This week's Poet of the People is Kathleen Nalley!

This week's Poet of the People is Kathleen Nalley. I first met Kathleen at an event hosted by Kwami Dawes. Since then she has journeyed down to the Midlands several times to read at events I have hosted and I have had the privilege to read a time or two with her in the Upstate. She is a force of nature - a strong wind of sanity blowing from the foothills of South Carolina.

-Al Black

Kathleen Nalley is the author of the prose poetry collection, Gutterflower (winner of the Bryant-Lisembee Editor’s Prize), as well as the poetry chapbooks Nesting Doll (winner of the S.C. Poetry Initiative Prize) and American Sycamore. Her poetry and book reviews have appeared in New Flash Fiction Review, Slipstream, Limp Wrist, Rivet, Southern Humanities Review, The Bitter Southerner, StorySouth, and elsewhere, and her poetry has been anthologized in several collections. She received Jasper’s Saluda River Prize for Poetry in Fall Lines in 2016 and was heralded by the Richland Library as one of “10 SC Poets to Watch.” She’s participated in several community poetry projects in Columbia and Greenville, S.C.--most recently, in coordination with Greenville Poet Laureate Glenis Redmond for the Greenville Transit Poetry Project and for the Metropolitan Arts Council of Greenville’s Visual and Verse exhibit. Over the years, she has served as poetry editor of south85 literary journal, as an adjudicator for the Fine Arts Center of Greenville, as a judge for the SC State Library’s annual student poetry contest, and as a board member of the Emrys Foundation. She currently teaches literature and writing at Clemson University.


The Last Man on the Moon

 

Everyone knows Neil Armstrong: Staypuft moon walker, American posterboy, question to Jeopardy answer. The way Aldrin was all the buzz. Everyone loves firsts: first date, first love, first sex, first lunar walk. No one talks of lasts: marathon walker, buffalo corpse, minimum-wage worker, the sister not quick enough to the table, Eugene Cernan, who drove a lunar rover a mile, then knelt and traced his daughter’s initials—TDC— into dust. Cernan: the last man on the moon, the end of a legacy. The Omega. The Z. The period at the end of a sentence. The one whose name we don’t remember. The one who etched his daughter into the cosmos.


Black Dress

 

Although your mother cooked

pasta, lasagna, tiramisu,

you weren’t allowed to eat

more than three bites,

 

always a size two, to stay a size two,

always a halved grapefruit

on the counter, a bowl of peaches

rinsed of their syrup, fists

measuring perfect portions.

 

Boyfriends knew to deny you

milkshakes at the Starlite Drive-In,

where high school lovers swarmed

the parking lot, having only a few

hours before fathers would go looking.

 

You subsisted on Saltines

for weeks before senior prom;

the black dress your mother made

intentionally a size too small,

her tape measure lassoed

around your 21-inch waist.

 

Now, in the mirror, all you see

is what you never were,

fat and bulge and droop, the last

bobby-socked girl to be asked

to dance. Now, laugh lines

corner your mouth.

 

You don’t remember being

beautiful, the powder blue

eyeshadow, the brown scalloped

lace, your hi-rise and hospital job

in Charlotte, flirting with young plastic

surgeons who cut skin open,

lifted spleens to tables, painted

skin with scalpels.

 

Mid-life, you’ve got wonderfully

open carotids, jeans that fit,

secret cravings and scales

like gargoyles in every room

watching over the numbers,

 

those damn numbers that creep

into your sleep, wake you

in a panic, as if you’re walking

late to class naked, as if there’s

an algebra test you forgot to take.

 

Behind the louvers of your closet,

the perfect little black dress

in case someone dies.

 

 Judicial Hearing Ghazal

The girls school girls—were they were dressed to impress
the boys school boys at the weekend parties on your calendar?

Another beer down the hatch, another punch bowl to spike, another girl to access,
another notch on your belt, another to-do checked off of your calendar.

The boys lined up in trousers and ties, dressed for success—
a train of future executives and judges with no time on their calendars.

Punch-drunk, literally, those girls that you pressed
against you—funny, their names don’t appear on your calendar.

