I woke up this morning thinking of Sue Vincent. The words the Oracle gave me reflect that. She must have been in my dream, although all I remember is the ending which had snow and bright yellow dogs.
The art I was drawn to when looking through the archives for something to illustrate the words was also done for Sue’s prompts.
why wait for now to pass? always living in to be— tomorrow is not where we are, ever
each minute, hour, a chance encounter we can’t foresee full of spans impossible to measure
where am I? here and now and no place else—out or in, over or under, it doesn’t matter
each fragment itself whole– each moment contained within the present completeness of forever
I haven’t written a kerf poem in awhile. The W3 prompt this week, a response to Burden of Time by A. J. Wilson, also has the restrictions of 12 lines or less, and the use of the word fragment. The kerf, a 12-line poem, was just right. You can read A. J. Wilson’s poem here.
Illustrations are two variations on the seed of life motif.
For how can I be sure I shall see again the world on the first of May? Until the end I thought it was the beginning of the middle. Time happened, then all of a sudden what you once believed in could no longer be retreived. The truth was hard, never soft, never easy. But it contained a life.
May came, but you did not see it.
And so it begins, and so it ends, always with a question. And if there is no answer to give—only a silence that acts as if asking were enough—how does the wheel turn? Or is the question the pivot on a circle whose edge contains only unknowing, infinite stillness? Is that where you are?
How can I be sure? Every answer is the wrong one in a world where there is nothing left to say.
A prosery for Merril’s prompt at dVerse of these words from Sara Teasdale.
“For how can I be sure I shall see again The world on the first of May”
The moon has risen on the last remnants of night– floating she brushes the heavenly stars. The lake has widened till it almost joins the sky and the mist rising from the water has hidden the hills. Far off the Dipper lowers toward the river. You’d think you’d left the earth– body and spirit for a while have changed place and open, open– the world’s affairs, just waves.
A cento poem for NaPoWriMo Day 30. Thanks to Maureen Thorson for once again hosting this wonderful month of verse.
poets in order of appearance Po Chü-i (title) Po Chü-i Li Po Po Chü-i Ou Yang Hsiu Tu Fu Ch’in Kuan Po Chü-i Li-Young Lee Li Po
I see you superimposed on the landscape, melting in to the shadows of buildings, sidewalks, trunks of trees–
woodfern sweetpepper bush cherry maple oak panicgrass fleabane hornbeam chestnut marsh blue violet–
I float on streams to the river– pickerel perch otter duck– climb paths up forested hills– bear fox rabbit deer–
My Lady of Mannahatta– swallowtail buckeye spring azure monarch–you gather me windwhispering
on hawkwings– full green animate, this island— return me to the timeless before, when land was shared, not owned
Welikia means “my good home” in the Lenape language. The Lenape tribe were the original inhabitants of Manhattan and the surrounding lands. Their main village was where Yonkers is now; they had temporary structures on the island of Mannahatta for use in hunting, fishing, and gathering.
The Welikia Project is an interactive map of New York City, where you can find out about the biodiversity and landscape of the island in 1609, before it was developed by Europeans. The idea that the Dutch “bought” the island was not one shared by the native peoples they then forced to leave the land.
Today, the NaPoWriMo prompt is “to write a poem that recounts a dream or vision, and in which a woman appears who represents or reflects the area in which you live.”
when you leave yourself behind, where do you go?– clouds a shimmering path
blue like a robin’s egg– this liquid sky, darkening into shadow– when you leave yourself behind
does the mirror look back like a lake regarding the sky? where do you go?
do fish see themselves in the stars? do birds ride feathered waves?– clouds a shimmering path
The prompt for NaPoWriMo today was to write a poem that uses repetition. That prompt was made for me. I had been working on and off all week for a poem for Sherry’s prompt at earthweal, to write from that place of holding onto wildness of soul. I thought that today, Earth Day, would be the time to post it.
So I took my ideas and made a cascade, but there were ideas left over, so I did a pantoum too. You can never have too much repetition in my poetry world.
when you leave yourself behind (clouds a shimmering path) where do you go?– windsong the surface
clouds a shimmering path, the lake regarding the sky– windsong the surface displaced by light
the lake regarding the sky– as it hues the reflection displaced by light, does the mirror look back?
as the earth hues reflection, do fish see themselves in the stars? does the mirror look back when birds ride feathered waves?
do fish see themselves in the stars on the remnants of moontides? when birds ride feathered waves, do they flow into calligraphy?
on the remnants of moontides, where do you go? will you flow like calligraphy, leave yourself behind?
As I’ve noted before, I attended the first Earth Day celebration in 1970 in Washington DC. Not too much has changed since then. We can do better.
1 an enchantment spelled in the blue whisper of your voice disembodied in the dim light– a pretense of sushi and saki– a stolen hour
2 the stitches accumulate, suspended from needles awakening color and fiber into patterns, images, ideas, dreams
3 a glittering ocean of blue starlight afloat massive celestial waves unmoored no longer conjoined– an ancient sentient land
4 how can I remain here, undecided on the edge, an intruder seeking to override forces I neither recognize nor understand?
5 all tautness, the bow hovers between contingencies, conclusions, desires– I hold my breath inside the heart’s beating wings
The NaPoWriMo prompt today is to write a poem in which you first recall someone you used to know closely but are no longer in touch with, then a job you used to have but no longer do, and then a piece of art that you saw once and that has stuck with you over time. Finally, close the poem with an unanswerable question. A prompt that seems ready made for a cadralor. The first four stanzas answer the prompt. Stanza 5 is the conclusion required by the cadralor form, the one that illuminates a gleaming thread that runs obliquely through the unrelated stanzas and answers the compelling question: “For what do you yearn?”