March 3, 2023

B.A. Van Sise

BASEBALL

My mother hated it. Everything
about it: the field, the players,
the ads, the incessant America.
 
The smell of hot dogs. The dust
of peanuts. The way her son,
a good Italian made of Italian
 
ingredients by her Italian body,
would reduce himself to a blue
hat, blue jacket, blue shirt, and
 
go with that man who did all
this to her to see it with a smile.
She had an obligation, she was
 
certain, to stop this, and one day
pulled me aside and said what
were to her, surely,
 
the most necessary words
in the American language: you
should care about the

New York Mets as much as
they care about you. The New York
Mets did not care about
 
me. Still, thirty years later,
I like to see a game. Once a
year, I’ll sit in the warm sun,
 
covered in peanut dust, and
think, gently, about the
soft uncut grass of her grave.
 

from Rattle #78, Winter 2022
Rattle Poetry Prize Finalist

__________

B.A. Van Sise: “I spent most of the pandemic on the road, working as a photojournalist covering a crumbling nation. I wrote this on a little blue notebook while sitting on the lawn at a Memphis Redbirds game; you pay them five bucks, you get to lie out on the lawn while little kids run around in circles around you, and bigger kids run around the bases somewhere off in the distance. Put more simply: it’s Eden before the apples.” (web)

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March 2, 2023

John W. Evans

MUSICIANS AT THE WEDDING

All week at the wedding
the musicians keep practicing
 
over the garage, during the rehearsal,
in the basement at night,
 
on the back porch while it rains.
Even the grass after the rain
 
worries someone in the kitchen.
The tables and caterers, the flowers
 
and the muddy road to the barn
are covered in lights. This is a good time,
 
someone says, to take five, guys,
or fifty. The musicians are soggy, too.
 
They start again: five or six bars
of the bridal march, the chorus, the last encore.
 
On the porch a bartender is humming
the first dance as he bins the ice and juices,
 
orange and lemon. His cherries
are staked on tiny plastic swords
 
the wedding guests will make a great show
of plucking hilt-first.
 
They stand en garde,
a warning term in fencing,
 
the first sport played in the Olympics.
In the original en garde position fencers
 
held their back hand in the air
to lift lanterns during duels.
 
Back and forth to the bar the guests
litter the grass with broken promises.
 
This is what happens when you fall
in love: you dance all night, you collapse
 
for one reason or another
into the wet grass.
 

from The Fight Journal

__________

John W. Evans: “I wrote the poems in The Fight Journal to make sense of an experience about which I felt strongly biased: my divorce. I wanted to recognize the humanity of all involved on the page because this was something I struggled to do in real life. I hoped to find closure, healing, and an answer to two questions. Why had my marriage failed? How had I been complicit in that failure? Adrienne Rich’s “From An Old House in America” was the formal model for the long title poem. Marta Tikkanen’s ‘The Love Story of the Century’ was a precedent for writing about these dynamics. Both poems are personal favorites.” (web)

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March 1, 2023

Kaitlin Reynolds

PATSY

After the blizzard, my husband drives
out to the cemetery to check on his mother. 
He calls it Just Driving Around to See What’s What 
and neither of us talk about the winding road 
he takes that eventually turns west, past the old 
peanut mill, to the quiet part of town made 
even quieter, knee-deep in that singular hush of snow.
 
We pass the gates as casually as two people
come for a welfare check on the dead can be.
We don’t even get out of the car, don’t even 
turn down the small beaten path that leads to her 
headstone, nestled under the old juniper.
 
I look one way while he looks the other,
because it would break the illusion of our almost-
aimless drive; because he’s committed as I am 
to our parts (Curious Townsperson 1 & 2); 
because it’s a bone-deep kind of right to give him 
this moment alone, let him feel the ache and 
bewilderment of a heart still yo-yoed by love—
so the other end of the string is a powdered stone. 
What does that matter? What has that ever mattered?
 
She was always, always cold, he tells me. 
Middle of summer, August heatwave—
didn’t matter. Her room was a sauna. 
He rolls his eyes, smiles, and the visit is over. 
We drive past the gates, take turns watching 
the juniper sink in the rearview mirror. 
He takes my hand and pretends to see a bird. 
I lace our fingers, pretend to see it too.
 

from Rattle #78, Winter 2022
Rattle Poetry Prize Finalist

__________

Kaitlin Reynolds: “I feel this need to commit as much as I can to written memory—because moments are the most precious things I’ll ever possess, and because the mind is a poor steward. I want better for them than a few decades of aimless floating around in my skull, waiting to erode into oblivion. Even if I’m the only one who ever knows: they happened, and I felt them, and they mattered. And everything deserves somewhere to go.”

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February 28, 2023

Dream House, Later by Susan MacMurdy, collage of a house on a calendar

Image: “Dream House, Later” by Susan MacMurdy. “Cut Out” was written by Sandra Nelson for Rattle’s Ekphrastic Challenge, January 2023, and selected as the Editor’s Choice. (PDF / JPG)

__________

Sandra Nelson

CUT OUT

The façade
of thingness floats
over the void.
 
A blizzard
of nothingness
blows sideways.
 
Even the heart
huddled in a paper
house shudders.
 

from Ekphrastic Challenge
January 2023, Editor’s Choice

__________

Comment from the editor, Megan O’Reilly: “I can’t quite wrap my head around Sandra Nelson’s poem ‘Cut Out,’ and that’s what I love about it. Each stanza feels almost like a koan, surprising and meditative; they seem to invite the reader to understand with the soul rather than the mind. There is a lovely contradiction in Susan MacMurdy’s piece, in that the image feels highly textured and full of depth while also strikingly, beautifully simple. I sense a similar contrast in the images of ‘Cut Out’: ‘A blizzard of nothingness,’ ‘paper house shudders.’ Both poem and image fascinate me, and I appreciate the way they add new layers of intrigue to one another.”

