Saturday, December 17, 2022

Red Letter Poem #140

 


The Red Letters

 

 

In ancient Rome, feast days were indicated on the calendar by red letters.  To my mind, all poetry and art serves as a reminder that every day we wake together beneath the sun is a red-letter day.

 

                                                                                                          – Steven Ratiner

 

 

 

 

 

Red Letter Poem #140

 

 

 

 

“O Star of wonder, star of nightStar with royal beauty brightWestward leading, still proceedingGuide us to thy Perfect Light”

 

 

So goes the chorus of the 19th century Christmas carol “We Three Kings.”  For centuries, astronomers have combed through historical records hoping to find descriptions of what’s come to be called the Star of Bethlehem, trying to determine what cosmic event was being depicted.  Some theories hold that this celestial light – interestingly, of the four Gospels, only Matthew included it in his Nativity account – might have been a distant star going supernova.  A conjunction of planets could also be responsible for an unusually bright ‘star’ in the night skies.  Scientists today think it is more likely to have been a comet passing through our solar system and thus persisting for weeks – enough time to have served as an arrow for any wise travelers.  But what if it had only been a metaphorical star that the Apostle used to represent divine guidance – would that somehow be untrustworthy or inspire you less?

 

In Jack Stewart’s poem “Dead Star”, the woven fabric of narrative and belief take the starring role in his reimagining.  Using perhaps as a lever, he tries to pry open what we know (or think we know, or simply take as an act of faith) so we can examine our own relationship to the foundational Christian mythology.  If it could be proven that the fabled Star was really a comet – and thus a transitory object – would its guidance become suspect?  Or if it was a star that had died long ago – perhaps even before the birth of Jesus – and its light still persisted, traveling for millennia until it reached human eyes, is its illumination now altered in our minds, somehow diminished?   What if this ancient story – being passed along, from the mouth of its source to the ear of a listener, and then from ear to ear, heart to heart, in an unbroken chain – was just that, a story, with little historical fact to anchor it, would it have any less power to alter your path?  I like how Jack bolsters his own narrative thread with the sort of sense-impressions only a witness would possess.  It raises the question: how much faith do I place in what the poet reports to me – or the scientist, or the priest, or the shaman, or my own wandering mind?

 

Jack’s first collection, No Reason, appeared in the Poeima Poetry Series in 2020.  He’s had work in literary journals like Poetry, the New York Quarterly, and the Iowa Review, as well as less customary venues such as the Journal of the American Medical Association, and Military Experience and the Arts.  He studied at the University of Alabama and Emory University, and became a Brittain Fellow at The Georgia Institute of Technology.  He now teaches in Fort Lauderdale at the Pine Crest School where he directs the Talented Writers Program.  As we journey closer to the conjunction of the solstice and the mid-winter holidays of diverse religious traditions, I am pleased to share this new poem that asks us to rely, with just a bit more confidence, on where our own words are taking us.         

 

 

 

Dead Star

 

 

Because we now know when we see

A star that it might have died

Thousands of years before, become nothing

More than another black speck in the slow

Swirl of the universe, I have to wonder

If the shepherds and wise men saw something

That was already dead, or perhaps the moment

Of its exploding, when it burst into finality.

After all, it was a strange star and was never

Seen again. The sand and cold were lit

In an odd way for a single night, the wind

Blew with a different voice through the broken

Boards of the stable. Perhaps no one noticed

How the caravan’s campfires burned down

To their own blackness toward dawn, but

There would have been warmth in those ashes,

Even comfort in the smell of the dissipating

Smoke. There was likely a decent meal

For a family in rags. It is possible the star

No longer existed. Deserts stay brutally

Cold in winter, and petals of snow

Scatter themselves across the ground

For no celebration but their own.

But we also know palms in any weather

Hang their heads like children sleeping,

Cattle low to each other as darkness falls,

And stories can last much longer

Than anyone imagined at the time.

 

 

––Jack Stewart

Monday, December 12, 2022

Message From The New England Poetry Club


Dear Friends,

As mentioned in the December newsletter, NEPC member Chandler Camerato is planning a Zoom marathon reading of Bernadette Mayer’s collection: Midwinter Day.

If you’d like to participate and read a section of the book, please contact Chandler at this new address: thismidwinterday@gmail.com

(NOTE, the previous address that was circulated does NOT work)

The reading will take place on December 22, 2022, beginning at 06:00 PM Eastern Time. All are invited to join us, whether you're reading or not!

Register in advance for the link: https://us02web.zoom.us/meeting/register/tZAodeirrTgtH9TeuE18018LaiPrm9Oy70vD

After registering, you will receive a confirmation email containing information about joining the meeting.





More about Bernadette Mayer & Midwinter Day

Bernadette Mayer (May 12, 1945-November 22, 2022) was “an avant-garde writer associated with the New York School of poets. Born in Brooklyn, New York, Mayer had spent most of her life in New York City. Her collections of poetry include Midwinter Day (1982, 1999), A Bernadette Mayer Reader (1992), The Desire of Mothers to Please Others in Letters (1994), Another Smashed Pinecone (1998), Poetry State Forest (2008), and Works and Days (2016), which was a National Book Critics Circle Award finalist.

