Poems from the Earth

an ongoing anthology

Kalamaras, Smith, Bly, Orr, Sheffield, and Raphael

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Online Prose Poem – Robert Bly     

         

The Dead Seal

              1

          Walking north along the point, I find a dead seal. From a few feet away, he looks like a brown log. The body is on its back, dead only a few hours. I stand and look at him. There’s a quiver in the dead flesh: My God, he’s still alive. And a shock goes through me, as if a wall of my room had fallen away.
             
          His head is arched back, the small eyes closed; the whiskers sometimes rise and fall. He is dying. This is oil. Here on its back is the oil that heats our houses so efficiently. Wind blows fine sand back toward the ocean. The flipper near me lies folded over the stomach, looking like an unfinished arm, lightly glazed with sand at its edges. The other flipper lies half underneath. And the seal’s skin looks like an old over coat, scratched here and there — by sharp mussel shells maybe.
       
          I reach out and touch him. Suddenly, he rears up, turns over. He gives three cries: Awaark! Awaark! Awaark! — like the cries from Christmas toys. He lunges toward me, I am terrified and leap back, though I know there can be no teeth in that jaw. He starts flopping toward the sea. But he falls over, on his face. He does not want to go back to the sea. He looks up at the sky, and he looks like and old lady who has lost her hair. He puts his chin back down on the sand, rearranges his flippers, and waits for me to go. I go.

         
 

               2

          The next day I go back to say goodbye. He’s dead now. But he’s not.  He’s a quarter mile farther up the shore. Today he is thinner, squatting on his stomach, head out. The ribs show more: each vertebra on the back under the coat is visible, shiny. He breathes in and out.
        
          A wave comes in, touches his nose. He turns and looks at me — the eyes slanted; the crown of his head looks like a boy’s leather jacket bending over some bicycycle bars. He is taking a long time to die. The whiskers white as porcupine quills, the forehead slopes.
     
          Goodbye, brother, die in the sound of the waves. Forgive us if we have killed you. Long live your  race, your inner-tube race, so uncomfortable on the land, so comfortable in the ocean. Be comfortable in death, then, when the sand will be out of your nostrils, and you can swim in long loops through the pure death, ducking under as assassinations break above you. You don’t want to be touched by me. I climb the cliff and go home the other way.

               

      

      
Poems by
Thomas R. Smith      

              
Winter Hours   
   

First snow lies loosely on the November
grass. It will go before it comes to stay.
Piano of earth plays a cold music.
Stick-on letters of the Dairy Queen sign
announce Winter Hours. The days are a cup
slowly filling with darkness. We must drink
until we see clearly to the bottom.

  (from Winter Hours, Thomas R. Smith,
      Red Dragonfly Press, 2005)
      

        

The Sun
  

Tracks in the foot-deep snow
have captured the last shakings
from the chokecherry tree,
as if some green man walked here.
             
I sing the sun, keeper of light
while our lights falter, while waking
we sleep, mired in routine,
and in dreams we ramble.
             
The greater life sensed remotely
is the sound of gnawing
beneath the bright, hard wood
we face the world with.
         
We can’t see it, but it is there
like coronas with which the sun
veils itself, bridges that burn themselves
a hundred thousand miles in space.

 (”The Sun” is from Keeping the Star,
     Thomas R. Smith, New Rivers Press, 1988)

          
           

             
Krista at Fifty
  

You’re fair as the equinox that gives half
the day to the light and half to the dark.
I love your laughter, red as a basket
of strawberries. When you enter the room,
the moment takes out its rubies to show.
             
You’re a green cress-leaf in the winter stream.
You’re a bear foraging in noon meadows.
You’re the rainbow that lanterns the grey clouds.
You’re a dancer and also a mirror-
ball throwing sparks to your dancing partner.
          
You grant the caught fish of your delight its
freedom–give it back, give it back to Love.
You save the years by spending them, and grow
rich on the interest.  You don’t take prisoners.
Your feet touch the earth, and it is summer.

