Saturday, January 25, 2014

Second Session Features Seasons

In our second session January 23, poems by Linda Pastan and Billy Collins gave us a platform from which to look at the change of seasons as a very familiar poetic motif. In her carpe diem piece "Autumn," Linda Pastan claims the poet's right to reject a glum and not uncommon metaphor and insist on celebrating color.

In "Spring Cleaning" Billy Collins, in that off-hand style that combines his characteristic wit and much learning, warns us that even the coming of spring has a cost--I suspect we will remember the "thunderous sneeze."

Kathy and Martha offered very telling additional insights into the seasons and Elmer drew upon another powerful family memory.

I think I mentioned hearing Billy Collins do a reading in New Hampshire in October. He read "Table Talk," a poem we had enjoyed last spring, in which a group of erudite professors is having dinner discussing "applying the paradoxes of Zeno in the martyrdom of St. Sebastian." Collins brought down the house with the following line, "I think I''ll have the trout," reminding us again how he juxtaposes the serious and the light and lets the air out of pompousness.

Collins would warn us against this, but if you insisted on turning over the rocks of allusion, you might find a dark side to what we know about the Druids (notice in "Spring Cleaning" he uses lower case) and even in the story of Persephone.

Next week, however, I am certain that Jessica Greenbaum and Robert Pinsky would tell us their poems are not about basketball and baseball.

Friday, January 17, 2014

Winter 2014 Begins with Music

The Winter 2014 term began January 16 in the Disciple Room at Christ United Methodist Church--ample table space for our group of 17. In "To Play Pianissimo" by Lola Haskins and Adam Zagajewski's "Cello" we found that behind the metaphor of music were quiet, deeper thoughts, these two short poems, as is often the case, more subtle than they first appear.

We also read another piece from Haskins' 44 Ambitions for the Piano, "Fortissimo." It appears at the bottom of this posting and contains in its last line a word of advice to us about last lines.

Zagajewski's translator, Clare Cavanagh, is a professor of Slavic Languages at Northwestern University. More information about her at http://www.poetryfoundation.org/bio/clare-cavanagh, including audio of her interview with Zagajewski.

Next week we will read Linda Pastan and Billy Collins. There will be time for two and possibly three poems by members of the group. I have poems by Elmer and Kathy and am expecting ones from Martha and Dave. Remember that your poems need not address the morning's topic or theme.

"Fortissimo"
Linda Haskins

To play fortissimo
hold something back.
It is what the father does not say
that turns the son.
The fact that the summit cannot be seen
that drives the climber on.
Consider the graceless ones:
the painter who adds one more brush stroke,
the poet of least resistance
who writes past the end of his poem.

Sunday, October 20, 2013

2013 Anthology

Poems
from the Shepherd’s Center
Winter—Spring 2013

This short collection is the sixth by our Shepherd’s Center Poetry Group.

These pages are meant to be a memento of our weeks together during the winter and spring of 2013, which I believe have emboldened us to find and affirm the poet in ourselves and others. Thank you again for sharing your talent and insight with the group.—Bob Demaree

Dumas, pere
Cynthia Schaub

Cognac brown, soft, consoling,
I tilt the decanter to the glass,
the heavy one with the scene of downtown Baltimore
etched in black and real gold,
probably 24 carat.
Not to be put into the dishwasher,
though I do.
A golden bourbon in an exquisite glass.

I stand before the bookcase,
urbane, sophisticated, like a writer,
though the books not so urbane,
paperbacks.
I’m not ashamed, just
frugal.

But behind glass, leather-bound books,
a special occasion.
Before I even know the title, I open it,
smell and riffle the pages.
It sounds like bourbon, poured from the decanter.

Alexander Dumas, one of my dad’s favorites,
The Three Musketeers,
Athos, Porthos, not D’Artagnan. Who is the
third?
He would be disappointed that I could name only
two.

I return to my chair, sit,
book and bourbon in hand,
to read, to find the third musketeer’s
name.


New Garden Cemetery
Kathy Coe


For a long, lean while
I came to the cemetery because
that was the one spot where my little dog
would walk -- walk, that is, until
a strange human appeared along the path
or an intruding car slowed at a nearby gravestone,
and then, in alarm, he would freeze.

It was not as I would wish. 
I'd used to walk there unencumbered
by leash or noise or fear.
Then I marched alone past unknown graves --
Inmon, Worth, Cummings, Bowles, Baker,
others I never knew --
hoping to raise the heartbeat, calm the mind.

But over time I learned
the real dividend of my brisk routine:
that -- like a child’s toy
whose silver balls fall
into neat columns --
as I strode along
the mind-thrashing thoughts
that first drove me
to the cemetery now, too, filtered down
into columns perhaps not neat,
but finding home.

