a sweater. My evil twin is likely in one of my classes, and so I teach.” (web)

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March 6, 2023

L. Renée

SHOES

Bluefield, West Virginia, 1961

First time I watch my sister set a fire
she’s twelve & I’se eight. Mama & Daddy leave
fa a card party, which mean Rosie & Billy
flee fa they secret flames, which mean
the middle kids—Harold & Velma & Lois—
ain’t too far behind em spyin. Foot knowledge can learn
ya faster than books. Dirt & rock & branch & bush
be as kindred as kin. Then, the house empty
of all our beloveds, and it’s just my sister
& me, my sister & her school saddle shoes,
which she did not love. They ain’t had no scuffs,
but brown specs caked em like dirty powdered sugar,
tintin white leather pee yella lye could neva
make clean. My sister say her shoes too ugly to be redeemed.
She say reee-deeemed like it cost five whole dollas,
slow & careful like Mama puttin milk & butter
& bacon & bread on account at the comp’ny store,
hopin Daddy tagged enuf coal cars,
haulin loads large enuf to break
even. Bein that she had reached fa that word & found
she could afford it, my sister tried to free herself
from three years of ugly ducklin livin, three years
of wearin the same shoes to school, since our folks
would not replace what they could repair.
 
She seized what she sized up as her only chance
to waste leftovers. First I thought she was kindlin
the stove’s coal & wood chips to warm up pintos
from last night’s supper, but when heat hovered
hot as a pissed spirit a horseshoed doorway couldn’t
keep away, when a hankerin fa new shoes flickered
in her peepers like a just-struck match, by the time I
noticed her knowin strike a-ha lightnin fast, it was
too late to redeem her. The stink of meltin skin
& rubber blew threw our kitchen. A groan
slid slow & careful like it was calculatin
a bill that ain’t add up: burner plate lid lifted,
lard slathered leather, the fiery tongue tested
and still clutched in her blistered
fingertips, my sister’s disbelievin.
 

from Rattle #78, Winter 2022
Rattle Poetry Prize Winner

__________

L. Renée: “I am a collector of my family’s stories. Sometimes, we gather for oral history interviews and I am prepared with an audio recorder and a listening ear. Other times, we’re just having conversations around the dinner table or on the phone and somebody says, ‘Well don’t you remember when …’ and my hand reaches for a pen. On this occasion, my aunt was telling me and Mom about the time she tried to burn her school shoes on an old coal stove in West Virginia, where my granddaddy labored as a coal miner for 43 years before ultimately dying of black lung disease. After she shared this story, I kept hearing a little girl’s voice. She was a witness to my aunt’s attempted destruction of those shoes and I wrote down what she told me exactly the way I heard her tell it—dialect, diction, and all. This was a challenge—to honor this character’s authentic voice and allow her to tell her version of the narrative, but to take care that her voice was not misunderstood as caricature by readers. I spelled some words the way I heard them to celebrate the embedded music in her speech. Here, again, I tried to emphasize the multiple meanings of the tongue: the shoe’s tongue, the sister reaching toward an ‘expensive’ word like ‘redeemed’ (which comes with an implied cost), and the speaker’s own tongue in sharing this story. I am a believer in the power of storytelling and the ways in which Black folk have passed down knowledge, experience, and wisdom through the spoken word. When I write, I know I am not writing alone. I know all my ancestors, Black Appalachians who called dirt and mountains home, are with me.” (web)

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March 5, 2023

Michael Meyerhofer

AFTER MY STEP-BROTHER GETS SHOT AND KILLED BY COPS IN MILWAUKEE

The day after she sees her son
dragged from the street like roadkill,
 
my step-mother returns to work.
My father tries to stop her,
 
afraid she might end up serving
the same men they saw on the news,
 
implacable Confederate statues
finally granted an excuse to open
 
their holsters—but right now,
she’d rather hear the cash register
 
than her own heartbeat.
And so for hours, she fills bags
 
with sandwiches plumed in lettuce
and tiny cauldrons of broth,
 
black forks with brittle tines,
white napkins that stain so easily,
 
pausing sometimes to dab her eyes
or silence a buzzing phone.
 
Strangers ask if she’s all right.
Just something I’m dealing with,
 
she says, then takes what they give
and returns what they’re owed.
 

from Poets Respond
March 5, 2023

__________

Michael Meyerhofer: “I have no idea how to describe what it’s like to see your own step-brother lying dead on TV—the same shy, good-natured guy I first met a few years ago on a family trip to Las Vegas (he was excited because he’d never been on a plane before), and who was looking forward to getting his life back together after making some mistakes when he was younger. But this poem mostly ended up being about my step-mom, who actually went back to work the day after it happened—partially because she couldn’t bear the silence and grief at home (this is also only a few months after my biological brother lost his battle against leukemia), and partly because this is America, and like it or not, there are always bills to pay.” (web)

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March 4, 2023

Andrea Hollander

FIELD HOSPITAL

Southern France, 1945

What young men won’t do, my father wondered,
scalpel in hand, his army drabs stained red,
catching his breath beneath his surgeon’s mask,
peering again into the body of this boy
he guesses joined up like all the rest:
to prove something. And my father’s task
of cutting—cutting through tissue
and bone, using everything he’s learned.
War is war, of course. He knows that.
His job: to keep these boys alive,
even the Germans, to cut past
gangrened flesh. Afterwards
the intricate suturing, the mangled
limbs removed from the antiseptic table
by someone else. How he’s able
to do this, hour after hour, one body
becoming another, he doesn’t know.

He thinks of this now in Brooklyn
walking down Court Street to the barber
past all the specialty shops—cheese wheels
from France, barrels of pickles,
salmon and mussels on racks of ice,
rabbit carcasses, their skins removed,
hanging above displays of liver and chops.
Against his will the smell and the sound
of the saw he always had to use,
the feel of it, and in his arm the ache.

from Rattle #34, Winter 2010

__________

Andrea Hollander: “During the wars that have occurred in my lifetime, I have found myself dwelling on my father’s wartime experiences in France, where he served in the surgical unit of an American army field hospital. After the war, my mother, who had not seen him for more than two years, joined him, and that’s when (and where) I was conceived. I credit Dad, who was a lover of poetry, for my own passion for it.” (web)

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