One says you forcibly groped, shifted her dress:
unmentionables unmentioned on your calendar.

Another says luckily she had emergency egress
before more harm could be done. She kept an emotional calendar.

The women who’ve come forward, their memories repressed
years, decades—did they keep calendars? (And how were they dressed?)

The parties, the drinks, the boys, their aggressions—details from all three coalesce,
details corroborated, at least, in part, by your calendar.

They’ve experienced PTSD for decades, traumatic duress
while you climbed the ladder, made appointments on your calendar.

A limited investigation, limited witnesses addressed
within a limited scope—the vote already fixed on the calendar.

Women know how it goes. #metoo. #whyIneverreported. We persist, nevertheless.
Take it on oath: November 5 circled in red,
                                                                          circled in red, circled in red
                                                                                                          on our calendars.


Life Sentence

In 2014, Oskar Gröning, 93-­‐year-­‐old former Nazi accountant, was charged with 300,000 counts of accessory to murder

 

For 60 years, you’ve sought absolution

in birds,

their wingtip and beak,

their freedom of flight.

You dumped 661 pounds

of seed in your yard,

shallow bowls overflowing,

just so you could pass the years

witnessing their formation: always a V,

nary a soldier not following suit.

Sixty years you’ve waited, contemplated

your garden, your lawn pocked

by all those small empty saucers.


What Man’s Hands Wrought

Long before there was fracking there was you unearthing the very earth digging trenches in soil spilling your chemical goo turning mud to muck leaving nutrients to dry fuck you nature heals herself in time even the most eroded can make anew grow pickups from seed littered the wind always knows what to do carry things away carry things where they will bloom wildflowers color the landscape permeate the air oh her honeysuckle hue she’s wild always wild always remade no matter the matter or intrusion or drilling or fracture believe her she will

This Week's Featured Poet of the People with Al Black is Stephen Wing

This week's Poet of the People is Stephen Wing. In the environmental poetry scene, Stephen Wing is a force to reckoned with. I spent three days at the Off the Grid Festival outside Spartanburg, SC with him last Autumn and he has featured twice for events I organized in the Midlands area. He is authentic and writes from his strong belief in the sanctity of nature. We need more Stephen Wings. 

-       Al Black

 

Stephen Wing discovered the wilderness in the summer after ninth grade, and suddenly the world made sense. A deep connection to wild nature has been his spiritual center ever since. His work as a poet ranges from the personal to the pastoral to the fiercely political. Once each season he hosts the “EarthPoetry” workshop, exploring metro Atlanta's many protected greenspaces and nature preserves. His new book Wild Atlanta combines poems from 23 of these locations with stunning color photos by Luz Wright. He is the author of three previous books of poems and the Earth Poetry chapbook series. Visit him at StephenWing.com.

 

Lightning’s Compass

With every flash and flicker of the sky,
I glimpse another few steps
of the trail back to my tent,
this slow pilgrimage between the trees
without a flashlight—
fork to the left, jog to the right,
slippery downgrade, low-hanging branch—
like my life sometimes,
the chain of epiphanies lighting up my path
and the pitch-dark
between

 

 

Underfoot

Every time I walk down
into the hollow
through the winter woods
or up the mountain again,
I stop right here.
Standing on the packed earth
of an old logging road
where the creek slips quietly
through its rusty culvert
underfoot,
I’m not so much listening as feeling
a kind of tickling caress
through the soles of my shoes
and I recognize
a crossing of paths, a choice,
a way back
if I could only turn
and follow.

 

 

Ever Since Evolution              
     
              for Dawn Aura

Of all that’s ever
begun with an orgasm,
I think I like you
best:

Ever since the Big
Bang, ever since Genesis,
ever since the Milky Way gave birth
to a green-blue baby
called Earth—

All down the generations
of amorous plankton,
the dynasties of protozoa,
whole species that married and merged
into new species,
brewing up an atmosphere of
hospitable chemicals . . .

Down the golden ages
in the Garden, whole
civilizations of bacteria
that slowly grew into specialized
cells of one another,
building over millennia
the confederation of organs . . .

