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The Education of a Poet

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I read, and I learn. I may not always like or even USE what I learn, but learning is learning.

For Exhibit A, I give you the rather wonderful book Plainwater by Anne Carson. A mix of poetry and essays, it offers up an incisive creativity that looks at the world in new ways (the job description for every writer, I’d venture).

The 1995 book is divided into five sections (this from the inner flap): “Mimnermos: The Brainsex Paintings, a present-day dialogue with a poet of the seventh century BC; Short Talks, one-minute lectures on topics as diverse as trout and Parmenides; Canicula di Anna, a chronicle of a phenomenology conference conducted in Perugia, Italy; The Life of Towns, verbal photographs that capture the essence of the nearly extinct ‘town’; and The Anthropology of Water, a travelogue of three moments in the journey of a woman’s life.”

While I reveled in each section of the book, it was the poetry of The Life of Towns that taught me something. Something I may never use, yes, but something.

Carson introduces this section with the words, “Towns are the illusion that things hang together somehow, my pear, your winter.”

Well, shoot. You could probably substitute most any word for “Towns” in that sentence and get somewhere, but the pear/winter dichotomy gives you an indication of where Carson’s mind wanders.

What she does in the town poems is capitalize the first word of each line and then end each line with a period. Even if it’s not the end of a sentence. And it usually isn’t. This technique gives the poems a remarkable effect. Let me share a few by way of example:

 

Town of Spring Once Again

“Spring is always like what it used to be.”
Said an old Chinese man.
Rain hissed down the windows.
Longings from a great distance.
Reached us.

 

September Town

One fear is that.
The sound of the cicadas.
Out in the blackness zone is going to crush my head.
Flat as a piece of paper some night then.
I’ll be expected.
To go ahead with normal tasks.
Mending the screen.
Door hiding my.
Brother from the police.

 

Luck Town

Digging a hole.
To bury his child alive.
So that he could buy food for his aged mother.
One day.
A man struck gold.

 

Town of the Sound of a Twig Breaking

Their faces I thought were knives.
The way they pointed them at me.
And waited.
A hunter is someone who listens.
So hard to his prey it pulls the weapon.
Out of his hand and impales.
Itself.

 

Town of the Death of Sin

What is sin?
You asked.
The moon stung past us.
All at once I saw you.
Just drop sin and go.
Black as a wind over the forests.

 

At first, of course, this capital-period, capital period tick-tock annoyed me. Why couldn’t Carson just write it correctly, I wondered? If I wanted to fully appreciate her poems, I had to work for it. But I didn’t want to work. I was the reader, after all. It was the writer’s job to do the heavy lifting, and mine to sit back and enjoy.

But then, not wanting to miss the show, I rolled up my sleeves and set to work. And I do mean work. I slowed down. I back tracked. I lingered word by word. It became a game–one I could win if I gave it the effort.

In short, whether it was her intention or not, Carson had me reading and rereading with care, puzzling her words and sentences together until we came to mutual agreement on each poem’s meaning and worth.

Could there be more to it than that? Perhaps. But I know this: a poet has at his or her disposal more simple tools than we expect to slow spoiled and entitled readers like me down.

And if you don’t.
Believe this.
It’s perfectly.
Fine by.
Me.

Through a Difficult Year Darkly

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Gary Snyder. Beatster. Hiker. Buddy to Lowell, Massachusett’s wunderkind, Jack Kerouac. It’s Hump Day, a hopeful day, if any among these election year days with wars going on can be called hopeful anymore, so I figured I’d simply share two of his “seems so simple” poems.

Thing is, a lot of poems—even simple ones—read differently over time. It’s like we’re reading them through a difficult year darkly, to twist the Biblical phrase. Simplicity isn’t so simple. Innocence looks like a wolf in sheep’s clothing. The Little Red Riding Reader says, “Is there a catch here?”

The first poem is directed at an audience of children. When Snyder wrote it, I mean. Given the circumstances, the poem’s flowery flourish might as well apply to adults nowadays. But that’s if you think lines have been blurred between the ages and a lot of other things. You be the judge.

 

For the Children
Gary Snyder

The rising hills, the slopes,
of statistics
lie before us,
the steep climb
of everything, going up,
up, as we all
go down.

In the next century
or the one beyond that,
they say,
are valleys, pastures,
we can meet there in peace
if we make it.

