Monday, October 20, 2014

Poems from Scotland

Three Poems by the Scottish poet Stephen Watt


Dunoon Girl

Our visit to Dunoon coincided with pellets of sleet
beating off the shorefront glass.
The statue of Highland Mary, now the centre
of a rain dance by the ducks, stared across to Largs
as though love had been swept out to sea, and on to jagged rocks.
In my mother-in-law’s tiny kitchen, stacks of cushions
submerged a flowery couch, converted into a makeshift bed.
Someone was once murdered here, she flippantly said.

The clutter kept me awake; several calendars
circling special dates, magnets on tenterhooks,
shelves of dusty, old books
and large, rustic boat hooks
aligned every square inch of that room.
Wind chimes tinkled from suspended tubes at the window,
invading silence the same way a whistling kettle
unsettles the skittish ilk, and spills midnight tea

                        with jiggling spouts of milk.

Level with the washing machine, my mobile signal
was lost in the swirl of Argyll draughts
overwhelming telephone masts.
Creaks of floorboards behind the kitchen door
led to short, sharp barks; a small dog,
curious to know why his sleeping basket was out of bounds.
The fading purr of someone’s drunken laugh
wisped into the fairy glens like leaves rustled on the ground.

My love, extinguished as an oil lamp,
drifts on dreams of fields of blooms,
dried and scattered across a ballroom
where every dance is a first; and the last.
When the night had passed and dawn’s mask
was removed from the sapphire irises of the Clyde,
dark crescent moons hung beneath my eyes
like the tragic past of the girl

who stands alone upon Dunoon’s dockside.



The Slugger

Boxers orbit one another.
Cerise gloves, poised like garter snake tongues,
flick claret blurs during stomach churning voids;
the hawk-screech noise from the crowd,
mirrored on each gambler’s puss.

Cameramen battle for the final cut.
Screw shots, headlocks, trapped against the ropes,
r e l e a s e – mouth guards exposed.
Hook. Hammer blow. Buckled legs, floored.
Who; what; when – on A Question Of Sport.

The bell liberates. Rise to feet.
Reputation is a sweated towel never thrown in defeat.
Squinted helmets realign
with flags of bruises upon punctured cheeks.
Glory is a fighter who refuses to concede.

Jab, face – jab, ear – jab, gut.
Journalist’s words on the back and front pages
become larger and more ostentatious
as each punch expels blood, BLOOD, BLOOD
until.................. enough.

The medal is gold. Your hometown is now famous.


Yewtree

The smell hit her, like the back of his hand.

She was only ten the last time she was here,
but nothing had changed.
Photographs of old Protestant Belfast
inside of grotty little picture frames
remained as threatening as two decades past.

The arms of his chair, black from mechanic’s hands
and oil rags, a forty-fags-a-day habit
which littered his carpet with tobacco and roach ends.
The caravan with no wheels, visible in the back yard
as it always was, where she and her friends
used to have sleepovers on occasional weekends:

Him, at the kitchen window, pretending to wash
the dinner dishes.

She rubs her arms as she climbs upstairs –
the third top step still host of the eeriest creak;
            the warning shot to be asleep.
Teddy bears sit on top of the cupboard, a handpicked, hand-stitched jury
without a verdict, silenced by a pervert’s sewn smile
and cold, glass eyes –

a child’s word versus alibi’s.

She remembers it all.
When her aunt left for the Bingo, he would
wrap her yo-yo string round her neck,
starting with dry humps and soft pecks on her cheek.
Then the next week, and the next week, and the next week...

She...
            Dare...
                        Not...
                                    Speak...
                                                Out...

The laughter and screams emanating from tents
over the fence where the scout hall stood
was a world away; a clandestine brotherhood.
Now, as the only remaining living relative,
she sees her childhood for what it was –
ruined, tainted, wasted, crushed.

She gathers                   firewood and petrol,     
            and turns everything he ever owned
            into a sacrificial offering

to Hell. 

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Stephen Watt is a poet and performer from Dumbarton, Scotland. His debut collection 'Spit' was published in 2012, and he has since won a number of slams and competitions including Poetry Rivals, StAnza Digital Poetry Slam, and Tartan Treasures. Performances across the Glasgow, Falkirk and Edinburgh areas of Scotland, plus festival appearances at Eden and Wickerman, have enhanced Stephen's reputation as one of the exciting new talents emerging from the Scottish spoken word scene during 2014. 

You can follow his progress via the Twitter handle and Facebook links below.



Tuesday, October 7, 2014

Thaddeus Rutkowski: Two Poems

Two new poems by Thaddeus Rutkowski, reproduced here from a broadsheet published by
FOX CHASE REVIEW

Anarchist Manifesto

I believe in anarchy.
but not if everybody goes wild.

