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Below is the first poem I’ve written in nearly a year, largely because of the duties of teaching and parenting, both of which I love to death and both of which demand a great deal of time of a guy. As it’s been a long time, and I have always thought of myself as an outsider poet at best, I’d like to offer this first draft up to whoever is out there on the other end as an opportunity for critiquing and workshop. Please, don’t be shy, and comment wildly below.

HCP

This poem sets up on the floor

No pretense, no bullshit

Preferring a basement,

Eye level.

 

The secret handshake anyone can learn,

This poem is not interested

In selling

Or in being sold.

 

It is the lyric sheet passed out

At the outset,

Because the words fucking matter,

A butterfly pressed in your pocket.

 

This poem is the moment there by the water heater

That you realized both your privilege and your potential

 

Right

Before

The

Mosh

Part

Took

You

In

 

These are loud stanzas, and, okay,

A little abrasive,

But they know that’s not enough.

 

They are also starry-eyed,

And why not?

 

Nothing good ever came

Out of anything that wasn’t.

Voter ID

This isn’t the most lyrical poem I’ve ever written, that’s for sure, but as the debate about Voter ID rages on (it’s on the ballot as a constitutional amendment in MN this year), I wanted to get at what I think the real problem is: racism.  Communities of color came out for Barack Obama in record numbers in 2008, and I think that there are some who would cynically move to do whatever they can to prevent a repeat of this in 2012, making those same communities pawns, once again, in a game they didn’t consent to playing.  Like a lot of racism, this is of the unexamined variety — voter ID advocates would never make the connection between redlining and the proposed amendment (after all, it isn’t Obama’s skin color they don’t like, just his politics, and I have to say that I believe their sincerity in this) yet there it is, an attempt to further disenfranchise groups of people based on skin color and a socioeconomic status that is directly linked to policies of the past (e.g. redlining).  This kind of historical amnesia is very dangerous for our country.

Voter ID

 

We’re standing on maps left behind by our grandfathers,

Covered in red lines and promises of financial solvency.

We’re the architects of a grand plan all our own.

 

We’ll make a man out of straw and call him voter fraud.

Ask him for identification – what’s the harm in that?

If he doesn’t have it, we deny the vote,

Light him up as an example to others.

 

Use the maps to get it going –

We don’t need them anymore.

 

Behold, arms outstretched in supplication,

A burning beacon in the night,

A cross to light the way.

 

These are times of values.

 

Of course, that’s far too scathing a critique.

After all, we were very careful not to identify

Those most likely not to have identification.

We never said anything

About poverty,

Or transience,

Or skin color,

Or people groups voting in record numbers,

Electing the country’s first black president,

By a landslide.

 

That’s not what this is about.

We just want to make sure we know who you are.

 

What’s the harm in that?

 

 

 

 

Blog Exclusive just means that, being a sort of amateur poet (at best — the “Sickbed Sestina” featured elsewhere on this blog is six lines short of being a true sestina, evidence of how sick I must have really been, I guess), I didn’t bother to try to submit this anywhere.  Of course, as with anything else on this blog, if someone wanted to come along and offer me some money to reprint something, that’s a conversation I’d be willing to entertain.  So desperate sounding!  Anyway, the poem.  It is based on the Texas Republican Party’s 2012 Platform, excerpts from which you can read here.  If you don’t like the poem, just hang in there: it rhymes at the end.

 

The Texas GOP Weighs in on Higher Order Thinking Skills

 

A magician (or a fancy waiter with a lot of flair)

Yanks a tablecloth in one fluid motion.

Audiences gasp, convinced

The silver and china will be casualties

Of this man’s caprice.

 

But that’s not the trick,

And our man is to be commended–

Everything remains in place just so,

Only a little lower.

 

I am neither waiter nor magician,

But a teacher; even so,

I take no joy in having to explain

The more obvious metaphors.

 

So ponder, please, (though of course not critically);

I’ll cut to the candid:

“Challenging the student’s fixed beliefs”

is my life’s calling,

Not because I don’t respect them,

But because I think that someone should.

