La Guerre (2) ee cummings

La Guerre

II

earth like a tipsy
biddy with an old mop punching
underneath
conventions exposes

hidden obscenities
nudging
into neglected sentiments brings
to light dusty

heroism
and finally colliding with the most
expensive furniture upsets

a
crucifix which smashes into several
pieces and is hurriedly picked up and
thrown on the ash-heap

where
likes

what was once the discobolus of

one

Myron

Diary of a Poet: Entry 1

I’ve never a writer who is technically proficient in my chosen form: poetry. I’ve taken a couple of poetry classes. The main thing I remember from them is my word choices for a sestina exercise. My classmates came with serious pieces. Me? My sestina was based on  song titles from The Beastie Boys’ Licensed to Ill. However, I do read a lot. I read poetry (not as much as I should considering I’m a poet), fiction, non-fiction, historical fiction, etc. These books have been my number one source of absorbing the craft of writing. That is, until I started working on my next book (#4).  I realized I needed a jumpstart and after much research, decided on The Poet’s Companion by Kim Addonizio and Dorianne Laux. As I work my way through the book and selected exercises, I will be sharing my thoughts and pieces here.

Weaver Woman

I weave words
like a west african market woman
selling you my vision,
my mangoes, my papayas, even
my coconuts.
My finished product
can be held up to the sun,
illuminated, made to shine.

The skins of my poems
have been submerged in mud
then laid at the bottom
of the baobab tree
to dry
like mudcloth.

The blood of my poems
can be as dry as the sahara
as wet as monsoons
as cutting as a machete
in the hands of the mau mau.

I weave blood into my words:
red blood, dried blood, youngblood.
An over-saturation of blood decorates my words,
makes them pulse red.

My words hang from trees
like the bitterest kind
of strange fruit.
My words find the peruvian revolutionaries
murdered while hogtied
and then buried in criminal secrecy.
My words were inspired
by rigoberta menchu.

I roots rock reggae with my words
have them jamming
to the heartbeat rhythm
of the warmest music.
The fabric of my words is at its lightest
when it’s in the dancehall
or the yard.

My words sweep over people
like the softest caribbean breezes.
My words will have you
dreaming of blue skies,
white sands and coral reefs

and while you’re dreaming
I weave black people
into my words and I am done.
My finished product
can be held up to the sun
illuminated, made to shine.

Excerpted from In the Whirlwind

©2004 Tichaona Chinyelu

La Guerre (1) – e e cummings

I was on Goodreads early this morning and saw a poem by ee cummings that was absolutely lovely. Possessing as I do E.E. Cummings: Complete Poems, I went in search of it. It’s one of a 5 part poem called La Guerre. I will post one part of the poem each day for the next five days.

La Guerre

I.

Humanity i love you
because you would rather black the boots of
success than enquire whose soul dangles from his
watch-chain which would be embarrassing for both

parties and because you
unflinchinly applaud all
songs containing the words country home and
mother when sung at the old howard

Humanity i love you because
when you’re hard up you pawn your
intelligence to buy a drink and when
you’re flush pride keeps

you from the pawn shop and
because you are continually committing
nuisances but more
especially in your own house

Humanity i love you because you
are perpetually putting the secret of
life in your pants and forgetting
it’s there and sitting down

on it
and because you are
forever making poems in the lap
of death Humanity

i hate you

things of water (slowly solidifying)

the women wet
the waterfront
with womb water
delivering twin coral children
whose ceilings
are fluid
and permutable.

he is one. i am the other.
brother and sister
who knew our selves
before brackishness
and the rift
caused by the damming
of the river.

she and i, twin occupiers
of our mother’s womb.
the hierarchy of birth order
mercurial
like gemini genes.

one stayed. the other went
-an absence that split the family
like a headache.

like choppy water
frothy and forthright
she spouts

destroying
the placidity of man
made emotion.

structurally unsound
deficient of reason
wet like a woman
she is fit
only for swallowing.

having grown to the depth
of a well
i could contain her
but don’t

having imbibed
and libated enough
to be at peace
i watch

she, whirling watery dervish
leaving in her wake
smashed houses
cars and broken glass
planes of an existence
thought permanent.

Parsley ~ Rita Dove

1. The Cane Fields
There is a parrot imitating spring
in the palace, its feathers parsley green.
Out of the swamp, the cane appears

to haunt us, and we cut it down. El General
searches for a word; he is all the world
there is. Like a parrot imitating spring,

we lie down screaming as rain punches through
and we come up green. We cannot speak an R-
out of the swamp, the cane appears

and then the mountains we call in whispers Katalina.
The children gnaw their teeth to arrowheads.
There is a parrot imitating spring.