To climb these coming crests
one word to you, to
you and your children:

stay together
learn the flowers
go light

 

And here’s a bonus Snyder. Outdoorsy like many of us these days. I should know. I’ve been outside every day, walking miles, mapping my sanity.

I’ve seen a lot of others out there hoofing it, too. Walking roads and trails. Walking beaches. And walking dogs. I haven’t seen this many dogs on leashes since the last Westminster Kennel Club Dog Show.

Who says the dog days are only in August? Like everything else, the dark news of too much computer or television time has redrawn the maps. And calendars. And history books.

 

Map
Gary Snyder

A hill, a farm,
A forest, and a valley.
Half a hill plowed, half woods.
A forest valley and a valley field.

Sun passes over;
Two solstices a year
Cow in the pasture
Sometimes deer

A farmhouse built of wood.
A forest built on bones.
The high field, hawks
The low field, crows

Wren in the brambles
Frogs in the creek
Hot in summer
Cold in snow

The woods fade and pass.
The farm goes on.
The farm quits and fails
The woods creep down

Stocks fall you can’t sell corn
Big frost and tree-mice starve
Who wins who cares?
The woods have time.
The farmer has heirs.

 

OK that’s it for today. I’m going out to check the corn. And avoid the news.

The Poetry of Escape

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lawrence

What is it about travel? The urge to move, to discover, to see, is a poem unto itself. A rich vein worth mining.

Often travel is rooted in the psyche. Moving one’s home, restlessly, is a form of travel–only what are we fleeing? What are we seeking? Do we think we will be a new person if we find ourselves among strangers in a strange land? If we do, we forget (or deny) the “setting within.” You can escape place, yes, but you can never escape the topography of self.

All of these questions came to mind in Geoff Dyer’s book Out of Sheer Rage. Though it is ostensibly a book about D.H. Lawrence, it is about most anything but D.H. Lawrence, too. Still, Lawrence shadows the author (who shadows him) throughout and, at the end in Taos, New Mexico, Dyer wonders about Lawrence’s wandering soul:

“At various times Lawrence wondered why he had drifted so far from his inclination to sit tight: ‘What is it, makes one want to go away?’ ‘Why can’t one sit still?’ ‘Why does one create such discomfort for oneself!'”

In search of answers himself, Dyer purchases a discounted copy of Elizabeth Bishop’s poetry at a nearby bookstore and pauses over her poem “Questions of Travel.” It is a moment all readers know well. A moment of synchronicity where we feel we were fated to open a book and read words which transect present preoccupations.

As summer grinds on with all its travel plans, I see new wisdom in Bishop’s poem myself. Dyer’s synchronicity becomes mine, yet another variation of the reader-writer transaction that ripples out to the forever-shores of reading. I especially love Bishop’s comparison of strange lands to a stage (“Is it right to be watching strangers in a play /in this strangest of theaters?”), as if the “real” of distant places is actually the “make-believe” to our foreign eyes–if only because our eyes cannot otherwise make sense of them and feel a need to write our own narratives.

Or maybe we don’t want to make sense of them at all. Maybe travel becomes the essence of escape that way. Thus, the strangers we see in a distant land become storybook cutouts from the distant land of our nostalgic pasts–ones that never really existed and still don’t, only we will them into existence as a panacea for all that hectors us in the hellbent humdrum of our daily lives.

As you read (or reread) Bishop, consider your own restless roots. See if you can find the “why” in yourself, photograph it, maybe, and look at it later, marveling at how different it looks from the perspective of time and experience.

 

“Questions of Travel” by Elizabeth Bishop

There are too many waterfalls here; the crowded streams
hurry too rapidly down to the sea,
and the pressure of so many clouds on the mountaintops
makes them spill over the sides in soft slow-motion,
turning to waterfalls under our very eyes.
–For if those streaks, those mile-long, shiny, tearstains,
aren’t waterfalls yet,
in a quick age or so, as ages go here,
they probably will be.
But if the streams and clouds keep travelling, travelling,
the mountains look like the hulls of capsized ships,
slime-hung and barnacled.

Think of the long trip home.
Should we have stayed at home and thought of here?
Where should we be today?
Is it right to be watching strangers in a play
in this strangest of theatres?
What childishness is it that while there’s a breath of life
in our bodies, we are determined to rush
to see the sun the other way around?
The tiniest green hummingbird in the world?
To stare at some inexplicable old stonework,
inexplicable and impenetrable,
at any view,
instantly seen and always, always delightful?
Oh, must we dream our dreams
and have them, too?
And have we room
for one more folded sunset, still quite warm?

