Day 8

Wikimedia Commons: Asperge in bloei Asparagus officinalis.jpg.

The first poem of 2013, in nonce form. A poetry professor often said that rather than sit down to write a sonnet about your latest love, for example—unless it’s for a class assignment—content determines form. That’s always been my experience. This poem was shaping up to have six words per line, so I let that impulse become my verse principle as I focused on simple images and alliteration. The writing process began with a desire to describe a bookmark and became a poem about friendship, specifically a poetry friendship.

There’s always this tinge of fear when one is, as my poetry buddy Colorado Susan says, “between poems,” that the next poem won’t arrive, so it’s also a relief to get the juices flowing after a much-needed break to rest and refresh. Having a poem always in hopper is the only way to be at peace, I think.

To a Friend

I kept the thick white ribbon
and use it for a bookmark,
because the volume, a gift slim
as a girl offered to Spring,
came wrapped. An Amazon delivered it.
I should like to be one:
confident, utterly convinced of my aim.
My favorite is the asparagus poem,
choosing between lopping it off firm
and letting it fallow until ferny.
Funny, we’ve only ever met once
twice, yet our words, like birds,
millions of them, travel many miles.
I only sent candy for Christmas,
but my heart—feel it here?—
was in just the right place.
Sometimes, although I am quite overgrown,
I pretend that she is sitting
in the armchair beside my desk,
sipping coffee as we chat face-to-face.

Felicia Sanzari Chernesky
1/7/2013, first draft

Wikimedia Commons: Asperges Asparagus officinalis.jpg

I’ll set this poem aside now, for a bit, and reread it with new eyes, to tweak or revise. I’m sharing it because Susan, after I emailed my poem to her, sent me the link to poems she’s just published in Mezzo Cammin and the draft of a review of the volume she sent me as a gift that will appear in the next Raintown Review, which discusses the playful “Asparagus,” coincidentally also her favorite poem in Maryann Corbett’s Breath Control.

 

 

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    Sonnet Attack!

    COLORADO SUSAN

    a guest blog
    by Susan Delaney Spear

    Poet ♦ Teacher
    Grammar Maven

    Welcome once again Susan Delaney Spear—Rocky Mountain bloom, rhetoric instructor, grammar maven, good friend, and poetry MFA classmate—who occasionally joins us on blogopus to discuss prosody, ‘cause metrics matters.

    While I attended the annual New Jersey SCBWI conference last weekend, Colorado Susan was versifying in West Chester, Pennsylvania at the annual West Chester University Poetry Conference.

    Participants in my conference sessions, “Summoning the Muse: Let Poetry Add Precision and Punch to Your Novel/Picture Book” may recall a comment I made about writing being all about paying attention. Perhaps I’ve attributed this to the wrong author (although I’m certain he was French), but I recall learning in ninth-grade English class that Guy de Maupassant—a father of the short story—said that a writer should sit in the town square every day for three years straight people-watching before putting a single word on paper.

    Colorado Susan’s latest post reminds me of that remark—and underlines how poets are accustomed to exploring what we write from every possible angle.

    Felicia

    SONNET ATTACK!

    I am a formalist. I write sonnets, villanelles, blank verse, triolets, tritinas, and their like. Because of my inherent love of meter (rhythm) in poetic lines, I will never stray too far afield from these received forms. This formalist just spent a week at the West Chester University Poetry Conference, which is devoted almost entirely to the pursuit of form and narrative. This year I wanted to fuel my right brain so I chose a workshop in Experimental Form. During the brief three days of the workshop, my right brain, my left brain, my fountain pen, and my rear end all got a much-needed kick.

    I have considered a poem’s space on the page, but until this week I had not pondered the poem’s place in the literal space around me. Our instructor handed down the gauntlet. Leave something somewhere and watch what happens. Among the things left by the group: a blue magnetic butterfly, a hand-knit hat, a newly penned poem, a bag of olives from Greece, and a boyfriend! (He had it coming.)

    When a friend invited me to take a joyride to the home and garden store Terrain, I accepted. The WCU campus was swarming with successful and aspiring poets. In other words, this was not a typical space. I had hand copied one of my poems, and I wanted to leave it where it might surprise, dare I say bless, someone.

    I placed my poem on the middle of a beautifully set table in the outdoor restaurant. Actually it was two wooden tables put together to create a table for four. The linen-wrapped tableware, the glasses of ice water, and my poem “Impediment” waited for hungry diners.