El General has found his word: perejil.
Who says it, lives. He laughs, teeth shining
out of the swamp. The cane appears

in our dreams, lashed by wind and streaming.
And we lie down. For every drop of blood
there is a parrot imitating spring.
Out of the swamp the cane appears.

2. The Palace
The word the general’s chosen is parsley.
It is fall, when thoughts turn
to love and death: the general thinks
of his mother, how she died in the fall
and he planted her walking cane at the grave
and it flowered, each spring stolidly forming
four-star blossoms. The general

pulls on his boots, he stomps to
her room in the palace, the one without
curtains, the one with a parrot
in a brass ring. As he paces, he wonders
who can I kill today. And for a moment
the little knots of screams
is still. The parrot, who has traveled

all the way from Australia in an ivory
cage, is, coy as a widow, practicing
spring. Ever since the morning
his mother collapsed in the kitchen
while baking skull-shaped candies
for the Day of the Dead, the general
has hated sweets, He orders pastries
brought up for the bird; they arrive

dusted with sugar on a bed of lace.
The knot in his throat starts to twitch;
he sees his boots the first day in battle
splashed with mud and urine
as a solder falls at his feet amazed-
how stupid he looked!-at the sound
of artillery. I never thought it would sing
the soldier said, and died. Now

the general sees the fields of sugar
cane, lashed by rain and steaming.
He sees his mother’s smile, the teeth
gnawed to arrowheads. He hears
the Haitians sing without R’s
as they swing the great machetes:
Katalina, they sing, Katalina,

mi madle, mi amol en muelte God knows
his mother was no stupid woman; she
could roll an R like a queen. Even
a parrot can roll an R! In the bare room
the bright feathers arch in a parody
of greenery, as the last pale crumbs
disappear under the blackened tongue. Someone

calls out his name in a voice
so like his mother’s, a startled tear
splashes the tip of his right boot.
My mother, my love in death.
The general remembers the tiny green springs
men of his village wore in their capes
to honor the birth of a son. He will
order many, this time, to be killed

for a single, beautiful word.

Mind in the Waters by Joan McIntyre (excerpt)

There was a time in our culture, not long ago, when the essential role of men and women was to nurture and protect each other, to be the caretakers of life and earth. At that time, when the sun sparkled on the sea of our imagination as freshly as it sparkled on the sea herself, we thought of our world and each other in ways which were life-venerating and death-respecting. The porpoise school that weaves its history protectively around its common existence, the whales that tune body and mind in a continuous awareness of life, are not symbols of an alien mythology-they are evocative of what was once the core of human relationships.

Animals were once, for all of us, teachers. They instructed us in ways of being and perceiving that extended our imaginations, that were models for additional possibilities. We watched them make their way through the intricacies of their lives with wonder and with awe. Seeing the wolf pick his delicate way across the snowy forest floor, the eyes of the owl hold the image of the mouse, the dark shape of the whale break the surface of the sea-reminded us of the grand sweep and diversity of life, of its infinite possibilities. The connection of humans with totemic animals was an essential need to ally ourselves with the power and intelligence of hon-human life, to absorb some of the qualities bestowed by the evolutionary process on other creatures.

Whales and dolphins-all Cetaceans-are intensely interesting to us now. They seem to speak for a form of consciousness we are beginning to re-explore in our own inner natures. They help us chart our interior wilderness. We can hear whales singing. If we pay attention and let them live, perhaps we will hear them speak, in their own accents, their own language. It would be an extravagant reward to experience, by empathy, a different band of reality.

We are animals of the land. They are animals of the oceans. We have hands to move and mold the things of the earth. They do not. But with an intelligence imagined as grand as ours – what do they do? What can they do, with mind imprisoned in all that flesh and no fingers for releasing it?

I have stroked, and swum with, and looked at these creatures, and felt their essence rise to meet me like perfume on a spring day. Touched by it, I felt gentler myself, more open to the possibilities that existed around me. There may be only one way to begin to learn from them-and that is to begin. We would not be harmed by returning to the roots which once nourished us, which still, unseen, link together all life that lives, and feels, and things and dies, on this, our common planet.

Excerpted from Sisters of the Earth: Women’s Prose & Poetry about Nature