I want to be the only wild one,
among the law abiding citizens.

I want to be the hyperactive youngster
among the fuddy-duddies.

I want to run amok
while everyone else goose-steps.

I want to be the loon among the obedient geese.


Hong Kong

I wanted to eat fried scorpions,
or at least crispy grasshoppers.
But instead I ate chicken a la king at a KFC.
I was told snake was a popular food,
and the idea of snake struck me,
but the reality was, snake was out of season.

I expected everyone to be traveling
by scooter or bicycle, or on foot,
but I saw lots of cars, no simple conveyances,
and a vanishing network of hutongs, or alleys.
All signaled a consumerist system,
not a Communist colony.

Nubs of incense sticks sat in ash-filled burners
at doorsteps as if to ward off bad luck:
recession, financial breakdown,
a tip in the balance of trade,
loss of shelter from taxes or typhoons.
These were the Asian business risks.

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Thaddeus Rutkowski grew up in central Pennsylvania and is a graduate of Cornell University and The Johns Hopkins University. He is the author of the novels Haywire(Starcherone/Dzanc), Tetched (Behler Publications) and Roughhouse (Kaya Press). All three books were finalists for an Asian American Literary Award, and Haywire won the Members' Choice Award, given by members of the Asian American Writers Workshop. Haywire reached No. 1 on Small Press Distribution's fiction best-seller list. Tetched was chosen as one of the best books reviewed in 2006 by Chronogram magazine. You can find out more on his website: www.thaddeusrutkowski.com

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Monday, September 22, 2014

Bertha Rogers, Planting Wilderness: Hanford Hills Museum



     The interdisciplinary exhibit, Planting Wildness: Finding Roots in Delaware County, by  Bertha Rogers is now on view in the Museum's Power House through October 4th. The exhibit includes mixed media artworks, photographs, an accompanying video by Rogers and Jack Schluep (on view in Horace Hanford's Retirement Office), and logging artifacts from the Hanford Mills Museum collection.  
     Rogers's exhibit explains, through words and images, New York's Reforestation Program, which was started in the early 20th century to ensure New York State continued to have timber and forested lands. New York's State Nursery was established in 1902, the first in the nation, and major planting programs were begun. By the 1920s, forests were being replanted throughout the state, bringing back woodland to Delaware County and the State. Rogers shows how the land has changed since the Europeans settled in Delaware County. The exhibit aims to inform, by documenting her tree planting and that of others as well as the responsible harvesting and milling of the trees at places like Hanford Mills, the value of trees
Interdisciplinary Artist & Poet Bertha Rogers
on the land and the changing of Delaware County's ecology.
     Rogers moved to a few acres on an old farm in Delaware County in 1989. In the spring of 1990 she, with her family and friends, planted 1,000 Norway spruce seedlings on the advice of the Department of Environmental Conservation She also planted  a grove of black walnuts, hackberries, Shagbark hickories, Catalpas, white and red pines, maples, birches, green ashes, hybrid poplars, pin and white oaks, larches, willows, Eastern red cedars, apples, cherries, disease-resistant American elms, and crab apples as well as Rugosa roses, Red Twig dogwoods, High Bush cranberries, Autumn Olives, honeysuckle, and raspberries.
     The land has been transformed into a habitat for wildlife, including foxes, forest and field birds, turkeys, grouse, coydogs, groundhogs, weasels, deer, rabbits, an occasional bear, porcupines, opossums, and even a fisher cat.
     There will be a reception and reading by Bertha Rogers from 2 - 5 pm on Saturday, October 4, during the Museum's Woodsmen's Festival.The exhibit is on view during the Museum's regular hours, 10 am - 5 pm, Wednesdays through Sundays.
The installation is funded in part by the Decentralization Program of the New York State Council on the Arts, administered in Delaware County by the Roxbury Arts Group. The reading and reception on October 4 is funded by Poets & Writers, Inc. and Hanford Mills Museum, and will include a discussion about Rogers's artistic and poetic processes.
     Rogers has received grants and awards, including fellowships to the MacDowell Colony, Hawthornden International Writers Retreat in Scotland, the Millay Colony for the Arts, and Hedgebrook. She was given the NYS Association of Teaching Artists Distinguished Service to the Field Award for her work in arts education, the Ludwig Vogelstein Grant, and several Delaware County NYSCA Decentralization Grants for interdisciplinary exhibits. More than 600 of her poems have been published in literary magazines and journals and in several collections, including Heart Turned Back, The Fourth Beast, and Sleeper, You Wake. Her translation of the Anglo-Saxon Epic poem Beowulf was published in 2000, and her translation of the riddles from the Anglo-Saxon Exeter Book is forthcoming. Her art has been shown throughout New York and the nation and is collected by the Harry Ransom Center at the University of Texas in Austin and in many private collections. She co-founded, with her husband, Ernest M. Fishman, Bright Hill Press & Literary Center in Treadwell.gister now!