Yes.
Of course.
That is how it is.

And so now I breeze out the door,
past my little dog’s pleading eyes,
and escape once more to the graveyard,
where, attended by silent neighbors,
I trace an invisible thread,
uncovering unseen patterns,
readying for the moment when,
back home at my desk,
I will pick up the pen yet again.



For Harvey Shapiro
Martha Golensky

I feel I should apologize.
I didn’t know you or your work
until I read the obit in the Times.
I said, “He could be my older brother,”
the sensitive one who preferred books
to baseball, to Dad’s chagrin.

Or the guy I started talking to
in a New York coffee shop
because I noticed he had a copy
of Elizabeth Bishop’s poems.
We spoke of metaphor, of assonance, 
but I never caught his name.

Or the guy I saw on the subway,
bent over, nose wrinkling, scribbling
in a beat-up tan notebook, oblivious
to the boom box of life around him—
intent on transferring thought to paper
before it escaped through the open window.

Now I’ve sampled your spare verse,
enjoyed a walk through a gallery of cityscapes
reeking of smoked whitefish and pastrami.
I’ve observed you observing your son,
swaying with his newborn as if in prayer.
Harvey Shapiro, I wish I’d met you sooner.



At Uncle Ott’s
Elmer Billman

A coal fire glowed in the grate.
A bowl of peanuts in the shell and
a jar of horehound candy graced the fireside table.
“I want to see the eagle,” I would say.

I followed Uncle Ott to the stairs, and ascended, one  step behind. As we approached the halfway landing
I was filled with dread, but was irresistibly drawn upward.

At the landing, from his permanent perch,
the eagle glared at me with his glass eye.

I scampered down the stairs.




Deenie Out in Front
Lee McCusick

She scampered up the rock,
my line in hand,
dragging a three-pound bass
which I had hooked but failed to land.

That was Deenie, always out in front;
she was the first to the raspberry patch
first to water ski and first the choose the spot
where we would fish for perch by night on Sebec.

We boys, in groups of two or three or four,
would follow her to do her bidding
because she knew where the fun would be,
not for fear that she was a beauty.

Comely she was not, so we grew apart.
I felt uneasy realizing she wished for me to be
a beau not buddy, a fella not a friend;
no longer could I follow where she wished to go

This chasm now cannot be spanned
for as of old she is eternally out in front,
no more boats to row, no more cliffs to climb;
now in December I long for July and Deenie out in front.



Watch Out for Things
Dave Upstill

Inanimate objects seem benign
but that is just opaque design

to hide malevolent intent
of devious mishaps they invent

else why would shoe laces part
and trusted cars refuse to start

always at the most untimely times
unless planned by rebellious minds

to make us sentient beings understand
it’s they who have the upper hand.
  


Piano Lessons
Bob Demaree

My lesson was before school.
My father waited in the car,
Smoke from his Lucky Strike
Clouding the windshield of our ’48 Plymouth,
Against a gray January sky
In Pennsylvania—
We did not know to call it the Rust Belt then.
My spinster teacher walked about
Her Victorian row house,
Checking on an invalid mother
And calling out to me,
“I hear wrong notes.”
The house smelled of cooked vegetables,
Even at 7:30
When Teddi Kalakos came for her lesson.
She and I played a duet once,
One of the Bachs, perhaps.
Her family ran a restaurant;
She may have inherited it—I don’t know,
One of many threads of the plot
Lost over time.
Once a year Miss Edna would take us
Into Philadelphia, the Reading Railroad
More than a Monopoly card,
Elegant iron horse, cold coal-smoke dawn,
Dutch trainmen in shiny blue suits
Calling out the station stops:
Royersford, Conshohocken.
She let us shop at Gimbel’s,
Have lunch at Bookbinder’s,
Wasted on 12-year-olds,
And took us to the Academy of Music,
The children’s concert,
Peter and the Wolf, no doubt.
Years, years later
My mother asked if I remembered
Seeing Ormandy conduct.

Members of the Shepherd’s Center Poetry Group, present and past, won awards in the 2013 contests of the Burlington Writers Club: Dave Upstill, first place, Light Poetry; Mary Vick, second place, Adult Poetry; Sandra Redding, first place fiction; Bob Demaree, first place, Adult Poetry; Cynthia Schaub, honorable mention.

Our next Shepherd's Center term will begin Thursday, January 16, 2014.


Tuesday, June 18, 2013

Luncheon Session Considers Uses of History

We held a seventh session on Thursday, June 6, at Graffiti's Bistro in Greensboro. We enjoyed lunch together as well as poems by Don Chiasson and Adam Zagajewski on "the uses of history." Martha's poem "Comes the Dawn" provided a strong complement to Zagajewski's poem about the documentary Shoah.

