June 13, 2018

Denise Duhamel & Julie Marie Wade

HUSH

Perhaps I never loved my mother enough to tell her anything true.

“What did you do at school today?” Nothing.
“Where did you go after school today?” Nowhere.
“Do you like your teacher more than me?” No, of course not.
While other girls were weaving daisy chains and rose bouquets, I stood in a different garden. Perhaps I loved her so much I could only pluck omissions, lies disguised as fragrant, purple garlands.

Who’s to say the sweetest-smelling flower is not also the most mendacious one?

* * *

Last night I took out a dress I bought in 1998 and still haven’t worn in public. Because it is covered in loose sparkles, I’ve been too afraid to leave a trail in a restaurant or at a friend’s. I tried it on, walked down the hall back and forth, then vacuumed all those golden twinkles. I think there is a metaphor in here somewhere—the dress representing the splash I’ve always wanted to make. I put the repressed dress back in its garment bag.

* * *

What about all the things people won’t tell us? I remember, when I finally was able to go through with my divorce, people said:

What took you so long?
I never could stand him.
Honestly, we all thought he was nuts.

I felt a tinge of paranoia, then understood that I would have made the same omission if I thought a friend was married to the wrong person.

I used to buy daisies every Friday at Publix to cheer myself up, but I haven’t needed to do that since my divorce.

* * *

The dress continues to dangle in its stark gray chrysalis near the closet wall. I have several like it. My mother made me wear dresses all my youth. When I came of age, I wanted only pants. Was it mere rebellion, hard-won freedom, a symbol of my new-found lesbian life?

No more “Friday Flip-Up Day” on the playground. No more girls—it was always the girls—making snide remarks about stubble and nicks and those wispy gold hairs growing back.

Yesterday I found two neckties in my underwear drawer, one silver, one bronze, both of them still unworn.

* * *

What about all the things we won’t tell ourselves? Once, riding a city bus, I glimpsed a poem by Kate Loeb: Some secrets I keep even from myself.

I was nineteen, maybe twenty. I had a long history of pretending. I wasn’t quite sure where make-believe ended and real life began. Soon, the poem became another secret I kept from myself.

Later, at a street fair, a fortune-teller told me I’d marry a good man, give him three children. I must have looked stricken, so she clutched my hand: Isn’t that a good thing? Shouldn’t you be glad?

* * *

I actually had a chance to wear a bowtie and tuxedo once as a groom’s person for Gregg and Rick’s wedding. I was amazed to learn how many figure “flaws” a man’s jacket can cover. I remember feeling inconspicuous. I had no urge to suck in my gut when pictures were snapped. And what about our out-of-shape president, those unflattering pictures of him golfing? When he wears a suit and that ridiculously long tie, he looks like a man of normal size.

* * *

Think of fake news. Yesterday I saw on Twitter: Believe it or not, this is a shark on the freeway in Houston, Texas. I did believe it! I was scrolling through the horrors of Hurricane Harvey. But it was soon proven a lie—the water on the highway real, but the shark had been photo-shopped.

* * *

How do we reckon with notions of normality? Do we always mean beauty when we say health, skinny when we mean fit? Is it “fat-shaming” if a man who brags about extra ice cream scoops makes weight requirements for his wives, dress requirements for his female staff?

In my shoe-selling days, a young woman sobbed when the tall boots she had purchased wouldn’t zip over the flesh of her calves. I tried to console her, but I was two-faced, pleased with myself. I owned the same pair, and they slid effortlessly all the way up to my knees.

* * *

What about fake news before we invented the phrase? In 1948, the Chicago Daily Tribune made its famous faux pas, DEWEY DEFEATS TRUMAN! The editors were embarrassed. They apologized for the mistake. A triumphant Truman held the newspaper over his head and reveled in their error.

As a child, I stood in checkout lines with my mother, pointed at all the tabloids: Satan’s skull found in New Mexico, Dolphin grows human arms, Elvis was an alien. She said, “Everybody knows they’re lies.”

Now some people read the New York Times and dismiss it as a leftist National Inquirer.
* * *

I once had a pair of wide-calf boots in high school and was so afraid someone would find out.

I remember to this day that a “medium” calf was up to 14 inches, and the yellow tape measure around mine read 15 inches. I remember exercising, sure if I did, my calves would slim down. But guess what? Though I lost weight, my calves grew to 15 and ½!