     
                    

  

Reading Kenneth Patchen Again

              
Propped on his side, a man in great pain writes:
“Our supper is plain but we are very wonderful.”
Oh what sort of world requires suffering to make
lovers so lovely?  Those whom the rainy beasts
visit in their beds are the truly blessed!
The children of tenderness eat from the hand
of the one whose face has gone to Paradise.

         

(from Waking before Dawn,  Thomas 
R. Smith, Red Dragonfly Press, 2007)

              

                    

         

A Link to Poems by Dan Raphael

in the M Review

                

                    

Poems by George Kalamaras

             

     
At the Ashram of Trailanga Swami
  
  

The temple priest tells you he cannot recollect
being a silk trader nine years ago in Delhi
        
but can recall every detail of his last incarnation
when he wandered Calcutta as a cow,
       
vowing never again to nuzzle trash
for cabbage leaves and lichi rinds.

   
A sweeper woman hunched into a stick
of incense confides with downcast eyes that she sees
      
God in every ringlet of smoke
but not in the curl of her daughter’s
      
hair or in the evening lust her husband returns
with, sweaty from river washing,
        
musk of some Brahmin’s shirt
still clinging to him. Does the body
        
bring one closer to
or further from oneself? The reaching
        
of a tongue into the salt of another
steady your craving or substitute
             
moaning for sound? Trailanga Swami
taught that OM could be heard

    
in every cell if one could but turn
the tongue toward the nectar
      
that drips from the back of the throat,
but how can one learn to move from the body
      
into that vowel? Into a temple
pool’s luminous flash of carp? Into liquid
        
flesh, perfect dissolve? You chant a secret
mantra, pour water over the massive Shiva lingam
                    
he retrieved 130 years ago from the bottom
of Ganga, touch its centuries of sexual longing
             
smooth from the clutch of many hands,
firm from cremation ash spinning electrons black
              
in your inner ear. Why is it you sometimes hear
a buzzing, get an erection when caressing bark
       
of a jack fruit tree, or when writing
a poem about a leopard, rich underbelly
               
of ribgrass? You bow to the statue
of the one you’ve come so far to feel,
                 
the great Trailanga. Dead for 100 years, he vibrates
still in the stone. Mounds of marigolds
       
flower his neck in fiery ropes, luminous
snakes unwound into higher regions
    
where sadhus swear a cool wind from below somehow comes
all the way to the throat as Kundalini’s hot scales
       
unwind in the spine. 300 pounds of saintliness,
you think, yet gravity could not hold.
         
All that is moving is still, the temple
priest confides, turning a cabbage leaf
           
in his left hand, and all that is still
continues. You see a swirling atom
     
in his finger. Wonder what about being a cow
had left him fixated on lichis. Consider
          
your own former lives—a monk, perhaps,
in a fourteenth-century English Abbey, an Athonian

  
Hesychast, a janitor in Alabama, a wandering sadhu,
some insect or other crucified in the curious fist

  
of a boy shamed by the word Georgie
or Georgette or Georgina. Recall the ant

    
who crossed your desk this morning, certain
its ash carried your name black as it sifted

    
each poem for vowels, the photograph
of a Calcutta yogi on leopard mat. Its left

  
antenna prodding each paw-print blotch
like a hummingbird purling fur

  
for sugar water. Depth of a lover’s tongue
urging spasms of salt. A leptoscope

  
probing black and white cells
for bright, red divine milk.
                    

     
                    
Beloved Star
  

   

Beloved star, the world could die
from so much scraping.
The chiropractic elm with its bent cradle.
Boys sensing the moon in the waists
of every young woman with a belly piercing.
       
So you inherited the watchful eye
of your beagle. Fly-swat
against the dark lamp
nailed one of your breaths shut
as if your lung closed some lid.
                      
A star could clasp a tree, lust
of every galaxy sparking the bark.
Your dog showing you the only true sound,
scent of cat-track through moss. 
         