 

I am a teacher, and this is what I do.

Oppose this work,

And I am a revolutionary, too.


…you can follow me on Twitter, should you be so moved, @dmurolamere.  Please understand that there is likely to be an incredible amount of nonsense and profanity.

I like writing poetry much more when I have a prescribed form to follow, so I’ve been playing with different forms lately.  This may or may not be the first villanelle I’ve ever written.  My wife and I are expecting our first child, a son, in May.  This one’s for New Guy.

NEW GUY’S VILLANELLE

We will give you all that we are able

Though so much is left outside of our control

Soon you’ll take your own seat at the table

 

We both know that soon this very day will

Fall to memory, etchings on a scroll,

We will give you all that we are able.

 

Giving hope: for other days to wait till,

Not knowing what they’ll overlap or hold,

Soon you’ll take your own seat at the table.

 

We know not how long your lungs will stay filled,

Or what you’ll say about us when you’re old;

We will give you all that we are able.

 

I imagine something brimming, something stable,

Something glowing with an ember never cold…

Soon you’ll take your own seat at the table

 

We can’t wait to meet you, let’s just say we’ll

Never be the same (or so we’re told).

We will give you all that we are able –

Soon you’ll have your own seat at the table

 

 

 

 

Sickbed Sestina

I believe that this is the first sestina I’ve ever written.  The end result is maybe a bit overly philosophical and plodding, but the process was pretty fun.  Common and Very Common Nouns courtesy of Random Word Generator.

SICKBED SESTINA

What does a half-filled glass of water represent?

What trite and useless lesson might it teach?

And can such aphorisms save a man

Or woman’s beating shipwrecked heart enough

To buoy it toward something more complex?

Can mystery and meaning join with plot?

 

Those who’ve read the ending, know the plot,

And can decode what symbols represent,

(the ones that are straightforward, not too complex)

And these we might well count upon to teach

Us something – not quite all but quite enough

About the heart of woman and of man.

 

And who am I in all of this?  A man

Who ruminating on it hatched a plot

To etch the glass’s midpoint just enough

That drinkers decide what drops do represent

And maybe then they’ll all decide to teach

Lessons arid, waterlogged, complex.

 

For is life empty?  Full?  A complex

Of organisms making up a man

Or woman waiting for the thing to teach

Or data points that we forgot to plot?

Hold the film up to the light and represent

It in reverse and see if it’s enough.

 

Tip the water over, then we’ll teach

The lesson of having had more than enough

Of forced compliance with a placid plot

Of fearing the blurred edges and complex

Paradoxes intrinsic in each man

And woman with all they represent.

 

This man hopes to muddle through a plot

At once complex and never quite enough

To represent what he could never teach.

 

 

 

 

 

A photograph of a lake with trees.

Image via Wikipedia

…I’ve been sitting on this Word document for the better part of a year, maybe even more, called Northern Poems.doc.  The idea, if I remember correctly, was to try to capture in verse something of the idea of Minnesota, whatever that is.  I think, to be honest, that it wasn’t even Minnesota, necessarily, but that thing that we in the Twin Cities call “Up North.”  It’s a funny thing, really; if you look at a map of Minnesota, you’ll see that the Minneapolis/Saint Paul metropolitan area is located in the East-Central part of the state, and maybe even hovering just a little bit south of that designation.  That means that places like Hinckley or Lake Mille Lacs become “Up North,” despite their considerable distance from what might be called Northern Minnesota.

Geographical innacuracies aside, there is something kind of wonderful about getting out of the city and pushing into that part of the state that is not prairie but woods and lakes.

I remember reading Tony Glover‘s liner notes on the Jayhawks’ 1995 masterpiece Tomorrow the Green Grass something along the lines of “these songs are Minnesota” (if anybody can provide a link to these online I’d be grateful), and it changed the way that I listened to that record, which, for what it’s worth, is still one of my favorite albums ever.

I don’t expect these poems to gain such wide popularity and/or endurance, and I’m actually fairly insecure about my poetic dexterity, but even so, I offer these Northern Poems, and welcome all feedback – the more critical/constructive, the better.

