A friend is a poem: part 2 (Joanna Roberts).

“This is something I can give you for your birthday”

as told by Joanna Roberts to my message machine

I’m moving from my apartment
and I can’t stop thinking of this past fall
in which I only wore two pairs of boots—
such. city. boots. in that the tall brown ones
always made my ankles bleed and the little
black witchy ones somehow left
this irreversible lump of cartilage on my heel
and I walked so. much. in them and they’re not.
meant! for walking! they’re meant for viewing!
and they’ve left hilarious damage on my feet
and what makes me think of them is
that there’s this old woman who lives
in the apartment below me and I always hear her
coughing in the morning through the pipes
and I rarely every see her, the only times
I‘ve ever really seen her were when
in the fall I’d go trampling down the stairs
to get to work or to go off on some adventure
in those boots
and I would almost run her over
and she was coming back from brunch
with her sister or something like that
in her cane and her big floral dresses—

I’ll call it wisdom (Ilya Kaminsky).

“A poem is not a report on life. A poem is life.”

And also, this week:

learned how to use a letter press

acquired dreams of grandeur associated with said letter press

constructed new life plan which combines countryside + visitors + artists + farming

read a poem that exploded some hairs from my head: woah

panicked about taxes & other numbers

humbled/thrilled by my poems in a screenplay thanks to jessie katz (!!)

piled lots of birthday mail on the table for wednesday

read lowell insatiably, aided by the notes of my mother, camels class of ’78 (thanks mom)

ate triple citrus

ate tuna fish

ate entire daytimes, ate a cookie from a stranger & ice cream from the carton

watched misha with a smartphone

remembered that when people make me uncomfortable i unconsciously sing otis redding to myself &

sissykatz arrives on saturday (& thank goodness for THAT)

 

 

Sonnet I carried around today (William Meredith).

The Illiterate

Touching your goodness, I am like a man
Who turns a letter over in his hand
And you might think that this was because the hand
Was unfamiliar but, truth is, the man
Has never had a letter from anyone;
And now he is both afraid of what it means
And ashamed because he has no other means
To find out what it says than to ask someone.

His uncle could have left the farm to him,
Or his parents died before he sent them word,
Or the dark girl changed and want him for beloved.
Afraid and letter-proud, he keeps it with him.
What would you call his feeling for the words
that keep him rich and orphaned and beloved?

1958

 

Poem I heard in DC (Rita Dove).

Describe Yourself in Three Words or Less

I’m not the kind of person who praises
openly, or for profit; I’m not the kind
who will steal a scene unless
I’ve designed it. I’m not a kind at all,
in fact: I’m itchy and pug-willed,
gnarled and wrong-headed,
never amorous but possessing
a wild, thatched soul.

Each night I set my boats to sea
and leave them to their bawdy business.
Whether they drift off
maddened, moon-rinsed,
or dock in the morning
scuffed and chastened—
is simply how it is, and I gather them in.

You are mine, I say to the twice-dunked cruller
before I eat it. Then I sing
to the bright-beaked bird outside,
then to the manicured spider
between window and screen;
then I will stop, and forget the singing.
(See? I have already forgotten you.)

I want to go SO BADLY (exhibit).

“Painters and Poets” at the Tibor de Nagy Gallery.

From the website:

The Tibor de Nagy Gallery marks its 60th anniversary with “Tibor de Nagy Gallery Painters and Poets,” an exhibition celebrating the gallery’s pivotal role in launching the New York School of Poets and fostering a new collaborative ethos among poets and painters in post-War New York. The exhibit focuses on the gallery’s first two decades, the 1950s and ‘60s, when its vibrant, salon-like atmosphere and director John Bernard Myers’ passion for both art and poetry gave birth to these unique partnerships.

All I can do is go to the gallery’s website and click through the tiny pictures and hope that suffices (it must suffice). A few I love, even in their tiny, virtual forms:

That’s Frank O’Hara, at the Museum of Modern Art. And here’s Larry Rivers’ portrait of John Ashberry:

A friend is a poem: part 1 (Max Currier).

A friend is a poem is a friend is a poem, and sometimes this is true on a Monday.

TK

as my favorite poet, i thought i should send you a poem i really like. today i am making paninis with honey-mustard. i don’t know how to spell ‘panini’ and either does the computer. i miss you.

may

Snow by David Berman

Walking through a field with my little brother Seth

I pointed to a place where kids had made angels in the snow.
For some reason, I told him that a troop of angels
had been shot and dissolved when they hit the ground.

He asked who had shot them and I said a farmer.

Then we were on the roof of the lake.
The ice looked like a photograph of water.

Why he asked. Why did he shoot them.

I didn’t know where I was going with this.

They were on his property, I said.

When it’s snowing, the outdoors seem like a room.

Today I traded hellos with my neighbor.
Our voices hung close in the new acoustics.
A room with the walls blasted to shreds and falling.

We returned to our shoveling, working side by side in silence.

But why were they on his property, he asked.

Poem based on an archived letter (mine).

A piece from my creative translation project of last semester, made up of letter poems: letters to Alice Notley, from all sorts of cool ladies, turned into poems. This one’s based off of a letter from Anne Waldman. You poets might recognize some of the names she’s referencing.

Thanks to Heather for her handwriting.

Scanner inspiration comes from Frankie.

Poem (Michael Dumanis).

Memoir

There comes a point
in every story
when I panic,

there comes this panic,
I catch myself clutching
a wrench at Wal-Mart,

a wren in a field,
clutching a wrist
near a radio tower,

or someone’s key
I had not been aware of,
turning the knob

of a make-believe door.
Body the contour
of jazz in a speakeasy,

body the texture
of gasps in a gangway,
why I keep letting

you down is beyond me.
I’ve taken pains.
Practiced synchronized breathing.

Counted past ten.
Talked with zeal about things.
Even summoned the nerve

to look fetching in amber.
But can’t get past
that which rattles inside me.

Try to think back:
was I going
to flash you or juggle.

Or was there a story
I needed to tell you.
Was it important.

Could it have swayed you.
I meant to give objects
totemic significance,

refer to a childhood,
invoke certain towns.
And would I have broken

one heart or another.
It was the story of my life,
it would have started

with the note la,
then a couple of llamas.
Sometimes, a window fan

would, in it, pass for an eye.
Trust me,
it would have been riveting.