Friday, September 12, 2014

Four Poems by One Man

AT TWELVE
Jan Wroclaw

She bends her head
over her tablet, drawing
splendid maidens and silky
steeds that surely fly.

Outside the room
wars rise and fall again.


THE VERY LAST LILAC
Jan Wroclaw

There are all these gods,
these voices that went dead,
all these reasons why
we forget

some sons will rape
and some will kill,
and sons will weep
for what happens to the seed.


BARTONSVILLE IDYLL
Kenneth Oldmixon

Fire Is.
It fills the road with sun
striking cries of children, forging
fields to copper sung
with a clang of children.

Come brazen as the grain
banging your thighs and ring
your hair,
make me the liturgy of seed.


KETURAH CANDY (1858-1869)
Kenneth Oldmixon

Hello lover! How does it go
down there? All stone and leather?
Or settled to the mulch of our
best years. Do shards of lace
tease the tunnels of your bones?
I need to touch and thrill a rise
of skull to know if laughter
leaves a scar or tears erode
some way out, to trace
my maze of now become, a face,
although it hardly matters.


*   *   *

These poems are from a portfolio printed in 1989 at AXIAL PRESS in Hublersburg, Pennsylvania, by Richard Rutkowski. Twenty-four sets were made. The portfolio was hand printed by Rutkowski using the silk-screen process. There were also four illustrations by E. M. Hollis. The poems and illustrations were all created by Rutkowski himself, and attribituted to the various imaginary authors. Richard Rutkowski died several years ago, and AXIAL PRESS is no longer in operation.

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Wednesday, August 27, 2014

Certain Adverbs

PAUL WEST

an excerpt from his novel The Ice Lens
published by Onager Editions

IT IS NO surprise to me, and no one else cares, when I revert to my old pool-cleaning habits to cheer me up, or at least stabilize me when I'm in the dumps. I might be cleaning out the Augean stables, which I remember from that tattered old humanistic education--I recall the cleansing, but not Augea. Where was Augea? Simpler, always, to collect up the surface trash, mainly insects, and then swipe them far enough with a catapult action of the pole. Now they fly again, ungainly and smashed, protein for ants and spiders. Even when the surface of the water is immaculate, I cant the scoop at forty-five degrees and in a gentle sweep pick up the tiniest bits of fluff, pine needles already bleached white and the occasional human hair. Unrolled condoms appear once a week, their prospects rinsed away into the blue, while the lozenges made by the sun jostle one another on the bottom like primeval tectonic molecules bucking for dominance. It is an almost complete world, a paradise of ripple and rocking, the one motion stirred by the invisible ceaseless pump, the other by the crosswinds of midsummer. Sometimes, with permission, I perform my labors within the pool itself, sluicing my privates within the stiff sailcloth of my shorts.
All this was best done alone. It was no use with reposing, sated swimmers watching me, or even sunbathers who would never have dreamed of dipping a limb. When I was truly alone, say at a house temporarily unoccupied but with open pool against the occupants' return from Key West, I would get that cool-spined, ransomed feeling and slow all my motions out of torrid imagining. I was the last human left in the world, only to half-detect through the rear window of a cab parked thirty yards away what looked like a human head on the move. Not alone after all. It was that kind of flawed autonomy, in which I was master of all pools and all water, all pumps and heaters, all water-spiders and sombre, drowned mice. And, naturally enough, I was the only swimmer left, free to shout obscenities at the picture windows and the eaves, at withered geraniums in their tasteful tubs, and un-nourished espaliers hugging the walls like fugitives. The sun shone on most of this, giving me what I called that old Egyptian feeling, like a well-baked loaf to be installed in the royal tomb.
I never cleaned pools before the Gulag, after which of course I had that abiding horror of not knowing how or where she was. Cleaning pools was an attempt to deflect and calm my agitated mind; there was always worry behind it, gnawing and spewing. Was it then that I first allowed myself to fudge up what I called my calm sea and prosperous voyage stage of thought? It was a deliberate attempt to have wholesome thoughts, to lull and smooth myself during even the worst moments, when it was not enough to shout "Speedo!" and crack off into some jolly fit. A deep breath, the deliberate misuse of certain adverbs (radiantly, mellowly, uniquely, rewardingly) and the donning of rose glasses: that began it, and the rest of it amounted to a translation from the offensive or the baleful into the pacific. Imagine how such a practitioner fared at the Gulag, having begun as a man seeking to cheer himself up, now graduated into put-upon tadpole in a sink of putrid horrors. Sleight of hand gives way to a benign terrorism practiced upon oneself in the interests of staying sane. The combination of joyous elements and callous third-degree mixed us all up, enabling me to recall meadows, but full of blood, warm drinks at bedside (Horlicks or Ovaltine), but poisoned, and so on. Now and then, less the man I was, I recall trapping yellow jackets under the mesh of the scoop, and forcing them lower and lower into the water, watching them panic toward the rim and climb over, at which I turned the mesh upside down, trapping them again. They soon stopped panicking and did a few barrel rolls, after which they lay inert on the mesh. I never felt so godlike as then.

