Tag Archives: poetry

Black Pearl

Albert DeGenova

I hear a faraway cello
legato tone as long as life itself it seems –
the horsehair bow turns
on edge, the timbre winces
to the wind, to the thunder.
The Pacific reshapes miles of beach
overnight, sometimes in minutes. Waves,
their sucking recoil, the salty tumult
teases me today
with nothing more than a bruised hip –
how dare I rest against a rock.

From within the splashing crash
I hear a muffled baritone’s tempt, what
waits for you within the churning wave?

I’ve heard love sound like this. My god
is not this heaving brute of sea, but a quiet
black pearl in the shell of my heart.
I feel the hair on my arm move as it dries,
the flies bite my ankles. Too much love
in my one stormy life to ever deny god.

How I Knit Together This and That

Carol Hamilton

I am the woman who carried
people across the Mississippi
before the first bridge. She rowed
her canoe through Minnesota cold.
I go back and forth, as we all do,
simply stitching the torn fabric
together to carry out the task
for a bit longer. The hidden flesh
and icy waters wait where they have
always waited. But remember how
we darned holes in worn stockings,
weaving the threads to last awhile?

Hillside

Carol Hamilton

The abundance was a harvest
of more than we ever hoped or asked for,
uncountable like elm seed disks
slipping through air on spring morning.
We re-snaked the forest that day.
The mud banks shivered
as the screaming children pulled me there.
Motion. Unexplained. Climbing capsules.
Snakes. The birth day of snakes.
A hallelujah day of snakes.
Heaven laughed down guffaws
and the heavy roof of leaves shook
at the slithering advance.
I think not one snake child
returned to the place of broken shells
and genesis. Not one turned back
to call a mother, show her us.

Bloodroot: Indiana Poems

The Good Honest Ache: A Tribute to Norbert Krapf’s Bloodroot: Indiana Poems

How is it possible that we have the same
childhood seeping into our later years?

Your Indiana with its rural charms,
people storied in community, the farms
with all that good honest ache of a simpler
time pushed you to a life of poetry
and a clamoring for jazz, for blues,
for motion, as if you had to dig
up those roots that stubbornly pull you
back, that common home re-emerging
in your thoughts in unexpected hours.

Your calypso is grounded in windmills
and pastures and checkered tablecloths
where immigrant women cook the Old
Country, where men, like children, bow
their heads to say grace with hope
for a future floating in the wind.

The Indiana Poet speaks his boyhood
to a wider world – to folks who’ve never
seen a combine clicking in harvest
or a hay-wagon creaking toward a red
barn or perfect rows of endless corn
framed by walnut-treed woods, who know
little of German farm families settling
the Midwest where boys bicycled
dirt roads, cat-fished in muddy creeks,
shirts and sheets clotheslined in morning
breeze – every place has its poetry.

Like rabbit skinning or hog butchering,
the blood of our knowing is buried
in the ritual of memory – in the going
away and in the returning – memory
cannot fail those who listen to quail
calling, who contemplate flowering
dogwoods or willows weeping in dusk.

Response by Ken Hada

Norbert Krapf. Bloodroot: Indiana Poems. Photographs by David Pierini. Bloomington and Indianapolis: Quarry Books, an imprint of Indiana UP, 2008. ISBN 978-0-253-35224-8

Shades of Green

Wally Swist

It is elegantly furled
          as if it were a broad leaf curled
                    into a bright green body with

a tail. Its head is cocked and its
          antennae are splayed, perhaps,
                    not so much in consternation

as in consideration of what
          to do next. Its four lime green
                    legs attach themselves to storm

window glass, as if it is in
          perpetual mid-leap, inside-
                    looking-out of the half-lifted

storm window, that accommodates
          the air conditioner. When I first
                    saw it, I thought it was on

the outside of the glass, which it
          may have been, but now it is
                    on the inside of the glass, and

if a grasshopper could be said
          to be keening, then that is what
                    it is doing. I look out at it

from where it rests on the clear
          pane, the deep green leaves
                    of a maple in full view, and

beyond that the sunnier
          green of the open field before
                    the windbreak’s hedgerow green.