Ever since Evolution
conceived a tribe of naked mammals
begotten by the lineage
of Chimpanzee, I think
of all the protoplasm in the diaspora
of Creation, you
are my favorite animal

 

 

Grandmother’s Seeds

                  for Anna Maude, my grandmother

She’s out in her garden,
bending down to touch the soil.
She covers each seed as she
must have tucked me into bed, long
ago.  Her old hoe is worn
to a shining crescent, sifting
earth into dark flour.

She never knew the shelves
in her bathroom were lined with
the signs of the zodiac.
I never heard her mention the moon.
She sprinkled poison like
holy water and thanked the Lord
for filling her deep-freeze.

She sits at the lamp
over her morning devotions.
Outside in the dimness
the first seed stirs in the ground.
She folds her glasses, closes
her book on its bookmark and goes out
to turn on the hose.

 

 

The Naked Scientist

I am the naked scientist
singing as I set my specimens free
Joyfully I observe the positions of things
and nudge them off their courses,
gauge their direction and budge them
from their places

The green things around me lap my exhalations,
my fresh odors startle the ancient
solution of gases, I let my hand pass experimentally
down the mossy flank of a boulder
purring in the sun

I ache sometimes at sunrise
for the waking of the world to what it knows
Each day I gather data, and grieve
for the grieving of one or two or eleven people
I hadn’t counted before

And I look over my notes at sunset
comforted by this work of the Study of Woe,
calculating my Theory of Revelation
in the face of entropy and decay

I live to know this world as my grandmother
knew her Bible, but best of all
I love the pilgrimage
of the search—

(Shall I tell you my discovery?
It is all alive.
And the snowflakes are not
all one sex.)

 

 

Asphalt Nights

Looking back now, I often
regret that night in my delinquent youth
when I impulsively
borrowed a shovel and buried
my memories of childhood down by the creek
under a full moon.
How was I to know the entire floodplain
would be paved for parking
when they built the new mall?
Night after night now I dream I’m a lost child
roaming mile after mile
of fresh black asphalt under the floodlights
between the slumbering cars,
kicking my shadow ahead with every step,
stopping to listen
at every storm drain for the faint
trickle or drip of some other world
to wake up in.

 

 

Man Breathing Life into Metal
(Note italics at end)

 

The saxophonist wets his lips
and caresses his mouthpiece

sucks it in and lets it escape
and then draws it back

into himself so its dark twisting
entrails join with his own

clamps the dormant light of that
gleaming muscle in his

fingertips and forces through its
thin lips from his own

the infinite compression of a breath:
the golden bell sings out

with the panic of inarticulate matter
waking to the agony it is

to be an animal, the joy it is
to move and speak and sing

“Now when I get through playing it,
it going to be just as warm as my body . . .”

 

 

Moth

I bit my fingernails too short
waiting for this bus, I stood
too close to the road too long, peering
through the haze of engine fumes—

Everyone around me pretends not to know.
So naturally by now they‘ve all
long since forgotten.
No one on this bus remembers
poetry overhead among the ads:  today
hundreds of cockroach silhouettes,
the extermination campaign . . .

A dead moth
on the stairs in the train station knows:
startled black and red and yellow eyes
on shattered wings
stare past me through the concrete overhang,
and suddenly I see
right through the step I’m about to take—

Its furry underbody
leaves a yellow pollen on my fingertips.
Ridiculous
to carry the fallen creature home.
Ridiculous to choose one place
out of all the galaxies
to go.

 

 

Distant Singing

Listen:
somewhere off in the distance,
a motor.
It too has a song.
It’s the song of pushing eagerly forward,
heedless of how,
careless of where,
regardless of why,
intoxicated
with the singleminded joy
of burning its little tank of fuel,
never mind
where the fuel came from
or where that little plume of smoke
might go.