But surely it would have been a pity
not to have seen the trees along this road,
really exaggerated in their beauty,
not to have seen them gesturing
like noble pantomimists, robed in pink.
— Not to have had to stop for gas and heard
the sad, two-noted, wooden tune
of disparate wooden clogs
carelessly clacking over
a grease-stained filling-station floor.
(In another country the clogs would all be tested.
Each pair there would have identical pitch.)
— A pity not to have heard
the other, less primitive music of the fat brown bird
who sings above the broken gasoline pump
in a bamboo church of Jesuit baroque:
three towers, five silver crosses.

— Yes, a pity not to have pondered,
blurr’dly and inconclusively,
on what connection can exist for centuries
between the crudest wooden footwear
and, careful and finicky,
the whittled fantasies of wooden cages
— Never to have studied history in
the weak calligraphy of songbirds’ cages.
— And never to have had to listen to rain
so much like politicians’ speeches:
two hours of unrelenting oratory
and then a sudden golden silence
in which the traveller takes a notebook, writes:

‘Is it lack of imagination that makes us come
to imagined places, not just stay at home?
Or could Pascal have been not entirely right
about just sitting quietly in one’s room?

Continent, city, country, society:
the choice is never wide and never free.
And here, or there… No. Should we have stayed at home,
wherever that may be?’

“No Poem Is Ever Ended…”

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I am perversely attracted to philosophy books, but the rewards are few. As a rule, they speak their own language, which runs circles around mine. Straight talkers like Marcus Aurelius are one thing; trying to divine Descartes, Kant, and Heidegger another.

Barring philosophers, a good substitute for musing on the meaning of life has been reading collections of essays by poets. Give me a poet who is equally adept at prose and I am a happy man. Certainly this was true of a slew of Tony Hoagland books. Ditto Jane Hirshfield. And now I can add Mary Ruefle to the list.

Though I don’t know how she pronounces her name (is it “rueful” like a pot of rue?), Mary Ruefle’s poetic collection of speeches slash essays, Madness, Rack, and Honey, is a relaxing and thoughtful exercise in reading, especially if you enjoy embedded quotes.

The drill, then, goes like this: Mary adds quote to essay, Ken highlights and annotates said quote. What more could any writer (her) and reader (me) ask? Here are a few I have noted:

 

“Paul Valéry, the French poet and thinker, once said that no poem is ever ended, that every poem is merely abandoned.”

Comment: Any poet who has read his published poem realizes the truth in this. The itch to improve through revision cannot be satisfied.

 

“Paul Valéry also described his perception of first lines so vividly, and to my mind so accurately, that I have never forgotten it: the opening line of a poem, he said, is like finding a fruit on the ground, a piece of fallen fruit you have never seen before, and the poet’s task is to create the tree from which such a fruit would fall.”

Comment: There you have it. If you have tried but failed to write decent poetry, perhaps you should make like Johnny Appleseed and stop barking up the wrong tree.

 

The least used punctuation in all of poetry, Ruefle asserts, is the semicolon. Some poets think they should be all-out banned from poetry.

Comment: As noted by my faithful readers of these pages before, I oppose any banning of anything: dog poems, poems that use overused words like “dark” and “darkness,” even poems about cicadas (sorry, Sir Billy of Collins, but that rule is fit for fools).

 

Among the last words Emily Dickinson wrote (in a letter): “But it is growing damp and I must go in. Memory’s fog is rising.”

Comment: Those last four words are awesome. I loved them so much, I used them in the final poem (“Coda: Miss Emily Speaks”) of my third poetry collection, Reincarnation & Other Stimulants. BTW, I wonder if Emily D ever considered poetry?

 

Charles Simic once said, “The highest levels of consciousness are wordless.”

Comment: Strange for a man who made his living with words.

 

“Keats said only one thing was necessary to write good poetry: a feeling for light and shade.”

Comment: I like words like these because they are so cryptic. I can fashion one meaning from them, you another. It’s like getting a pencil to trace the exact spot where light ends and shade begins, then returning to find it the next day.

 

“Pablo Neruda warns us: ‘We must not overlook melancholy, the sentimentalism of another age, the perfect impure fruit whose marvels have been cast aside by the mania for pedantry: moonlight, the swan at dusk, ‘my beloved,’ are, beyond question, the elemental and essential matter of poetry. He who would flee from bad taste is riding for a fall.'”