Known for her innovative use of language, Mayer first won critical acclaim for the exhibit Memory, which combined photography and narration. Mayer took one roll of film shot each day during July 1971, arranging the photographs and text in what Village Voice critic A.D. Coleman described as “a unique and deeply exciting document.”

Mayer’s poetry often challenges poetic conventions by experimenting with form and stream-of-consciousness; readers have compared her to Gertrude Stein, Dadaist writers, and James Joyce. Poet Fanny Howe commented in the American Poetry Review on Midwinter Day, a book-length poem written during a single day in Lenox, Massachusetts: “In a language made up of idiom and lyricism, Mayer cancels the boundaries between prose and poetry, … Her search for patterns woven out of small actions confirms the notion that seeing what is is a radical human gesture.” [Excerpted from https://www.poetryfoundation.org/poets/bernadette-mayer]


Saturday, December 10, 2022

Red Letter Poem #139

 The Red Letters

 

 

In ancient Rome, feast days were indicated on the calendar by red letters.  To my mind, all poetry and art serves as a reminder that every day we wake together beneath the sun is a red-letter day.

 

                                                                                                          – Steven Ratiner

 

 

 

 

Red Letter Poem #139

 

 

 

 

I just re-read Lynne Viti’s brand-new collection, The Walk to Cefalú (Cornerstone Press) and the word that kept coming to mind was ordinary.  In other contexts, you might think I was being critical of her work, but that’s not at all the case.  What I mean is this: we are presented here with a poet writing about the passage of time: ordinary days, the customary procession of seasons, the unremarkable range of emotions we all find ourselves coping with as we continue placing one foot in front of the other, following where the days lead us.  Her joys tend to be quiet joys – the bounty of relationships, the beauty of the garden, the delights of the kitchen, the fullness of memory – with few pyrotechnics or dramatic flourishes.  And so we instantly believe them; we live them; they deepen what was present in our experience all along.  Her griefs, when they arrive, are ones we all have in common – even as we feel her heart utterly shaken.  I imagine most readers will simply find themselves nodding their heads: yes.  Some poets captivate us by exploring the unfathomable occurrences that cut to the core of existence; or they write with such a bracing and inventive style as to make us rethink the very nature of poetry.  Lynne’s poems let us walk beside her, as if we were one of her circle of intimates; and as she muses aloud about what we are seeing – or slips into her treasure house of remembered moments to pluck one as if it were ripe fruit – we taste what she offers.  Some literary practitioners leave us feeling that our ordinary lives are somehow insufficient, inspiring us perhaps to demand more.  Lynne reminds us that we have hardly scratched the surface of what our days contain; only deeper attention is required of us to sound the depths.

 

Lynne is faculty emerita in the Writing Program at Wellesley College, and currently serves on the Board of the New England Poetry Club.  The Walk… is her fourth poetry collection.  And when, across whole sections of the book, she delves into the histories of family members – lives she failed to take the true measure of until now – the expression it takes a village came to mind.  It’s a kind of reaffirmation of the complex web of relationships necessary to nurture every single child.  But Lynne teases out a corollary to that concept: later in life, that same child must then contain a village, preserving within one consciousness that interwoven community voices which endures within memory long after its members have vanished from the shared earth. 

 

 

At the Yoga Studio

 

 

Last to class, I spread my mat on a spot just inside the studio.

I roll off the mat, nudge it away from the stream of cold air

coming in through the space between floor and door

 

leave my sweatshirt and socks on until we finish neck rolls

until we finish side stretches until we’ve finished pelvic tilts

until we go up in bridge pose

 

The draft from the hallway no longer concerns me

the frigid air outside the building no longer concerns me

the ache of grief, fresh or old no longer concerns me

 

I sit in sukhasana and bend forward slowly, deliberately

till I reach my edge I pose and repose

that my nose does not touch my ankles no longer concerns me

 

When I lie against the wall in viparita karani

when I count the breaths in out I forget that I was late—

here is the place of ease, the place of comfort, of peace

 

Sitting in my car, I know I should hold on to

that state of not holding on to anything—

not switch on the car radio to grasp news/not check my phone.

 

Fat snowflakes fall onto my windshield—

The sunless day stirs joy in my heart

 

 

    ––Lynne Viti

 

                       

 

The Red Letters 3.0

 

* If you would like to receive these poems every Friday in your own in-box – or would like to write in with comments or submissions – send correspondence to:

steven.arlingtonlaureate@gmail.com

 

 

To learn more about the origins of the Red Letter Project, check out an essay I wrote for Arrowsmith Magazine:

https://www.arrowsmithpress.com/community-of-voices

 

Two of our partner sites will continue re-posting each Red Letter weekly: the YourArlington news blog

https://www.yourarlington.com/easyblog/entry/28-poetry/3217-redletter-last

 

 

and the Boston Area Small Press and Poetry Scene

http://dougholder.blogspot.com

 

For updates and announcements about Red Letter projects and poetry readings, please follow me on Twitter          

@StevenRatiner