 

 

Hurtling Through Darkness

Hurtling
between the silver ribbons
uncurling eternally
out through the darkness,
steering by a chain of diamonds
strung through space,

I start again every time
I stray from my lane and they
bump under my tires, the reflecting
eyes of all the animals
who have died for this highway—

Focusing my own wild eyes
into the rainstorm,
the floodlights of billboards,
the pulse of blue lightning
at the power plant,

leaning back in the cushioned engine
of my will
with the road’s vibration
humming in my vitals,
gripping the steering wheel as tight as my life,

I ride the thirsty beast
of my momentum, obedient to the signs,
barely in control,
hurtling through the darkness of the eons
of extinction

Poetry of the People with Marlanda DeKine

This week's Poet of The People is Marlanda Dekine. A force of nature and a force for good, her poetry inter-weaves with her social justice values and inspires and intoxicates. I first met Marlanda in the upstate; she has now migrated to the Pee Dee and is recognized for her work outside South Carolina. 

BIO: Marlanda Dekine makes connections of depth through poetry and facilitation. She is the author of Thresh & Hold (Hub City Press) and i am from a punch & a kiss (unnamed LLC). Her work has been anthologized in This is the Honey: An Anthology of Contemporary Black Poets (2024), What Things Cost: An Anthology for the People (2023), and Ecological Solidarities: Mobilizing Faith and Justice in an Entangled World (2019). She is a South Carolina Arts Commission Spoken Word/Slam Poetry fellow (2023), Castle of our Skins Shirley Graham Dubois Creative in Residence (2021), Tin House scholar (2021), and Palm Beach Poetry Langston Hughes fellow (2022). Her poems have been published by Orion Magazine, Oxford American, Southern Cultures, and elsewhere. She received a Governor’s Award from South Carolina Humanities (2019) and the New Southern Voices in Poetry Prize (2021). She is the founder of Speaking Down Barriers, an organization working towards equity and justice. Dekine holds a BA in Psychology from Furman University (2008), an MSW in Social Work from the University of South Carolina (2011), and is currently a MFA Candidate in Poetry at Converse University (2024). For more information, visit www.marlandadekine.com.

____

sarah’s glossolalia

i was not born
on an island tethered to water

my spirit is timeless
knows of places larger than 48 states

i don’t read maps
i lay down in clay
cracks tell me where i am

i think of lou’s tongue
in my mouth
i do this to become a madhouse
filled with faces of dolls

while her tongue is in my mouth
i think about who’s seeing our tongues

i went out into rain
let my mouth riddle off words
wonder sounds
brought in our future
oh to be free


  from a voice 

i don’t need to be a woman 

    I am a child of gods with many doors 

i don’t need to be a man 

     i am a child of their blue skies  


past is future


grandpa moses will you let me in
all queer and free in your image
my voice a pulpit voice like yours
listen to me going on
on my soapbox with my secrets
all out in the open
we buried yours with you
did you wish hell on great-great-greatgrandma sarah and ms lou
for what they brought to us
when i go to any ocean
water tells me things
i’m not supposed to know
i used to forget for you—
is that your voice hidden inside of thunder
i remember you in your chair
saying holy holy holy your large finger
dressed in a crimson masonic ring
your hands large over my entire life
i don’t know your rituals
do i have the right to make rites in your honor
all my rings bear no allegiance
i stay light as getting up from an altar call


love


there are so many ways
we don’t want to love
the man tells me
not to write for the straights
the woman tells me not to kiss
my woman in front of the boy
my woman wants me to say
she is my woman

    she is my woman

i want right words
for our hurt
the first moment the hurt hit my body
i felt it in my stomach
i was six years old
i don’t want the boy to know
hurt in his little stomach
the way my beloveds can feel
when i got the hurt again
and they ask you good

i’m bad off and imagining
my next glass of rye whiskey
after remembering
some don’t know how to love
a part of me well

i am trying to get the hurt down
right onto the page

so children will know
not to follow
our shipwrecked words
bodies floating
in brown water
that was blue
i want the boy to paint
the water blue now
to go into his own room and conjure
colors beyond our muted rainbows
beyond america
the experiment that is not a home

my heart is a home i am cultivating
it helped me to say my feelings were hurt
when my ego (an unpoetic word) wanted to say
fuck you i don’t need you

i don’t think i’m writing for the straights
but maybe i am writing to that part of myself angled
just so i can see how many degrees
i am not removed
because i too am human
i’m digging
because i know my ancestors
put love here too
inside my little puny heart
i am building a home
wherein i am not a victim
of weaponized language

spirit i am yours
within a cosmos
where the boy has a future
written over his life
and the boy is free to feel
and speak over his life
whatever water it may need
and the boy’s paint becomes
his great-great-great-grandma sarah’s face
and he is surrounded by women
sitting in a circle doing nothing
other than what they want