    My friend and I sat at the indoor coffee bar and watched through a window. My heart actually started beating faster when the waitress seated an older woman and a younger woman and her male significant other (no wedding rings, but clearly a couple) at the table under surveillance. The older woman picked up my poem, gave it a dismissive look, and stuck it in the crack between the two wooden tables.

    The time they perused the menu felt like forever. Seriously, who sets poetry aside to ponder food? When at last they put down their menus, the younger woman plucked the poem from between the tables read it. The farther she read, the broader her smile grew. She laid her hand on the man’s arm, said something, and held the poem in front of him. Immediately he held up his right hand as if to protect himself from this sudden sonnet attack. If I had to guess what I saw him say it would be akin to, “No Brussels sprouts for me.” She laid the poem aside and her smile disappeared. They continued to chat.

    I enjoyed this noontime prosodical espionage and the further challenge to fill the space in my life with poetry, with art, and with beauty. When autumn rolls around and academic work and my serious life takes over my senses, would one of you please kick me in the right brain?

    ——

    Readers, we invite you to post your thoughts in the comment section.
    Colorado Susan‘s next post will bloom in July.

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      How Do You “Like” Me Now? Part Deux

      I just can’t think another thought tonight.

      I wrote this line to Colorado Susan yesterday evening after another exhausting working weekday—partly to admit I was shutting down for the night with the full intention to couch potato it in front of mindless television programming before crawling off to bed.

      And then I thought, hey, that’s a pretty poetic line, precipitating the following exchange:

      “I just can think another thought tonight.” Am I alliteratively iambic pentametric OR WHAT?! This goes on the blog tomorrow…

      A postscript followed:

      Should that be “alliteratively iambic pentametrical”? What’s correct oh wondrous grammar maven?

      And I got this fitting reply:

      I think it is the second one, but I am so tired tonight too.

      The matter was never settled, of course, but I woke this morning ready to move metrical mountains. (After two muse-infused cups of coffee, of course.)

      p.s. Poor Charlie…

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        Desperate Measures

        COLORADO SUSAN

        a guest blog
        by Susan Delaney Spear

        Poet ♦ Teacher
        Grammar Maven

        I would like to welcome Susan Delaney Spear—Rocky Mountain bloom, rhetoric instructor, grammar maven, good friend, and poetry MFA classmate—who will occasionally join us on blogopus to discuss prosody, ‘cause metrics matters.

        When I asked Susan to say a few words about herself, she simply answered, “I love reworking lines of my poems, walking with my dog, Lady Guinevere of Littleton, on the plains, and teaching English.”

        I’d say that describes my friend quite well. And besides, a poet knows when to let the mountains, and the metrics, speak for themselves.

        Felicia

        Desperate Measures

        My dad was a die-hard fan of the Pittsburgh Pirates, and when they lost he used to shake his head and mutter, “There is no joy in Mudville…” One day when I was about ten, I asked him why he said that. To my astonishment he recited “Casey at the Bat” without a slip, and then explained that he had chosen that poem to memorize in the sixth grade.

        When I was forty and received the news that my father had passed away, the first words that ran through my mind were, “The Lord is my shepherd, I shall not want…” I had been required to memorize the Twenty-Third Psalm in Sunday School and in elementary school (which shows my age). Former poet Laureate Kay Ryan says, “Poetry is for desperate situations.” My father’s passing was such a situation, one for which I had no words of my own.

        These two situations prove not only the power of poetry but also the power of the mind to recall that which we commit to memory. The Pirates giving up a game was not a “desperate” situation, but my father enjoyed using the poem to express his disappointment. I suspect that each of you reading this has a favorite poem or two. Sometime in your life you have read a poem that lodged in your mind or your heart. Or, perhaps a teacher required you to select and memorize a poem, and to your surprise you cannot forget it.

        Some folks enjoy poems for their content, and some folks (like Felicia and me) are also drawn to the rhythm, rhyme, and other language devices that poets employ. Since April is National Poetry month, why not pull a long neglected anthology from your shelf and read one each day? Or bookmark the Poetry Foundation on your computer and click through the thousands of poems. One never knows when a “desperate” situation might arise!

        ——

        Readers, we invite you to post your thoughts in the comment section.

        Colorado Susan‘s next post will bloom in May.

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