Our annual Shepherd's Center Poetry Group online anthology will appear again this year, most likely in September or October.

I recently attended a reading by Sharon Olds, a poet whose work we have enjoyed in the past ("I Go Back to 1937" and others) and found her a compelling reader as well as a very gracious person. We will read more of her work in the Winter 2014 term. 

Below are some books on poets and the craft of poetry which you may find of interest:

Jane Hirschfield, Nine Gates
Davidson and Fraser, Writing Poetry: Creative and Critical Approaches (2009)
Ted Kooser, The Poetry Home Repair Manual (2007)
Bill Moyers, Fooling with Words


Tuesday, June 4, 2013

Unfolding, Winding Up

In our sixth session on May 30 Carl Dennis asked if there is a gradual growth of consciousness, an unfolding of the spirit, even as we consider the loss of a friend or painting the porch. The answer seems to be more hopeful than one might expect: Seasons repeat themselves, but the tree/Shading the yard keeps growing.

Ciaran Carson's terse poem "The Tag" admitted of widely differing interpretations, which, of course, is part of the fun of poetry. It's not out of the question that someone is just home from the hospital and will get well, but I think Mary's suggestion is the more likely explanation and invite you to check out the following background information: http://en.wikipedia.org/wiki/1981_Irish_hunger_strike

One other thought on this poem: the letters D.O.B. might also make you think of D.O.A.

For those who have signed up, we will gather at Graffiti's Bistro on Pisgah Church Rd., just east of N. Elm St., at 12:00 noon. In the poem by Adam Zagajewski, Shoah refers to a nine-hour television documentary on the Holocaust, produced in 1985. 

Saturday, May 25, 2013

Poets on Painters: One Medium Addresses Another

In our fifth session on May 23, we considered poems by Linda Pastan and James Arthur that dealt with artists and art, how one medium addresses another. In "Edward Hopper, Untitled" (a painting better known as "Solitary Figure in a Theater") we saw two stanzas describing the scene that Hopper offers us, and a third stanza with some editorial opinions ("cliche of loneliness"). Don offered an interesting suggestion, to split the last three lines off into a fourth stanza--this would break up the symmetry of the 8-line stanzas, but would underscore the interesting and controversial point made at the end. Maybe someone will go to the Whitney Museum one day and tell us if this painting is, in fact, "oil on board."

We speculated on the model James Arthur had in mind for the "Death of the Painter." Matisse had been suggested; Audubon and Gauguin were also mentioned. I sent James Arthur an e-mail on the subject, and received a prompt, gracious and very helpful reply:

"You're right; the artist in "The Death of the Painter" is based partly on Matisse. He's also based partly on Picasso -- and some details of his life are fabricated. I wrote the poem at an artist residency program in Provence when I was 30; the week before writing the poem, I'd been to see the Musee Matisse in Nice, and also the Musee Picasso in Antibes. 

But I'm glad you feel that you didn't need (additional) information to enjoy the poem. I often base my poems on my own life, and on the things around me -- but I want my poems to be accessible to be as many people as possible. I ended up feeling that mentioning Matisse or Picasso by name would restrict the poem's audience, and would give me less freedom to invent." (Italics mine)

So our conclusion that the painter was probably a composite seems to be what the poet intended. We also enjoyed Martha's "Pride of Place," which added to the ekphrastic experience of the morning.

I should have included in last week's report how much we enjoyed Dave's poem "Watch Out for Things," which won first prize in the Light Verse category of the 2013 Burlington Writers Club competition.




Friday, May 17, 2013

Kooser, Koertge Yield Genuine Insights

In our fourth session we considered two poems chosen by Billy Collins for the Library of Congress' online collection Poetry 180. In Ted Kooser's "After Years" we found genuine insights that are more than "small,"  regarding loss and time and the causes and impacts of things that go barely noticed. Collins describes "After Years" as "a love poem in which the poet's imagination flies far from his own experience."  One further thought:  I think there's a definite connection between the falling of the ancient oak and the old women scattering corn. 

Another piece of information about Ron Koertge that supports the impression of him that comes through in "Do You Have Any Advice..." One of his books is a novel written in free verse, narrated by a 14-year-old, titled Shakespeare Bats Clean-Up.

Next week we will see how two poets draw the work of visual artists. For this you may need to be "dutifully at your desks."

Link to Poetry 180: http://www.loc.gov/poetry/180/p180-home.html
In Poetry 180 you will find poems by Jane Kenyon, Kay Ryan, Natasha Trethewey, Franz Wright, Debora Greger, Mary Oliver, Thomas Lux, Sharon Olds, Donald Justice, Linda Pastan, Mark Irwin, Eavan Boland, Steve Kowit and many others.

Link to Ron Koertge: http://ronkoertge.com/