Congratulations to the Accepted Contributors to Fall Lines - a literary convergence, volume X

On behalf of the Jasper Project, we’re delighted to announce that the following literary art was selected for inclusion in Fall Lines Volume X, releasing in spring 2024. These contributions were selected from several hundred poetry and prose submissions, and we couldn’t be happier to include them in this milestone tenth volume of Fall Lines – a literary convergence.

In early 2024 we will announce via the same website where and when we will hold our annual Fall Lines reading and awards ceremony, as well as the winners of the Saluda River Prize for Poetry, the Broad River Prize for Prose, and the Combahee River Prize in Poetry and Prose for a South Carolina Writer of Color.

Until then, congratulations and thank you for sharing your talents with the Jasper Project and allowing us to share them with the world.

Paul Toliver Brown – Digging to China

Allen Stevenson -- Shep’s Story

Bryan Gentry – Some People Never Change

Ruth Nicholson – The Red and Blue Box

Suzanne Kamata – Community Building

Evelyn Berry – Home Party

Randy Spencer – Next Day Now

Liz Newell – Red Hill Fans

Debra Daniel – Eve Purchases an Apple Watch

Shannon Ivey – As I Went Down to the River to Pray

Eric Morris – Straight Down Shadows

Lonetta Thompson – The Differences

Napoleon Wells – The Court of Thieves

Tshaka Campbell – Pews

Ann-Chadwell Humphries – Urban Eagle

Jacquelyn Markham – The persistence of limited memory  & Storage

Brian Slusher – *Improv 101 & What else for you darlin?  

Worthy Evans – *Blue Song for Bringing the Body Home & Blues Song for Never Having What I am Relative to Everybody Else

Rhy Robidoux –*Whereas

Nadine Ellsworth-Moran – *Nasturtium grows lush

Susan Craig – Migration & Treating our mother's last living friend

Heather Emerson – Divorce & Ceilings  

Joshua Dunn – Clearing House

Candice Kelsey – Chainsaws  & Renewable Energy

Terri McCord – Following a Blast

Randy Spencer – *Reading Ann’s Poem & In Passing

Debra Daniel – *Studies in Reproduction

Loli Munoz – Liminal

Frances Pearce – Strawberries

Ann Herlong-Bodman – One More

Jo Angela Edwins – A Neighbor Calls a Cool June Evening a Miracle

Kristine Hartvigsen – What I’ll pack for the apocalypse  & Inagaddadavida

Al Black –*Meditations on the Lawh-i-Aqdas & Midnight Call to Prayer

Tim Conroy – Journeys

Jessica Hylton – Space

Amanda Warren – Divination Road

Danielle Ann Verwers—How was your day

Libby Bernardin – Ode to the Santee Delta & Ramble of thought as I read an article in the New York Times

Ellen Blickman --The Mystery of Pomegranates

Allison Cooke – Whippoorwill Elegy

Julie Ann Cook --  Into blue

Bryan Gentry – Hail, Fuse

Kelley Lannigan – Aubade

Gilbert Allen -- T**** IS PRESIDENT

Jane Zenger – Choices

Anna Ialacci – Ruined

Nicholas Drake – The Space Beside Her  

Graham Duncan --  Exceptionalism

(* indicates finalists for the Saluda River Prize for Poetry)

Fall Lines - a literary convergence is made possible through a partnership between the Jasper Project, One Columbia for Arts and Culture, Richland Library, and the Friends of Richland Library.

Poetry of the People with Kimberly Simms Gibbs

This week's Poet of the People is Kimberly Simms Gibbs. She is South Carolina upcountry poetry. She sees with an eye of southern cornbread sopped in pork drippings gravy. If you want to feel the Carolina hills and mountains read Kimberly Simms Gibbs.