Comment: Neruda creates a rule against rules (good), but isn’t this itself a rule (bad)? I leave you with that conundrum because, if you’re going to bang a drum, you can’t do better than a conundrum, thoughtful and chewy.

Quick Wrights (in the Key of James)

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Sometimes James Wright in Eastern mode is all you need by way of meditative start to your day. Like “Trying to Pray”:

 

Trying to Pray
by James Wright

This time, I have left my body behind me, crying
In its dark thorns.
Still,
There are good things in this world.
It is dusk.
It is the good darkness
Of women’s hands that touch loaves.
The spirit of a tree begins to move.
I touch leaves.
I close my eyes, and think of water.

 

Restorative, no? Thinking of good things in the world (which we sometimes forget, especially if we read front pages of newspapers). Thinking of “good” darkness (which we often assume as inherently “bad”). But mostly thinking of women’s hands touching loaves. Simple. Nice. With the powder of flour tracing the wrinkles.

Here’s another quick Wright:

 

In the Cold House
by James Wright

I slept a few minutes ago,
Even though the stove has been out for hours.
I am growing old.
A bird cries in bare elder trees.

 

Very Li Po, that. The nature image at the end, reflecting back on his personal situation as a sleepy man in a cold house. Wonderful metaphor for old age, I think. And somehow, in both cases, good warm-up poems to read before you write your own.

…which I think I’ll do now.

 

 

 

Rogue Poems on the Lam

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Charles Simic is of the camp that says poems, like characters in a novelist’s work, take on a life of their own minutes after written, quickly declaring independence from the poet-god that breathed life into their lungs.

It’s an expansive, capital-R Romantic notion, the type Dr. Frankenstein could relate to (if you forget, for a minute, that Dr. F’s “poem” was a monster hit with other lessons to teach).

Whether you believe your poems are independent states or not, it’s pretty to think so, and rather amusing, too. As evidence, you need only read Ellie Schoenfeld’s ode to other poets who, thanks to her imagination, take on lives of their own, too (“It’s…a-livvvvve!”).

Originally written in 2009 as part of her collection The Dark Honey: New and Used Poems, Schoenfeld’s poem, an ode to personification if ever there was one, was shared on yesterday’s Writer’s Almanac.

Let’s listen in here and see what poems (and rival poets) do when left to their own devices:

 

The Other Poet
by Ellie Schoenfeld

The poet explains exactly
what her poems are doing on a variety of levels.
I am jealously impressed.
My poems go places
but send no postcards––I have no idea
what they are doing. They do
whatever they want to.
I give them curfews
but they wake me in the middle
of the night, they interrupt meetings
and other situations where I have no time
for them. They hang on me
when I am on the phone.
They do not keep my secrets
and sometimes they lie.
They can be sullen and withdrawn
or explosively obscene.
I think my poems have problems with authority,
conduct disorders, attention deficit.
The other poet is like the parent
with the bumper sticker about their honor student
while I am speeding along
to get to the correctional facility
before visiting hours are over.
I try to give my poems direction.
They tell me they have cleaned their rooms
but we both know it’s not true.
After all these years of therapy
we still don’t understand each other.
I write a poem and think
“What the hell is that?!”

 

Humor is healthy, but humor popping the vitamins of truth can run circles around us. Rhomboids, too.

Still, if you cannot laugh at yourself, at your own obstinate writings, or at the whole danged microcosm called Poetry World (it runs by its own rules of physics, like your rogue poems), what business do you have filling white screens with briefly free verse?

I thought so.

The Ekphrastic Fantastic

Ken Craft poetry updates on a free-verse life

Ekphrasis, according to The Oxford Classical Dictionary, means “the rhetorical description of a work of art.” And Edward Hirsch, in his hefty resource, A Poet’s Glossary, quotes Paul Valéry as saying, “We should apologize that we dare to speak about painting” in one breath, and, “There are important reasons for not keeping silent [since] all the arts live by words. Each work of art demand its response” in another.

Now that Paul has cleared that up, we writers might consider what it would be like to labor on a painting only to have a writer “interpret” it via ekphrastic poetry. Would we take umbrage? Would we be flattered?

Me, I’d be happy to invite all comers with their various interpretations, but the thing about ekphrastic poetry is that it yields a spectrum of styles and results. Some poems can blatantly interpret, sometimes taking obvious liberties because they can, while others are more delicately descriptive, as if it’s a game of “close your eyes and listen, my child, seeing if my words can’t paint as well as the master.”