I remember reading a sentence in some horrible novel—John Updike maybe?—that said the calves were the last thing to go on a woman.

* * *

Last night I saw Fox’s Tucker Carlson tell a Black Lives Matter supporter that she was racist. I swear I am not lying—I was flicking through the channels on my way to Rachel Maddow. I looked at the “fair and balanced” train wreck, incredulous.

“All lives matter,” Tucker said stupidly as the black woman stayed calm.

I’m afraid to tell myself that America is on its way out. Maybe I’m lying when I say things have to get worse before they get better. What if they just get worse? And then it’s the end?

* * *

Remember when Juliet, dizzy with love and rationalization, said “that which we call a rose by any other name would smell as sweet”? But would that which is not a rose, if called a rose, turns tender in our mouths, bearable in our hearts? Could we outlast it?

I try renaming the world: President Rose, full of thorns. Shrouded rose on the hanger. Many roses of Texas, rising roses of Houston. Rose Times. Truth and roses. Rose and balanced. Is this merely looking the other way? Now everything is coming up—Roses we are, and to roses we shall return.

from Rattle #59, Spring 2018

__________

Denise Duhamel & Julie Marie Wade: “We have been ‘rattled’ ever since the presidential election. This prose poem grew out of the general malaise of the country in addition to the news of Hurricane Harvey.” (web)

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April 20, 2016

Denise Duhamel & Maureen Seaton

STAIRWAY TO HEAVEN SONNET

Florida’s state bird is the crane, by which we mean
green, orange, and yellow construction cranes that hang
a mile or more above us on the beach and swing their pointy
arms all around like slow-mo highwire ballerinas.
They stand while they sleep and each weekday morning
call out their metal duets then begin their pointe work.
I ask my love: do you think that crane would crush
us in our bed like palmetto bugs if it fell north?
Of course it would, my amour says and that night
wakes up screaming, flapping very human arms.
Sometimes we feel watched over as we grab our
water wings and float like the dead on top of the sea.
Sometimes our necks ache from craning at the cranes
that sway to Led Zeppelin at dawn, all flute and wonder.

from Rattle #51, Spring 2016
Tribute to Feminist Poets

__________

Denise Duhamel & Maureen Seaton: “We’ve been writing collaborative poetry since 1991, two women’s voices blended together to create what many readers experience as a totally third voice—as well as an invigorating, humorous feminism. When we first started writing together we were often dismissed. Now, as the ‘Fairy Godmothers’ (Campbell McGrath) of contemporary collaboration, our work of the last 25 years has been honored and published by Sibling Rivalry Press, and we’re thrilled. We still write and have always written for women and the allies of women. Viva the power of collaboration!” (website)

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December 15, 2011

Review by Christian Ward

SAINTS OF HYSTERIA Saints of Hysteria
A HALF-CENTURY OF COLLABORATIVE
AMERICAN POETRY

Ed. by Denise Duhamel, Maureen Seaton & David Trinidad

Soft Skull Press
55 Washington Street
Suite 804
Brooklyn, NY 11201
ISBN: 1-933368-18-7
397 pp., $19.95
www.softskull.com

Saints of Hysteria is a fascinating anthology covering fifty years of collaborative American poetry. Denise Duhamel, Maureen Seaton and David Trinidad have included an eclectic mix of poems, ranging from Neal Cassady, Allen Ginsberg and Jack Kerouac’s whimsical Pull My Daisy to Lisa Glatt and David Hernandez’s deliciously camp Gay Parade with its candy coloured “We hoot and holler at the men dressed / as cheerleaders, their hairdos like giant scoops / of sherbet…” Many of the poems are accompanied by process notes, giving the reader useful information how the piece was created.

The anthology opens with Charles Henri Ford’s International Chainpoem, written by Ford and eleven other poets in 1940. The excellent introduction tells us that “In 1940, American Charles Henri Ford adapted this practice [of collaborative poetry] into what he dubbed the ‘Chainpoem’, which he defined as an ‘intellectual sport…an anonymous shape laying in a hypothetical joint imagination.'” This opening poem is a wonderful example of the melding together of different personalities and imaginations, seen with lines like “When a parasol is cooled in the crystal garden” (Takesi Fuji) and “Spell me out a sonnet of a steel necklace.” (Tuneo Osada)