Kimberly's literary voice is rooted in the Southern tradition of storytelling. Her passion for poetry from both the page to the stage has led Kimberly to garner titles such as former Carl Sandburg NHS Writer-in-residence, National Poetry Slam ‘Legend of the South’, TedX speaker, co-founder of CarolinaPoets, former Southern Fried Poetry Slam Champion, and award-winning teaching artist. In her first full-length collection from Finishing Line Press, Lindy Lee: Songs on Mill Hill, Kimberly chronicles the lives of textile workers in the Carolinas with historical accuracy and imaginative insight. Ron Rash, the award-winning author of Serena, says about Kimberly: "she writes with eloquence and empathy about an important part of Southern history - too often neglected."


                                  Trespassing after the Hysterectomy 

The Lily-of-the-Valley 

           pearly bells tremble 

            the way a child’s mouth brims 

                                   with laughter. 

Daffodils 

          headless green arms gesture 

          split-hearts subterranean 

                                leaves blackened. 

Mole, 

          how sweet is your tongue 

           after your feast of bitter 

                                 tulip daughters? 

Dark earth, 

           how do you embrace the emptiness 

            of your bloomless womb 

                                  your crumbling tubers? 

Lady Slipper, 

           my gloved hands long to plant 

            while your tendrils more exotic 

            unfurl sharp leaves, pregnant blossom 

                                   beneath the last living hemlock.  

                                                  Homestead 

                                 But nothing is solid and permanent. 

                       Our lives are raised on the shakiest foundations. 

                                   – Ron Rash, One Foot in Eden 

A bolt of barbed wire, black with age,

hints the way, jutting from the undergrowth 

like a wizened digit— the post long since decayed 

and lost to the crumbling host of litter. 

This sunken corner is a garbled message 

till we catch a tree pierced with another barb. 

A stone pile murmurs, entangled with the metal. 

This forest expands in every direction. 

Our eyes can see no horizon beyond it. 

Mountains surge as we weave 

up and down valleys, creeks, and ravines. 

Eighty years: a forest has fallen and regrown. 

Homestead cleared, tilled, planted, harvested 

then reclaimed by this hummocked beast. 

We follow the ancient line back to a single 

hearthstone and the outline of a foundation. 

A toppled stone wall, a brown bottle. 

All around us: a forgotten fence, an outpost of the past.

Wild Green Soup

          Newberry Cotton Mill Village

           South Carolina 1924  


Fingers of frost stretch across the windows.

Seasoned wood crackles in the wood stove

while I stir the last salty pork knuckle

with a handful of beans, wild greens

into a stock pot just off the boil.

Fall's harvest now a collection of empty jars;

the cupboards breath -- dust, dead moths.

Each stir is more a wish as the day considers

getting warm, sweet herbs summon cravings.

Morning casts its pink sap over frost-risen clay

as I shepherd this thinly-feathered brood

towards the cotton-strewn spinning room.

Today we will piece broken strings, weave

cotton scraps to make them something whole.

Liddy Lee Songs on Mill Hill (Finishing Line Press, 2017)

       Machine Tool Salesman

Bill run that grinder fo ten years

Machine bigger than a brown bear

in Manny's stretched machine shop

in the flats of South Carolina.

The metallic cold milled slack snow

big sloppy flakes. The guys put on

their coats and stuck out their tongues

for the rare southern crystals.

Scraping together snowball heaps,

they watched the yard go dark and drank

black coffee. They stomped their feet

and left their coats on cause the shop

was so cold. That year so metallic.

That's how it happened, the coat.

Bill knew better, but ten years

you get so easy. The machine caught

him-- metal grinding machine --instant.

I sold them that grindernew.

Just horrible, he had two little babies too.

Took a week to get him out of the wheel

but it still ran. Can't keep a machine

something like that happens. I sold

it down the coast. Just horrible, two little

babies too and that year so metallic cold.

                                                     Summer Swagger

Late August, we are still free summer children.