As a final note, the irony in these poems is that they seem to celebrate a certain warmer something than the seven degree temperature that’s here today (which is to say nothing of the windchill, of course…).  I think fellow Minnesotans will agree that we endure winter in order that we might be able to breathe in the more temporal beauty of our state’s more temperate months.

* * *

Northern Poems

* * *
Promise

There is a juniper berry
between your thumb and forefinger
And birchbark in your voice.
I will build us a canoe.
Your laugh will be the oars,
Stirring up the depths
As we make our way.

In time this lake will freeze,
The snow upon its surface
Crunching under heavy boots.
At these temperatures,
No one questions the integrity of ice.

We will walk without purpose for a while,
And you will lay in the snow,
Arms and legs working together
To make a snow angel,
And your laugh will echo across the granite.♦

Crepuscular

The air is wet and full of pine.
A tawny miracle stirs not twenty feet away.
Eyes meet, a question mark against birch and fir,
Answer: hooves push off for safety.♦
Resorting

The lake dark and shimmery,
Sky reddening as the sun
Says, “this is all you get,
But not all there is.
Also: this is spectacular.”
We stand silently, a vigil
To its departure, emptying
As it goes.

You say, “well,
Should be getting back,”
And a spell that stretched
From the eastern shore of Elbow Lake
To a distant spot below the earth
Snaps, component parts
Lighting up the night like fireflies.

I say nothing, and we walk slowly
The worn path to the cabin.
“This is everything,” I say,
Hoping to stretch something.
The air is sweet with wildflowers, and
You laugh your laugh,
Which I also have to tell you is everything,
Say, “it is?” and kiss me under the porch light.♦

New Morning Poem

Astringent air blows in with morning,
Wet sand like witch hazel.
My breath lingers just there,
In the space between the workweek and a sunrise,
And in the distance, a loon.
In another second, both will disappear.♦

Marking Time

When the last of the whiskey is gone,
Secrets buried in the yard
Roll over to get comfortable.
You rub your bleary eyes,
View the world through ragged pouches,
And listen to the crickets.
A million little metronomes,
Keeping pace of life up here,
Restless legs more symphony than syndrome.

Sloshing spirits can’t bring him back
Forty-five years on,
But the crickets, tiny and dependable,
On the smell of the tall, wet, grass
Fold time in on itself.

On the long walk back from the ballfield,
He strutted in the road, just next to the shoulder,
Tony Oliva will be Rookie of the Year.”
You, younger, afraid, dependent,
Straddled the seam between pavement and dirt,
Kicking a rock that you found by the park,
Trusted he was right.

Headlights now, and you want to yell “look out,”
To grab his waist, to pull him near you,
But he is gone, and they fall across the kitchen,
A million pieces of glass, future sands,
Upon which tomorrow’s insects scurry.♦

Vermilion

This island pulls radio
From Hibbing,
Some nights as far away
As the Cities,
North to International Falls,
Atikoken.
Those clear nights,
You sit with CBC
Radio One
On your grandpa’s old transistor
Pale ale and a map
That came with the cabin.

How easy it seems,
Those clear nights,
To pack up the truck
And drift north,
Slipping undetected
Into a foreign land
The way radio floats
On the wind.

How many gas tanks,
How many portages
To Winnipegosis?
Or in the other direction
To the great Hudson Bay,
To the sea?

Greenland and Iceland
Become mere stones,
Breaking laws of physics,
Skipping across the surface
Of the sea
En route to Edinburgh,
To Ireland.

Grandpa’s transistor,
A six pack of beer
And a map,
And you’ve traveled the world
From a cramped lakeside room
That smells of mildew.♦

Out

Amidst moss and wet leaves,
Little room for worry.
There’s the smell of the earth:
No small comfort.

Soil in the fingernails
Signals a day spent well.
The dock your father built,
Forgotten paperback
Left behind years ago,
Both weathered now.

Maybe it’s holy here,
Wooded sanctuary.
Amidst moss and wet leaves,
Holy moments.♦

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