*  *  *  

PAUL WEST is the author of 50 books. He has received awards from the American Academy and Institute of Arts and Letters, the Lannan Prize for Fiction and the Halperin-Kaminsky Prize. He was named a Literary Lion by the New York Public Library and a Chevalier of the Order of Arts and Letters by the French Government. He has also been a runner-up for the National Book Circle Award and the Nobel Prize for Literature. 

To order The Ice Lens: http://www.books123.org/product_info.php?manufacturers_id=12&products_id=316&osCsid=dede3f55f27b887956756418997e5638 


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Tuesday, August 12, 2014

Electric Fence

Circuit Board, computer collage, Sasha Thurmond, 2013
Flash Fiction by Terry Mooney


A FRIEND OF MINE has two dogs that keep tunneling under the fence of their 10 X 20 foot kennel to escape.

While reading the instructions for the new farm-animal electronic containment controller that I am preparing to install around the inside perimeter of their kennel I read: "For indoor use only!"

WTF?

Now why should I need to install this electric fence inside the house? The farm animals are quite happy to stay inside the house without being contained.

I canter around the living room on my friends Friesian horse, jumping over couches tables and wide-screens, while the piglets are splashing and squealing around in the toilet, the cows are "udderly" spraying everyone with unpasteurized milk, the goats are crapping on the kitchen table, and the rooster is humping the hen.

I'll just add the dogs to the in house family and take the fence unit back for a refund.

*   *   *

Terry Mooney is a retired NASA computer expert who lives in South Carolina, where he writes stories and works on his artworks. You can find him on Facebook. //www.facebook.com/terrygmooney

Sasha Thurmond is a graduate of the Cornell University MFA program where she majored in Printmaking. She lives on a farm in South Carolina with her horse and other animals, and sometimes finds time to make art or write stories.

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Monday, July 28, 2014

A "How-to" Article

PRIDE AND PREJUDICE?

SO YOU'VE BEEN SENDING around your manuscript, following all the advice you have gleaned from those "how to get published" books and articles. You wait six months to get a response addressed to "Dear Author" telling you Mr. Big Time Agent receives so many letters he can't be bothered to write to you by name, but he assures you that he has "given your material serious consideration," and has determined it is "not right for us," but that "other agents might feel differently." Good luck to you.

 What he has not said is that you were not the hot chick he met at a party in Brooklyn thrown by a currently best-selling writer. He just loved her collection of short stories about hankey-pankey in trailer parks, written in short, easy to read sentences. Nor are you the cute MFA candidate he encountered at the Iowa Writer's Workshop last summer. He couldn't put down her novel about corn-fed robot zombies attacking the citizens of Kokomo, Indiana.

It doesn't cheer you up when you read that Jane Austen sent the manuscript of "Pride and Prejudice" to a publisher under an assumed name and that within six weeks it was a finished book, which has never gone out of print. But what if Jane were alive today?

A story that once appeared in the GUARDIAN WEEKLY, told of David Lassman, the director of the Jane Austen Festival in Bath, England, cheekily submitting the scarcely altered work of Austen to eighteen of the UK's biggest and brightest agents and publishers. He was surprised to find that all but one sent back polite, but firm, rejection slips.

Lassman's trick was not the least bit subtle. Calling himself Alison Laydee, a play on Austen's nom de plume, A Lady, he typed up chapters from three of his hero's most famous books, with a few changes of names and re-worked titles. Apparently only one editor, Alex Bowler, of the publisher Jonathan Cape, was familiar with the opening sentence of "Pride and Prejudice" and caught the ruse. He wrote back to Lassman expressing his "disbelief and mild annoyance, along, of course, with a moments laughter."

So keep sending out those manuscripts. Maybe you will have better luck than the resurrected Jane Austen.

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