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Showing posts with label Thom Satterlee. Show all posts
Showing posts with label Thom Satterlee. Show all posts

Friday, August 28, 2015

Cloud II

Love Like Rocks                                                    Stephen Massimilla
Respect the rocks, the way they hold
themselves down, though from the point
of view of geese, the nimbo-


cumuli (their bulky white counter-
parts) drift like icebergs at sea
in the sky. Below


these sunset-catching cliffs, tiger-
lilies also face fire, stalking
and lolling around


unpainted pickets. Lawns
ruffle their pheasant feathers;
uncatchable quarry, snakes


in the blades blaze by. Since hiss
they must, upon proving too loose
for muddy trousers, they hint


now near, now thither, while all
is always about to give, given to
darkling cliffs of shifting
cloud. O

God, my love is my rock,
my weight, said St. Augustine,
my Venusian even on deserted


nights, super-sub-urban,
like bright orbits bound by them-
selves to plunge, however small, however far. 


*******************************************

Last Will                                        Hayden Saunier

When I am ash, as is my wish,
take a stone out to the field for me
and leave it near the meadow wall
where it won't jam machinery.

Nothing cut or polished. Something
tumbled down the stream and smoothed
with sand will do, the sort of stone
that's been there all along. It's just

that in the field tonight, I stopped
and stood beyond the cedars
in the hedgerow's coils and twists—
the heart-shaped lump of a wasp nest

suspended from a maple branch above
my own dark shape—and the moon's
unclouded eye fell on us all so equally,
it seemed as good a place as any I could be.

*******************************************
The Storm                                                                                Jennifer Moss
Where one mind stops,
another begins.

Where cutlery shines on plates,
a voice lowers.

One length of forgiveness,
round and round like a child's game
in the dust.

Outside, the rain formalizing.

When we leave we are replaced.

Shaky clouds in lightning,
my shadow alive on the floor.

Then the small passage for sleep.

How green and spidery the sky.
In its net, the dead bees of memory. 

*******************************************

Habitus                    Thom Satterlee

Language, he asserted, was a habitus... What precisely
he meant by habitus is not explained, but the context in
which the word is applied to language would suggest a
sense of "clothing... "
— Anne Hudson, "Wyclif and the English Language"

All morning he read from a thick volume
propped on a stand. He read and he read,
and when he closed his eyes
he continued to read
until the words took off their clothes
and laid them down on a hillside
that vanished whenever a cloud
passed between it and the sun.

All his life Wycliffe had wanted this:
the words undressed and he going to them,
a child to a fair, burning to see
if Faith wore her hair in a braid,
whether Why held out its hands, palms up,
and where Simony put his coins
when he stood naked in the light.

But no: Wycliffe had got it all wrong.
He was not going to see the words.
They were coming to him
with their arms loaded with robes
stacked so high he couldn't see their faces,
and before he knew it, invisible hands
began measuring him with ropes
stretched between his wrist and his chest,
from his hip down to the ground,
around his waist and around his neck.

The fitting took all day. He tried on
Son and Friend, Scholar, Reformer,
Heretic; he slipped into Priest,
wore also Doctor Evangelicus
and Morning Star. Some robes
hung too loosely; others pinched his neck.

In the end, he had to wear them all
and learn the sadness of being a word —
only one surface to show the world
while he lived underneath the layers
and listened for the barely audible
sound of his own heart beating.

*************************************

Gone                                                      Malena Morling, from Five Points
          The world
is gone
      like the exact
shape of a cloud
          or the exact shape
of a hand waving
      in the sunlight
from across
          a crowded
train-station
      parking-lot
to another hand
          that waves back.

Come to think of it,
      everything up to now
is gone.
          And I have also
already left
      even though
I still ride
          the train
through the outskirts
      of the city.

And I still sit
          by the window,
the filthy
      train-window
while what is left
          of the demolished
buildings
      go past
and the empty
          billboards
and the transitory
      architecture.

It's amazing
          we're not
more amazed.
      The world
is here
          but then it's gone
like a wave
      traveling toward
other waves.

          Or like
the delicate white
      spaceships
of the Dogwood
          that float
as if there were
      no gravity,
as if there were
          no moments
isolated from
      any other
moments
          anywhere. 

Saturday, September 20, 2014

Eye Eye Eye Eye

Walking Home on an Early Spring Evening                         David Young

Every microcosm needs its crow,
something to hang around and comment,
scavenge,
alight on highest branches.

Who hasn't seen the gnats,
the pollen grains that coat the windshield
who hasn't heard the tree frogs?

In the long march that takes us all our life,
in and out of sleep, sun up, sun gone,
our aging back and forth, smiling and puzzled,
there come these times: you stop and look,

and fix on something unremarkable,
a parking lot or just a patch of sumac,
but it will flare and resonate

and you'll feel part of it for once,
you'll be a goldfinch hanging on a feeder,
you'll be a river system all in silver
etched on a frosty driveway, you'll

say "Folks, I think I made it this time,
I think this is my song." The crow lifts up,
its feathers shine and whisper,

its round black eye surveys indifferently
the world we've made
and then the one we haven't.

*********************************

Anatomical Angel                                    by Averill Curdy

L’ange Anatomique, by Jacques-Fabien Gautier Dagoty, 1746

                        Unfastened avidly from each ivory button
          of her spine, the voluntary muscles open
virtuosities of red: Cinnabar

                        the mutagen, and carmine from cochineal
          born between fog and frost, so many little
deaths Buddhists refuse to wear

                        robes soaked in its thousands. Sunsets
          of other centuries fade in galleries to ash.
Red is fugitive: As the voice, the blow

                        of gravity along a nerve opening to an ache
          the body can’t unhouse: As the carnation
suffusing cheek and haunch like saucers

                        from the king’s porcelain rinsed in candlelight.
          Gratuitous as the curl, the urn-shaped torso,
the pensive, brimming gaze of pretty

                        post-coital thought she half-turns over one
          excavated shoulder. As if to see herself
in a mirror’s savage theater as elegy

                        to the attempt to fill an exhausted form,
          to learn again the old ordeals of wound
and hand and eye. To find the source of burning.