The world could force love
out of even the saddest plant.
Great hostas smalling toward the ivy
as if inspecting a sudden fatigue
in the color green.
                 
So you’ve inherited the desire
to tongue another’s navel? To mouth
the sound, I would never kill a single thing
into a round, into a shallow star?
How could your own have ever fed you enough?
Firmed hair and bone? Filled you with blood
drawn in caves? Sun smear
of a bee entrail in dark rock?
Inside the crushed wing
of everything you tried to love
are young hands skilled with moss.
In moist belly pods,
a most minute lamp.
      
Bend your head below your knee.
Smell the sage
of sunken stars, inverted fire.
Kiss this sky.
         
  

(from the online periodical Drunken Boat)
 

      

   

Poems by Derek Sheffield

 

 

Oystermen
  

What comfort to see them trudge on the tideland
back and forth with nets and buckets,
dredging for puddles of ripened, lung-shaped oysters. 
Bundles of thick coats and boots, they plant lanterns
and hunker in small glows to pick
secret after knobby, clicking secret.
 
Lowest tides draw them late night down

the bank of surf grass, crunching sand dollars
and crab shells, clattering from the rocks
and slurching to their muddy bed while I slip
into mine.  With slowing eyes, I watch them roam
and dazzle like prehistoric fireflies, 

call out over the blue-green mussel worm

that twists a slimed gleam in the muck,
the severed arm of the six-rayed star,
and puffed rock weed that always seems
to finger back.  The one with the roughest hands
keeps to himself until a dying fire
coaxes him open for the children. 

As I wake before dawn, they are there

with gathered breath steaming as they spangle
the wet emptiness and clump in mud-heavied boots.
As their joggled lanterns shuck
bright lumps out of the dark, 

I want to surge down and labor shoulder
to shoulder, grab the ridged, slippery shells
in my pale hands, break each gritty fruit
from its cluster and become something other
than their midden ghosting the shore,
the relinquishing moon of jellyfish—to do
once more a work of weight, of being
one of the dark shapes among the lights
before the cold sea climbs my legs.  
                                                                                   

(first published in Poetry Northwest)
   
   
   

Pillbugs


Segmented multi-legged skin ticklers, 
     they feelered up fingers, 
          centimetered slate, wayward shells
through slanted arm hairs,  
     a light touch on the nape.
          When we nudged a quake
or whispered a gust, 
     they were quick to perform 
          their terrestrial crustacean trick,
curling themselves into marbles.  
     Across lemon-colored linoleum
          we flicked them, our huge mouths
laughing.  And when we lay 
     still, watching, 
          they opened again
a soft place. 

(first appeared in Talking River Review)
    
     

When in Doubt, Try Northwest 
   

The corn went crazy when I left,
jerking and hopping golden jubilee
as when the train shuts that town
down.  A smoky muser whistled
through coffee and a gap, pulled
his cap and agreed it didn’t used to be
like this.  I took off like a Ford-
swearing farmer cruising new crops. 
Just as the last tomatoes were fished
from the garden, a few remaining peaches
sliced and eaten, as grass fields smoked
and geese beat south, I fled
to a red-eyed city in the rain.
 

  

Elegy for Bob Ross of Public TV 
    

Let’s begin thinking about the bard of shades,
how years after he left us for another landscape
we replay him for the aspiring, the overly lonely
who turn finally to this dabbler dressed in long-
collared, primary-colored shirts, pants hinting
width around the ankles, this crooner whose voice
begins high as lazuli buntings all warbling
from pine-tops before bouldering down
to waves, easing as velvet spills from canvas.
    
One stranded afternoon, a chance of channel,
framed in motel wood, he found me.  I listened
as knife scraped palette to mix the oils, brush flipper-
flapped against wood as a duck dries wings.  He said
I had my own world where sap-green and cadmium-yellow
bloomed a lively meadow, where prussian-blue
and titanium-white merged into sky, the sun a blob of ochre. 
From empty hands and easel-less rooms
I listened.  At last, here is my vision.  
  