It moves through collaborative efforts by Beat poets Allen Ginsberg, Jack Kerouac and Neal Cassady, to the New York school, with poems by John Ashbery, Kenneth Koch, Frank O’Hara, Ted Berrigan and Ron Padgett amongst others. Bill Berkson and Frank O’Hara’s darkly comic St Bridget poems stand out with poignant lines juxtaposed next to childlike silliness:

afternoon is leaning toward drinks  I am getting
myself right now though I shouldn’t  Would

you like one, heaviness of the compost thresh-
hold? No, I want the plants to have it, for

they have died  Sometimes the streets are full
of snot sometimes the travelling ferris-wheel

Collaborative poems by Robert Creeley, Marilyn Hacker, Susan Cataldo and James Schulyer move the anthology through to the eighties. The nineties and thousands continues the eclectic range of styles seen throughout the book. All Ears by Keith Abbot, Pat Nolan, Maureen Owen and Michael Sowl, for example, is a mish-mash of Japanese traditional forms such as hokku, waki, renku and ageku woven together with a series of zen-like images:

  After rain the freeze
gnawing at the wall
          hands over heater all ears

          after rain the freeze
gnawing at the wall
              hands over heater all ears
leaves cut into a steel sky
or the gray in photographs

Cartographic Anomaly by Terri Carrion and Michael Rothenberg reads like a diary written in haiku, fused with observations made by a botanist. Stanzas such as "Michael on computer, in bed, blue glow / from screen on his face like TV image. / Big Bend National Park" are followed by details such as Ocotillo, Hectia Scariosa and Agave havardiana. This contrast between the material and the natural makes each section seem almost metaphysical on one level.

The anthology is well worth reading even if you’re not interested in collaborative poetry. There is such an abundance of different styles and imaginations from several decades that everyone will find something they will enjoy.

___________

Christian Ward is a 27 year old London based poet and student, currently finishing the third year of a degree in English Literature & Creative Writing at Roehampton University, London. A Pushcart Prize nominated poet, his work is forthcoming in The Warwick Review, Remark and Decanto.

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September 18, 2009

Denise Duhamel

from: HELP (IN 47 LANGUAGES)

It is rumored that when the famous linguist William Jacobsen
was struck by a car, he shouted, “Help!” in 47 languages.

APPI!

On the cover of the Help! album, the Beatles spell out a word in semaphore. One would guess—four Beatles, four letters—that the word must be “HELP.” Instead they are spelling out “NUJV” on the British album and “NJUV” on the U.S. release. Some conspiracy theorists say John was already dead in 1965, and that the letters stand for New Unknown John Vocalist. Others say Paul was dead—New James (Paul’s first name) Unknown Vocalist. Still others notice the image has been reversed—the Beatles coats are buttoned on the wrong side. When one holds the album up to the mirror, the Beatles are really spelling “LPUN,” which stumps everyone. Robert Freeman, the album photographer, said he didn’t have a message. He was simply interested in “the best graphic positioning of the arms.”

AJUDA

Zip the Clown lived next door. He was mean without his makeup, always yelling at his scraggly boys who were the same age as my sister and me. A midget who wore overalls stayed with them and straightened out their messy house. She tried to show Zip’s kids and my sister and me how to make balloon animals, but we were afraid of the squeak the balloons made when we twisted them. Most of the balloons exploded and the midget may have thought we were bursting them on purpose because she said if we were just going to fool around she couldn’t waste her special balloons on us. The midget wasn’t Zip the Clown’s daughter or wife, just someone he was helping out until she could get on her feet. Then one day she did get on her feet and Zip’s boys wore the same shirts to school for a whole week.

from Rattle #24, Winter 2005

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January 3, 2009

DENISE DUHAMEL: “I wrote a series of prose poems based on the principle of the ‘Johari Window,’ a psychological model used in assessing self-actualization. The four prose poems reflect the ‘windows’ of the self: what the self freely shares with others; what the self hides from others; what others hide from the self; and what is unknown to the self and others. I used the confines of physical spaces of the blinds’ slats to determine the length of my prose poems—and my project involved ‘filling’ those spaces with words. For the ‘Johari Window,’ I constructed prose poems to ‘fit’ on four sides of two Venetian blinds. I printed the words on vellum and attached them to the slats of the blinds, each slat a line. The blinds ‘open’ and ‘close’ to reveal and withhold information.”

Click each image for a larger version:

The Johari Window 1

The Johari Window 2

The Johari Window 3

The Johari Window 4

from Rattle #29, Summer 2008
2008 Pushcart Prize Nominee

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