We run over the rocky banks laughing in some

chase game; muscles flex, tense, stretch, climb

the steep --- dig fingers into cracks, wrench ourselves up.

Mountain expanse of water calls to us. My skin

tingles with nervousness as I look down thirty feet.

"Take my hand," you tender, "We'll jump together."

Wind races around my feet! We send out seagull wails,

steal breath for the plunge. My body is a scream!

Down, down forever in bubbles, then buoyant, silent,

We are carp pulling ourselves up through the water.

We burst back into heat, hollowing out triumphant bellows.

Poetry of the People with Cassie Premo Steele

This week's Poet of the People is the indomitable Cassie Premo Steele. Cassie is an Earth mother to many poets and writers. Her poetry invites you to take a walk with her in a forest to her safe place for an intimate poetry salon with the denizens of nature. A Daughter of Light, she leads you back to the city refreshed and remade.

~~~~

Cassie Premo Steele is a lesbian ecofeminist poet and novelist and the author of 18 books. She will be reading from Swimming in Gilead, her seventh book of poetry, at Simple Gifts on November 7, and the launch party for her third novel, Beaver Girl, will be at All Good Books on November 16. Her poetry has won numerous awards, including the Archibald Rutledge Prize named after the first Poet Laureate of South Carolina, where she lives with her wife. She is currently running a Kickstarter project to fund the Beaver Girl Book Tour:

Poems from Swimming in Gilead, Yellow Arrow Publishing, 2023

~~~~~

Let Us Begin Again

 

Be very quiet. Make it dawn.

Rise from bed. Walk on the lawn.

Wait for it. The sun is coming.

It’s a new one. It’s beginning.

You don’t believe me, you say

this happens every day, there’s

nothing new under the sun and

certainly not the sun itself.

Put your doubts on a shelf,

I say to you. Hush now.

Listen to the birds singing.

Watch the blue ones feeding

their babies. See the heron

heading south for fishing.

Look at the egrets catching

pink light in their white wings.

Faith is made of things like

these, everyday movements,

sights and sounds that you

usually ignore, and today,

since you’ve told me you’re

tired of life and wanting something

more, I’ve shown you how to do it,

and now that you know,

come, let us begin again.


The Woman Speaks of Bicycles 

I’ve known bicycles:

I’ve known bicycles new as my skin and older than my dried blood

from my womb.

 

I’ve known bicycles:

Reliable rubber and metal bicycles.

My body has grown strong like bicycles.

 

I rode along the Minnesota roads when constant motion was my freedom.

I got off my bike and walked the sugar bluffs, puffing with each step.

I looked upon the Mississippi and had a vision of finally flowing away.

I heard the wheels of my bike whizzing downhill at the end of the day.

 

I’ve known bicycles:

Reliable rubber and metal bicycles.

My body has grown strong like bicycles.

 

I rode in Carolina when children waited for me back home.

I got off my bike and walked the hilly edge of Covenant Road.

I looked upon the Congaree River and knew I would always stay.

I heard the music of my own voice saying I could live a different way.

 

My body has grown strong like bicycles.

  

This Is How We 

I once knew a Native woman,

Eastern Cherokee, who taught me

that in order to fix a rip in a basket,

you can’t just go in after it.

You have to unwind the fibers until

it’s pinestraw and sweetgrass again.

This is how we begin again.

 

I once injured my left knee

and the physical therapist,

a Latina from Texas, showed

me how a lack of stability

in my right hip had caused it.

The body crosses like this,

she said. It’s all connected.

This is how we heal again.

 

I once lay on my bed for hours

on end, as a child in Minnesota,

reading book after book while

my body disappeared, and so

did the pain and fear, until

I was just a mind in a story.

It took me years to invite

my body back into the party.

This is how we move again.

 

I once stayed in endless motion

of serving and cleaning, cooking

and feeding, wiping and washing,

drying and folding, until my mind,

always so strong, broke hard

and long, and for the first time,

I told the truth in therapy.

This is how we feel again.

 

I once heard a song that felt

like it was singing all that had

gone wrong, and I thought

it had been written just for

me, and then a pandemic broke

the globe and I realized everybody

knows the melody of tragedy.

