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Poem On Line

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3rd Wednesday has published my poem “Le Plus Ça Change” on their website.

I am very pleased with this small poem because it was formed by looking at two poems which were not quite working and taking the best parts of each (the images, of course) and combining them. Perhaps it shouldn’t have taken me as long as it did to try connecting these pieces, since they were both about things French. But the brain gets into ruts of thought sometimes; the process is a great pleasure when something breaks through.

I hope you like it too.

Thoughts at the Fall Cross-Quarter

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With Halloween, All Saints and All Souls Day/Dia de los Muertos, falling across a weekend this year, it was easy to see how they function as a Tridium: a set of three days, as if to balance the Holy Thursday-Good Friday-Easter Tridium of Spring.

Living in Pennsylvania many years ago I tried to write a poem worthy of the bright fall colors, ending it

colors of the sun
set, and November puts the world to sleep.

In the temperate climate where I live now, nature seems not to sleep, but our spirits still need to crawl into the dark for a bit, all those winter light festivals notwithstanding. Here, I hope for November to provide good rain to ready the earth for spring growth.

A small poem celebrating nature’s wisdom:

Cycles

Fallen trees make room
for new growth, efficient plants
doing nature’s will
without need of commandments
faithful as Jonah’s gourd vine.

Paper made from trees
pages assembled in books:
how can they be turned
to mulch to regain their place
in nature’s pattern?

Charles Scott Roberts

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Today would have been my brother Scott’s 77th Birthday.  He lived for the past decade-plus in Hilo, Hawaii, and contact had been reduced pretty much to emails at birthdays and cards at Christmas.  Last year at this time my other brother, Paul, and I sent emails as usual.  When neither of us got a response, Paul decided to investigate.  We learned, gradually, that Scott had died a month earlier; his ashes were sitting in a local mortuary labeled Unclaimed.

Since Paul has more family responsibilities than I, including grandchildren, which I do not, it became my task to go to Hilo to deal with his belongings as well as his remains.  The fact that, by the time the apartment management got on the case, Scott’s wallet and cell phone had disappeared led to interesting complications (and of course we could not find the password to his computer).

I had visited Scott in January, 2023, and knew that he would have nothing to do with doctors.  His recorded death date is the date the police found his body; the cause was determined to be a heart attack.  While I don’t believe he chose the date, I believe he died as he wished, in his apartment, without any fuss, without involving anyone who might have made things more complicated.

What I don’t know is what made him so very much a recluse.  Ours was never a close family, but we do all have friends.  The only people who seemed to know him in Hilo were his landlords; their office was next door to his apartment.  And they didn’t know him well enough to find us until we reached out to them.

He was very smart, had a number of jobs in computer software, was interested early on in AI, its possibilities and its dangers, enjoyed reading philosophy and writing.  He was someone worth knowing, and our visits with him before he settled in Hilo were good times.

This September we will scatter his ashes in the ocean which kept us so far apart.

Another Poem about Writing

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See my post of March 6 for general comments in this vein. This poem addresses the frustration of unfinished work. I had three pieces that weren’t working at this point.

At the Desk

I pass by Paris, pause
for shifting gears,
and I’m back before
the elephant, cut up
but still stewing.

A month’s aging
hasn’t helped. My words
are too weak to wrestle
this beast onto a plate
so I can serve it.

No, “the elephant” is not a poem about an elephant. It’s just the biggest puzzle unresolved.

Another Spring Poem

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One written a little while back, but an actual experience. The allusions to Wallace Stevens “Disillusionment in Key West” are due to an exercise in a workshop with Marj Hahne.

Disillusionment in West Texas

A sunny morning in March.
Off the interstate, empty roads.
Along the main street—
if this is the main street—
yellow stucco buildings.
No one walking about,
no windows to stop at,
no shiny OPEN signs,
no trouble parking.
Where are the installations,
where are the galleries,
where is a shop selling
mid-morning coffee?  Marfa
is closed on a Tuesday morning.

A Poem for the Change of Seasons

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A flight of fancy to celebrate the equinox. It’s officially Thursday, but the sun here, according to my cell phone, is up 12 hours plus 4 minutes today.

Royalty

At winter solstice, nature’s new year,
the one plants honor, I become
Queen of the Night, with pages,
blank or inscribed, for courtiers
who urge me to exile the to-do list,
intention’s nagging inversion.
I visit the day only to restock
my supply of wine and chocolate.