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February 27, 2023

Candace Moore

PROJECTION

What I took to be a man
cradling a woman in his arms and kissing her
turned out to be the gardener carrying
a pile of leaves he had gathered
 
What I took to be a billboard that said Gold Cock Motel
turned out to be a billboard that said Gold Crest Motel
 
What I took to be a sentence that said, I have an officer in my garage
turned out to be a sentence that said, I have an office in my garage
 
What I took to be a screen at the ATM machine 
that said your transformation is being processed
turned out to be a screen that said
your transaction is being processed
 
What I took to be a friend anxious to see me
turned out to be an intruder kicking in the door
 
What I took to be a Buddha sitting under the tree 
turned out to be an old lady reading
 
What I took to be an old lady reading
turned out to be me
 

from Rattle #78, Winter 2022
Rattle Poetry Prize Finalist

__________

Candace Moore: “Despite my father coaching me that ‘there is no money in poetry,’ I’ve been reading and writing poetry ever since I was a teenager and I discovered Edna St. Vincent Millay, whose entire book of collected poems I wrote out in long hand. If I was asked what three poets I would invite to a dinner party it would be Rumi, Leonard Cohen, and Emily Dickinson. I agree with Emily: ‘A word is dead when it is said, some say, I say it just begins to live that day.’”

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February 26, 2023

Julia Kolchinsky Dasbach

ONE YEAR LATER

It’s easy to look away from war
when your wallet’s empty and sink is full,
when the land and people aren’t yours,
 
when your children scream for more
of you, when your body’s pulled,
it’s easy to look away from war.
 
The soil across the water to earth’s core
brims blood, but look, the sunflowers still bloom
when the land and people aren’t yours.
 
So, you focus on the daily chores,
dig out a trench of laundry—linens, wools—
it’s easy to look away from war
 
with the dog barking, mailman at the door.
Your children speak a stranger’s tongue at school,
the land and people aren’t yours.
 
How does a house become a shore
no news can reach? Are we that cruel?
Or is it just that easy to look away from war
when the land and people aren’t yours?
 

from Poets Respond
February 26, 2023

__________

Julia Kolchinsky Dasbach: “It’s the week of the one-year anniversary of Russia’s full-scale invasion of Ukraine. Today, Feb 21st, is exactly a year since Putin’s heinous speech foreshadowed the invasion with his perversion of history, staking claim to a sovereign nation and people. It’s a year since I coped with the inevitability of this war by transforming his speech into an erasure published here too. The war in my birthplace has continued to be a daily reality of my life, just as it has for most of those in the Ukrainian diaspora. But for many other Americans, this war has moved into the periphery or completely out of view. According to recent polls, a little less than half of Americans support continued military aid, with a third outright against it, and the rest apathetic to US involvement. Inspired by Jehanne Dubrow’s masterful villanelle ‘Civilian,’ from her forthcoming book Civilians, I was moved to write one too. The refrains bouncing and echoing in my head until I got them down on paper. This poem is a plea for continued US—as well as global—support and vigilance. For a refusal to look away from war. For action. And if you are able, please consider contributing to an aid organization that helps those who are in Ukraine and refugees trying to flee. I recommend Ukraine TrustChain. An all volunteer-run nonprofit started by Ukrainian immigrants in the US, they work with local volunteers on the ground, going directly into areas hard to reach by larger international organizations. TrustChain provides urgent food, medical supplies, and transportation to safer regions.” (web)

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February 25, 2023

Colette Inez

ADVICE TO A WRITER IMAGINING CONCEPTION AND BIRTH

Look for a tree stump in the woods. Compare it to love,
examine the particulars, how your mother mounted
your father on Labor Day in a bungalow, Liberty, New York.

Describe a snowfall before your parents met. Take your time.
Leave out myth and literature. Relate it to life in an American
town, one with a rotating cocktail lounge.

Now imagine yourself as a parchment worm
wedged into a crevice to avoid attack. Liken your fear
to a clamp. How does it resemble the opal clam

from New South Wales? Speak up. Check it out.
Write a poem of departure in which you use the color blue,
a hue like the glow of fish cast ashore by a stormy sea.

Your parents are leaving town. They’ve rented a bungalow
in Liberty, New York. You’re not around to say: after dark,
exact change. You’re not even a tiny moonlet in a microscope,

a bluet in the woods. Contrast your nothingness to words
that start with “k”: killjoy, kisscurl, kelp. Are these words
comical in any special way? Say how you feel about kale.

Will you grow to leave it on your plate?
Your parents sit in a trance. They have just made love
and are counting snowflakes: uno, dos, tres …

Are they from Bogota, Colombia, and in New York on
a whim? You are about to divide. Say something about the
intricate coil of DNA. Double helix. Double Dutch. Jump in.

Make the leap. Now you’re a nation newly emerged.
Dispense with history, the transitory passions of people’s wants.
Words are dropping fast.

from Rattle #25, Summer 2005

__________

Colette Inez: “A poem is born right here, somewhere in my heart, in my blood vessels, in my gut. It comes to the brain much later. I have to feel them actually pulsing in my body, and then when they get shaped, when the brain, the controller, the pilot, whoever one’s metaphor, however this metaphor can extend, takes over. I like to think that my brain is the lesser part of my poems and that my heart, in the best of my poems, is the one that rules.” (web)

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