This is how we begin to be together for the first time really.

 

Sun Loving 

Just before the day ends, I look up

and the sun is in drag, orange lipstick

and purple fingernails, red hair,

peach high heels, and I say, Hey, girl,

Where you headed? And she says,

Off to bed. Alone? I ask. You know

better than that, she laughs, and

as she sashays away, I see the moon

and stars take her by the hand

and lead her downstairs to a ballroom

for a final dance before kisses and

all the love she has ever deserved.

 

Under a Full Moon 

What must be done is a gathering

of women under a full moon,

each one holding in her hands

a leaf or bud or flower, blade

of grass, and together we say

the names of these plants,

and the list transforms into

a poem, a prayer, a spell, an

incantation, a chant and belief

in peace, peace, peace, peace.

 

And when our throats go sore

and voices tire, we take our

empty hands and make a chain

to keep the violence from crashing

into bodies any longer, and

dream that war will cease.

  

Seeds 

I spent years diving and digging

and bringing coral and diamonds

up into the light with my palms,

but the sun had dimmed so much

that my gifts were invisible, and I

mourned the bodies and voices

of women and girls I’d wanted

to crown with orange and bright

jewels who had all gone down

underground in a collective action

of mutual survival, and so I let

what I wanted to give away

drop to the ground and walked

so long up a mountain that I could

look back and see the seeds had

buried themselves back into the

earth to be trees. Tall were their

trunks and the leaves sang green

songs to bring the girls and woman

back to me and back into the castles

and courts we ruled over again in

this land where we’d always belonged.

  

Tuesday Afternoon 

I walk with my fingers on the page and

I dance with my hips on the stage I have

made in my room where bluebirds take

turns with me playing the parts of star

and audience and I hear the silence filled

with breath and electric hum and a neighbor’s

rake and I touch my dog’s fur and think

about origins and species and know that

nothing the mind does brings as much joy

as an animal can and I laugh while

remembering my grandson’s voice after he

knocked my chin with a stick in the garden

and asked me, Are you okay, Gaga?

and I wonder what would have happened

if God had been more like this boy in Eden

and instead of rules and banishment, we’d

been met in our mistakes and our pain

with a question and compassion.

 

Poetry of the People featuring Michal Rubin

My fourth Poet of the People is Michal Rubin. What attracts me to Michal's poetry is the unadorned integrity, honesty, and humanity of her voice.

Michal Rubin moved from Israel to Columbia, SC 32 years ago.  A psychotherapist, a Cantor, and an emerging poet, her work was published in Psychotic Education,  The Art and Science of Psychotherapy, Wrath Bearing Tree journal,  Rise Up Journal, Topical Poetry,  Fall-Lines,  The Last Stanza Poetry Journal, Waxing & Waning: A Literary Journal, and South Carolina Bards Poetry Anthology 2023.

In a secret dark spectacle

after Ada limon

I saw the twirling gust of dust

moving into the distant

world of pain I remember

and I flew there to be

with kin I have not met

come! they said

and I sat in their midst

huddled underneath their wings

they fluttered, the wings,

and the chill of history penetrated

my sheltered space

I breathed it in 

the chill

and the chains weighty

on my wrists

as I was dragged by the power 

of the dead

into the land


~~~~~

In Gaza

tomorrow’s touch

through the settling dust

will remind you of

love

unhidden in the rubble

behind the corner

forbidden moment

fused with desert breeze

salted droplets we carried

home

or what was home

~~~~~

Exploits

I write with no address

or neighborhood

letters that belong to

the smoke of burnt homes

or piles of old shoes

I try to stitch words 

so they become 

an embroidery of unwanted

stories

we live them

the stories

we spit them as hulls  

discarded shells of seeds

we feasted

I, the betrayer of dogmas spread

stained uniforms strewn on the page

I, the jailed soldier

braid sins into the chain of letters

words bathe in shame

each bullet finds a target

smoke of burnt homes fills the nostrils 

I, the one who left,

weave what you call art

with the exploits

remnants of our crimes