My rule ends at the equinox,
when Queen Persephone returns
from below, living green takes over,
I become servant, day-worker,
watering, feeding, trimming plants,
attendant to the majesty of growth.

Ars Poetica

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It seems that poets are the only artists who use their art to explore or describe their own process.  Visual artists don’t have that option. Novelists may write about writers, but it’s not the same as this Ars Poetica, which is almost a sub-genre, though it’s probably better to see it as a theme or topic.

Here’s a recent effort of mine.

Journey

The route a poem takes is not determined
by the root it comes from. Where
do the words want to go? Their road
has no mile markers; I cannot measure
how far I’ve come. Why do I need to?
Calculation is for highways, keeping
the mind busy on a paved and graded
artery for speed. Since school years
there have been no grades on
this writing process, which slows
to a walk, a halt when the cairn
by the trail falls and the shine
of the separate stones enchants me.

Am I trying to console myself, and my fellow poets too, for the fact that not every attempt can be brought to conclusion?  Both trail and stones are images I’m very fond of and perhaps it’s time to put them in a personal “overused” folder!

A Chapbook I Recommend

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A daughter-father relationship and threats to a way of life mingle in Fat for Our Stories by Vivan Faith Prescott, a native of Alaska.  Prescott and her father harvested salmon together; several poems describe that labor, its joys and difficulties.  Others comment more specifically on changes in the climate, leading to a sense of things out of season. The reader learns about both the life of salmon and the concerns of those who depend on them in a series of gentle poems using a variety of forms.

There are many sad notes, like “We were once good at reading weather.” in “Five Degrees Above Normal.” but also hope, as in the end of “On a Variety of Temporal and Spatial Scales”:

The scent of my natal stream
still awakens me, the sea butterfly
still stirs my morning coffee.”

This chapbook is well worth ordering from Green Linden Press, especially for those like me who have not personally experienced a life dependent on nature’s balance.

My Poems on The Ravens Perch

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The Ravens Perch has published four of my poems this past week.  You can find the first of them, “The Plural of Albatross” at https://theravensperch.com/the-plural-of-albatross-by-ellen-roberts-young/

Then page forward to “Night Flight” an experiment at capturing the experience of not sleeping/sleeping on an overnight flight.

Next is “Absence” which evolved from a prompt at the Napa Writers Conference in 2023: many drafts before and after comments by our workshop leader, Ilya Kominsky and fellow students.

At the end of the set, but perhaps most meaningful to share, is “Cry for the Earth””

            Old earth,
your home, is creaking.
Can you hear how much
too fast the hidden heart is
beating?

Find the rest of this one here.

Thanks to Ravens Perch for accepting these efforts.  Each poem has a comments block below it.  They like to get responses, so oblige if you can.

Odd Questions—Or Am I Just Out of Date?

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I believe poems have to stand or fall on their own merits.  Describing their origin can certainly add interest, but if a poem can’t be understood on its own, it probably isn’t speaking clearly enough.  I have been accustomed to sending out poems into the world on their own.  I’ve had two recent experiences that suggest this is not how others do things.

The first case concerns my poem “In the Service of Beauty” published by Muse,  a journal of Riverside City College, Riverside, CA.  The poem is in the voice of Artemisia Gentileschi, the painter.of 17th century Italy. I received an email from students asking thirteen questions about the work and my ideas.  When their professor told them that was too much to ask, the questions were reduced to three, questions about my thoughts on femininity, the influence of the women’s movement, how that had influenced my writing of the poem.

I wrote back that “femininity” is a construct of patriarchy and I don’t use the word any more.  I made general answers to the other questions, but what did this have to do with my poem, I wondered.

Not long after, I came up against a request to include with my submission a ‘Positionality Statement” “Please state how your identity as a writer serves the content of this piece, if it speaks to a specific component of your identity or intersectionality.”  I conclude that academic discourse is doing its best, once again, to destroy our language.  Of course I have a position, in relation to all the variables of class, race, gender, etc., etc.  But how does a person have positionality or intersectionality? – we are not abstractions.

I will not submit to a journal that wants me to work as seriously on a statement as I do on the poems.  The poem is what the reader makes of it.

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