* reading with wayne miller

This week, I thought I’d share a poem from Wayne Miller’s latest collection, Post- (Milkweed Editions), which I wrote about earlier this week for the Cincinnati Review blog.

In my review of the book, I spoke about poems that engaged with the idea of inheritance in relation to the nature of language itself. This week’s poem, “Inside the Book,” explores such territory.

In this poem, the speaker meditates on their daughter’s efforts at reading “these trenches of script.” The lyric quickly develops a sense of the physicality of reading; when the daughter is described as wanting “to lift that world / into her own,” the reading act is being understood as a visceral experience. The effort is narrated in physical terms, which imbues the daughter narrative with a great deal of determination.

This meeting of “worlds” culminates in an ending that takes the poem, poet, and reader to a metaphysical level, indirectly pointing out the ways in which language and reading act as hinges between us.

pexels-photo-69004

*

Inside the Book – Wayne Miller

For my daughter: these images,
these trenches of script. She keeps
reaching to pull them
from the page, as if the book
were an opened cabinet;

every time, the page
blocks her hand. They’re right
there –
those pictures
vivid as stained glass,
those tiny, inscrutable knots.

They hang in that space
where a world was built
in fits and erasures – she wants
to lift that world
into her own.

Meanwhile, this world
floods her thoughts,
her voice; it fills
the windows, the streets
she moves through;

it reaches into her
as the air reaches into her lungs.
Then, before we know it,
here she is with us
inside the book.

*

Happying booking!

José

* reading from The Divorce Suite!

September ended up being such a busy month that I never got around to sharing more excerpts from The Divorce Suite (Red Bird Chapbooks, 2016). Luckily, a recent outing to the Spring Grove Cemetery provided a nice background and inspiration for a reading. Below are the poems “Gift” and “The Accordion Heart” along with a clip of my reading them.

I chose these two poems because they are both what I term “makeshift sonnets.” There was a year (2006, I believe) when I wrote a sonnet a day; terribly rhymed creatures they were, all sorts of misguided phrasing. I then took a break from writing in the form for a few years, returning to the form after learning about William Carlos Williams and his idea of the sonnet as simply the shape of an argument.

With that framework to brace me, I wrote my way back into the fourteen line form, feeling out an argument or sense of argument. Both of these poems work out their own sense of argument, and strike their separate notes that compliment the overall project of The Divorce Suite.

*

Gift – José Angel Araguz

A man with a heavy German accent
handed me a book by Brigitte Reimann,
said he had bought it but had to leave
suddenly, and wanted to gift it
to the store. He walked off then.
Gift it, I kept repeating, telling
the story to anyone who’d listen.
Do you know how great that is?

The front photo was the color of smoke,
the author, young, and holding a cigarette.
It looked as if by standing there,
she colored everything around her.
When I looked it up, I found the title
translated to: Everything tastes like farewell.

*

The Accordion Heart – José Angel Araguz (*)

The accordion heart is hard to carry.
There are no hands for it. To play,
you go from face to face and wait
to see who wakes it up. You’ll feel
the air inside you pull and stretch.
You’ll feel awkward and loud, and yet
each movement could be music. You
can see where this could lead to something.

Sometimes the face won’t want to play.
Sometimes the face will play too long.
Either way, you’ll feel worn out.
You’ll want to punch and tear a hole,
and prove the accordion heart is useless.
There are no hands for it. You wait.

*

The Divorce Suite can be purchased from Red Bird Chapbooks.

Happy accordioning!

José

(*) “The Accordion Heart” was originally published in Foothill: a journal of poetry.