Best for both purposes are puzzling paintings like Paul Delvaux’s Village of the Mermaids, which led to Lisel Mueller’s  poem “Paul Delvaux: The Village of the Mermaids.” Mueller’s poem asks (and implicitly creates) more questions than it states answers–for me, a valid purpose of ekphrastic poetry.

Mueller is our woman in Havana, so to speak, giving us a play-by-play of the curiosity she sees before her. Mermaids? These look like no mermaids Hans Christian Andersen (or, for that matter, Walt Disney) has ever conjured. They look like nuns. No. Like prostitutes, Mueller says. Such opposites are a graphic throwing out of the hands in confusion. They are also an invitation for the reader to find and scrutinize the painting as well. Which is it? And is the writer correct?

For Mueller, the lodestone of the painting is the man in black and in back. In stanza one, the words “The painter” come up right after this mystery man is mentioned, as if implying perhaps the painter himself is walking away. Or not, as wondered in stanza three, where the poet returns to the man in black, this time calling him the only “familiar figure” just after mentioning the date, 1942–a year sure to bring Hitler to mind. The man in black is “approaching the sea, / and he is small and walking away from us.”

“Small” could imply insignificant, unworthy, or helpless, all of which would send the poem in drastically different directions. What the poem gets right, and what serves the ekphrastic art perfectly, is how the poem echoes the painting’s mysterious nature. Mueller respects the painting by wondering while avoiding direct interpretations. Unless you, the reader, want to take the baton and finish the race yourself by interpreting Mueller’s poem and, by proxy, the painting, too.

But isn’t that what any museum patron can do, or should do, while staring at the original canvas? I think so, and therein lies a happy marriage of painting and writing, of art and art.

 

“Paul Delvaux: The Village of the Mermaids”

Oil on canvas, 1942 

by Lisel Mueller

Who is that man in black, walking
away from us into the distance?
The painter, they say, took a long time
finding his vision of the world.

The mermaids, if that is what they are
under their full-length skirts,
sit facing each other
all down the street, more of an alley,
in front of their gray row houses.
They all look the same, like a fair-haired
order of nuns, or like prostitutes
with chaste, identical faces.
How calm they are, with their vacant eyes,
their hands in laps that betray nothing.
Only one has scales on her dusky dress.

It is 1942; it is Europe,
and nothing fits. The one familiar figure
is the man in black approaching the sea,
and he is small and walking away from us.

 

 

So On and So Fourth of July

Ken Craft kencraftpoetry Lost Sherpa of Happiness my poems poetry updates on a free-verse life

This prose poem, originally printed in Issue 14 of Unbroken Journal as well as in my second book, Lost Sherpa of Happiness, is half lark, half rant against all the usual suspects: (insert invective here) fireworks, drinking, general mayhem particular to colors red, white, and blue. Up side? Writing it helped pay for my annual dues to Curmudgeons Amalgamated Local 406.

American or not, curmudgeonly or not, red, white, or blue, too, or not — I’m wishing a Happy Fourth to all of my readers, regular of first-time!

 

IT’S THE FOURTH OF JULY

by Ken Craft

and he’s listening to Oh Say Can You See in a sea of runners and an awakening 8 a.m. heat. The blue smell of Ben-Gay on the mentholated old guys & Axe on the sun-venerating young guys & armpit on the just-rolled-out-of-bed lazy guys & no one’s run a New Balance step yet. The ellipsis after the song’s last line is always a chant of USA! USA! USA! from the fun-run campers who must not read (at least footnotes) because they never feel the wet hand of irony in that disunited “U” running down their body-painted backs.

Jesus, but he bolts when the pistol goes, heat or no. On the course, though, he is passed by sausage-heavy middle-aged men & oxy-huffing retired men & stick-legged kids & women of all stars & stripes. Begrudge not, says the Bible, so he celebrates their speed or their youth, their fat or their fair sex—whatever hare-bodied thing there is to celebrate.

That night, after the picnic-table splinters & charred cheeseburgers, after the fries & bottles of we’re-out-of-ketchup, the fireworks mushroom into night clouds & umbrellas rain down hiss & heat sparkle, made-in-China reds, whites & blues. He cranes his neck, the skies soured with smoke & sulfur, holding tight the hand of his sweetheart.