*****************************************

Habitus                    Thom Satterlee

Language, he asserted, was a habitus... What precisely
he meant by habitus is not explained, but the context in
which the word is applied to language would suggest a
sense of "clothing... "
— Anne Hudson, "Wyclif and the English Language"

All morning he read from a thick volume
propped on a stand. He read and he read,
and when he closed his eyes
he continued to read
until the words took off their clothes
and laid them down on a hillside
that vanished whenever a cloud
passed between it and the sun.

All his life Wycliffe had wanted this:
the words undressed and he going to them,
a child to a fair, burning to see
if Faith wore her hair in a braid,
whether Why held out its hands, palms up,
and where Simony put his coins
when he stood naked in the light.

But no: Wycliffe had got it all wrong.
He was not going to see the words.
They were coming to him
with their arms loaded with robes
stacked so high he couldn't see their faces,
and before he knew it, invisible hands
began measuring him with ropes
stretched between his wrist and his chest,
from his hip down to the ground,
around his waist and around his neck.

The fitting took all day. He tried on
Son and Friend, Scholar, Reformer,
Heretic; he slipped into Priest,
wore also Doctor Evangelicus
and Morning Star. Some robes
hung too loosely; others pinched his neck.
In the end, he had to wear them all
and learn the sadness of being a word —
only one surface to show the world
while he lived underneath the layers
and listened for the barely audible
sound of his own heart beating.

****************************
After the Moon                                                                                                          Marianne Boruch

eclipsed itself, the rumor or darkness
true, the whole radiant business
almost over, only a line,
an edge, like some
stray part of a machine
                                                        not one of us
can figure any more:
what it thrashed or cut, what it sewed
quietly together, what it scalded
or brought back from the dead. After this,
I came inside to sleep.    
                                          But it’s the moon still,
pale run of it shaping
the door closed against the half-lit hall.
The eye is its own
small flicker orbiting under the lid
a few hours.
                        Not so long,
bright rim,
giving up its genius
briefly, mountains under dark, craters
where someone, then no one
is walking.




Friday, June 24, 2011

Burning Wyclif

One of the most memorable books of poetry I have read in the past five years is Thom Satterlee's Burning Wyclif (Texas Tech University Press, 2006). Astonishingly, it is a first book, winning the Walt McDonald First-Book Competition in Poetry for that year.

Although this volume is a biography-in-poems of John Wyclif, the philosopher-theologian who translated the Latin Vulgate Bible into English in the 14th century and was later condemned as a heretic for doctrinal criticism of the Catholic Church, its beauty and insight have much to offer the reader who is not interested in religion or Christianity, but who merely wants to read glorious poetry with a larger vision.

The imagination with which Satterlee sketches out likely events in Wyclif's life (since little detail is known) provides  glimpses into the thinking and customs of the day in a compelling manner. Whether Satterlee is painting a scene of the young Wyclif entering Oxford and having his head shorn into the tonsure sported by the religious community, or of the older Wyclif wresting with his lustful urges, the details  he offers are authentic enough to draw you fully into the story as though you were being given verified fact.

Other hot topics of the time, including the Black Death and flagellation, are explored quietly by the poet, belying the feelings of horror that may be raised in the reader. Satterlee, it seems, has been able to adopt the attitudes of the 14th century in order to relate a completely believable response by his hero, so authentic in fact, that the poet disappears from the awareness of the reader entirely.

It was by reading "Habitus" on the Poetry Daily website that I first discovered Satterlee's book, and determined that I needed to own a copy. Having now read the entire volume a number of times, I still find this opening poem to be one of my favorites.

Another favorite is "Wyclif Places Himself, His Room Within the Ten Categories of Essential Being," in which the student Wyclif attempts to master the philosophical categorizations of Aristotle while coping with his own growling stomach. Scroll about 3/4 down towards the bottom of the link to find an audio file of this amusing and entirely believable piece.

Fleshing out a likely life story for a historical figure with such reverence for the individual's integrity seems to me to be an extremely worthy poetic project. I wish there were more books of poetry in which a historical personage is completely present and the poet is almost entirely absent. What a gift it is to inhabit this book without feeling the writer looking over your shoulder, wanting to be complimented.

And the subject of such dedicated rendering need not be a religious figure either. I'd love to read the lives of scientists and mathematicians written in a manner this thoughtful and deep. Lauren Redniss's Radioactive: Marie and Pierre Curie: A Tale of Love and Fallout (HarperCollins, 2010) promises to do this much for the Curies, though in prose and artwork, not in verse, from what I've read about it (I have yet to read it).

At her website, Redniss describes her artistic process as follows: "I made the artwork for the book using a process called “cyanotype.” Cyanotype is a camera‐less photographic technique in which paper is coated with light‐sensitive chemicals. When the chemically-treated paper is exposed to the sun’s ultraviolet rays, it turns a deep blue color. Photographic imaging was critical to both the discovery of X-rays and of radioactivity, so it made sense to me to use a process based on the idea of exposure to create the images in Radioactive."

Go here to see some of the images that accompany her prose in the book.

Such imaginative ways to represent the lives of great thinkers in communion with their own intentions. The writers step aside and let the figures be themselves entirely. That is true generosity, if not genius, in writing.