No Escape

Clarence Wolfshohl

Nandor Glid’s sculpture at Dachau

a moat
          ten-feet wide
                    water-filled

a slope of loose
          gravel for no
                    footing

more slope
          covered by barbed wire
                    netting to catch

ankles like butterflies
          floating southward
                    in their destiny

then the fence
          rows of barbed wire
                    six inches apart

electrified

A man would splash,
          then scramble in scratching
                    agony up the slope,

be ensnared in barbed
          netting only to be entangled
                    and electrocuted in

strands of wire.

left to hang
          in sinister angles
                    as warning when

grey dawn lit
          the compound
                    the already skeletal

body rotting to mere
          bone on which the state
                    fed

the sculpture’s seven bodies caught
          in the wire
                    one suspended escapee

twisted into a swastika

THE FRUIT OF INNOCENCE

Clarence Wolfshohl
Thomas Hart Benton’s Persephone

She’s older than I’d think,
all those accounts of her and the maidens
gathering flowers in spring meadows.
And Hades, too, more a middle-aged man
than a primal force, a chthonic urgency.

He reminds me of my neighbor
who raises a few head of cattle
and acres of feed corn. The field
of sheaves beckons in the distance,
but he is in no hurry to gather them.

He gazes on Persephone,
his long laboring fingers inches
from her hip. Her hip is not round
in virginal succulence, more angular
to reflect Hades’s creviced face.

And her face, as she reclines
in pin-up calendar pose, is a knowing face.
The curve of light of nose and brow
hints of eyes closed by choice not chance
as if she anticipates his first touch.

Before Hades’s deed the world
was in perpetual spring, all flowers,
all innocence. Her mother’s tears
created the seasons, so the story goes.
But what of fruit, of gathered sheaves?
The knowing face?

The Draft

Larry D. Thomas

It has a sinister
air, troubled as the ghost
of someone murdered.
Each senses it
but dares not speak.
Rationalizing it

as a draft,
they rub their hands
and scoot a little closer
to the hearth.
Beyond the feeble reach
of reason,

brought to fruition
in the shadowy
purview of instinct,
it lurks, intransigent
as a pathogen
prying at a pore of health.

Persimmon Sunday

I find them beneath my persimmon tree.

They quickly turn to go though
I don’t feel the heart to be rough with them.
Fences are necessary, I suppose.
They can be meddlesome too.

These gentle folks pass every Sunday
to visit their boy in prison, they
only want to make a pie. I only want
to be asked first – a fence divides us.

She promises to bring me tarts
and that seems fair, and I think about
fairness and their son these days.
I am glad they go see him Sundays

and I tell them so. Their calm, courtesy
strikes me. Persimmon pie is part of her
autumn ritual, something I cannot deny
her. I don’t know, don’t need to know

how it is they got off the main road.
They are seeking the sweetness that comes
after the bitterness has ripened.
Standing under a tree none of us made

I see her boy back home years ago
hungrily eating a piece of pie. I see
her husband proud, happy, the gleam
in her eye, sweet sticky juice sliding

down the boy’s dimpled cheeks,
dark eyes aglow as he wipes his mouth
with the sleeve of a flannel shirt
and I want it to be that way again,

want sour taste expunged. Afternoon
gathers and we talk about a hard,
killing frost that makes the sweetness,
a cold harsh night that ripens

this rustic fruit. We shake hands
and I don’t look back as I return
through fields where yellow leaves,
orange, dusty, scarlet and intense

lay about me, toss around me
in the breeze that carries ladybugs
unsuspecting toward their graves,
timber standing in reverent silence

as before a judge, as if to judge.
Truly autumn is the most dramatic
of days. It is a time to remember
but it is also a time to console.

September

… seeping through cracks
of summer like light
in the barn – dust beams
suspended from ground
to hay loft and beyond –
zones of maze dazzled
children zig through
waving arms, exalting,
pretending – those old
games never get old – I
don’t want to lose
the pixie of September …