Then it’s blessed be bed, after the grande finds its finale, only he is wakened by more (USA!) fireworks up the street (USA!) at 11:30 p.m. Still the holiday, after all, ignited by the undoubtedly drunk, after all, because booze is God-Bless-America’s drug of choice, after all. The outdoors explodes until midnight & he’s had about all he can stand lying down & cursed be Thomas Jefferson anyway, with his noble agrarian society & its whiskey rebellions & its pursuits of happiness & its God-given rights & its who-the-hell-are-you-to-tell-me, question comma rhetorical.

You know how this ends: It’s insomnia again. In the shallow, post-patriotic hours of the Fifth of July. Come cock-crow morning, on his walk, Fido sniffs the empty nips & plastic fifths along the sandy shoulder of sleepy roads. There’s even a patriotic Bud box, hollowed-be-its-name, white stars emblazoned on the blue of its crumpled carcass.

God bless America, he tells it.

Space In the Middle of a Line

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space

Poetry is ever-evolving. Sometimes what looks new (read: “prose poetry”) has actually been around a long time (read: since the 1840s). But what about space in the middle of a line? I see more and more of it. What does it mean? You can’t look it up in your Poet’s Glossary. I mean, where would you search? An entry for “line”? For “space”? For “blank”?

Maybe it’s the cool thing to do in poetry, like the latest fashion or name brand being worn by the popular kids in middle school. I don’t know. I am, as usual, behind the curve. Bewitched and bewildered. Late to the party.

So let’s try to figure it out together. Here is a segment from the title poem of Meghan O’Rourke’s collection, Sun in Days. I’ve enjoyed a lot of her work in the book, but some of the poems do this      sudden space thing. It’s like “we interrupt this poem to do the Star Trek space-the-final-frontier thing. We will get back to our regularly-scheduled line as soon as Scottie beams words down.”

 

from Part 2 of “Sun in Days’ by Meghan O’Rourke:

The pond near the house in Maine
where we lived for one year
to “get away” from the city        the pond
where the skaters        on Saturdays came,
red scarves        through white snow,
voices drawing near and         pulling
away, trees against the clouds.

 

My first thought was, “Ah. It’s a line break in the middle of a line, so as to avoid overly-short lines!” It was a Eureka moment. In O’Rourke’s lines above, this theory seems to work in the fifth line where you might not want to see a two-word line such as “red scarves.”

Or maybe the whole purpose of the space is to signal the reader to pause. This theory looks reasonable in line 3 where the gap between “city” and “the pond” serves as a logical place for a comma, perhaps. The problem with the theory, though, comes with line 4. Why would a reader pause between “skaters” and “on Saturdays came” when they logically flow together?

Is it like concrete poetry, then? Do we connect the white space to form something pleasing to the eye, a treasure-map secret to the poem’s meaning, possibly?

How about this–an invisible em dash there to point at and emphasize what follows?

As they say in the UK, I’m gobsmacked. Still, that hasn’t stopped me from trying to innovate. I’m considering trying some of this in my new work, so it might prove handy. And cutting-edge. And cooler than a penguin in Reykjavik.

But, to be boy-scout honest, I’d be spacing as another form of punctuation, is all. Space as hard period or semicolon. Space as soft comma or colon. Space as “OK, people, let’s take a quick breath    because we can.”

That’s it. Because we can. Poetic license strikes again     in a place with zero gravity yet.

“Finish the Wine in This Field of Air”

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Look at any photograph of Jim Harrison and you might think him Charles Bukowski-like. Craggy and gruff. Cigarette burning between two fingers. No-nonsense poems that allow for the occasional nonsense, usually involving alcohol.

In sustained reading of Harrison’s poems in his book, Song of Unreason, however, I’d say he’s more of a nature guy like Frost, say, or Bly. Unlike Frost, though, there’s little in the way of form poems with meter and rhyme scheme. Just off the cuff stuff that looks easy but, of course, isn’t.

Here’s the lead-off poem in the collection that gives you an idea of his range:

 

Broom by Jim Harrison

To remember you’re alive
visit the cemetery of your father
at noon after you’ve made love
and are still wrapped in a mammalian
odor that you are forced to cherish.
Under each stone is someone’s inevitable
surprise, the unexpected death
of their biology that struggled hard, as it must.
Now to home without looking back,
enough is enough.
En route buy the best wine
you can afford and a dozen stiff brooms.
Have a few swallows then throw the furniture
out the window and begin sweeping.
Sweep until the walls are
bare of paint and at your feet sweep
until the floor disappears. Finish the wine
in this field of air, return to the cemetery
in evening and wind through the stones
a slow dance of your name visible only to birds.