If only he could step from the screen for this unveiling,
brush in hand, ready to drink the town canary.
I dab my last dab and, as he advised, step back
to see evergreens edging a lake, a scattering of little bushes
climbing the shadows of a snowy range and . . . what’s this?
glittering in the lake’s virescence, his frizzy visage. 
I lean in to see how wind sneaks a ripple into his smile,
how bristling needles flare his hair, and hear
his voice swishing back and forth in long grasses.

  
(“When in Doubt” and “Elegy” from A Mouthpiece of Thumbs,
Derek Sheffield, Blue Begonia Press)
    
  

   
Poems by Verlena Orr

 

  

Gentian Blues
  

The color of the right word
may sound like rain
when this late July wind
whispers November.
   
Today clouds over.

Fresh water falls to lean on.
My mind turns to Montana
where you propped me up.
    
A shell remains

as blood flows west.
My bones ache
with the slightest sigh.
   
Bruised blue, I wait

for some comfort,
burgundy hope, healing
carmine, scarlet heat of the heart.
     
Today, you are safely tucked

into the earth, and almost all the birds
remember to begin again,
no matter how late or dark the dawn.
 

      
   
   

The Scenic Square Root to the Divide

                    “Third-rate Romance,
                           Low-rent Rendevous.”
                                   –Amazing Rhythm Aces
  
Dazzled by the light of dead stars,
           
  
           
the woman trusts her dream,

            free falls
            without a second chute.

She soldiers home, dares deer

hunters to line her up in the cross-hairs.           
    
            The soggy Olympic Range nags her

            west, pulls on her skirt to go its way—
            the wrong way to Montana

where the drowned wait for spring breakup,

release from The Kicking Horse Reservoir,
where rivers have terrible tempers,
and snow tells the truth.           
   
            The grieving North Star holds her hand,

            turns her east of the cascades, lights one
            path to freedom east of Coueur d’Alene
            through treachery of The Fourth of July Pass.

She finds the trail in the Bitterroots,

names stray clouds like adopted children,
speaks in tongues with magpies as she is
fostered and loved by the big forgiving sky.
 

(from One More Time from the Beginning, Verlena
Orr, Stone City Press, 2007)

     
 
Benediction for Gulls Making Love
   

Gallantly he stands on her back
wings slightly open, carefully finding
his footing, sparing her, inamorata,
the full weight burden of his feathers,

hollow bones.  In common, drive

by Darwin, I share their light
of this morning’s one candle,
the rising sun.
   
In small surrenders, she lowers
her neck and head, accepts him,
inamorato.  No struggle or shrill protest.
Only her willingness.

I feel a catch of breath in the universe,

the collection for this day’s offering.
Each day arrives—tabula rasa.
We love this first time, and each time
will be the first and the last.

I like to believe you will wait with me,

our turn to lean into rain, ignore
small craft advisories high wind ignites.
 
Unashamed, the gulls part and preen.
Out of reach as erotic dancers
they deftly smooth each feather
into its proper place, their peace
between sky and water.
 
I’ve found them just in time
moving into my heart’s fourth dream,
the one where I can fly.
 

(from Break in the Cloud Cover, Verlena Orr,
Howlet Press, 2005)

One Response

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  1. Gee Jim, I seem to be a lot better on the internet..Thank you for whatever slight of hand that made my poems look pretty fair…also what wonderful poems you have gathered from a wonderful host of contributors…many familiar names and I was so pleased you have found Beth McClagan.not to mention many of the others you have introduced to me. Thanks Jim for your limitless energy….and yes, of course, the poems you chose are fine with me…I must admit there is part of me that wonders who wrote my poems….Strange I guess but I’ll just think of it as artistic temperment…Verlena

    Verlena Orr

    December 14, 2007 at 1:33 am


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