* skimming with kelli russell agodon

Reading through Kelli Russell Agodon’s collection, Letters from the Emily Dickinson Room, I was moved again and again by the kinship evoked between speaker and the poets addressed throughout the poems, but also between poet and craft, and poet to poet. In this week’s poem, “Yakima Ferry at Sunset,” this idea of kinship is there for me from the first line’s declaration:

Tonight I could write a thousand poems
no one should have to read . . .

This line brings to mind a line from Pablo Neruda:

Puedo escribir los versos más tristes esta noche . . .
(Tonight I can write the saddest lines . . .)

This kind of lyric echo speaks to the poet in me, or, rather the poets in me. At times I am the poet of Neruda’s line, lost in reverie and sorrow; at other times, I am the poet of Agodon’s line, possessed by writing, the sheer event of it inspired by the immediacy of a given moment and place.

I often go with my wife to look at fabric or yarn for the projects she’s working on. Walking through the aisles of material, I imagine the possibilities closed to me, but open to anyone who knows how to sew or knit. I can only compare it to the surge of feeling I get when I walk around the woods or body of water in just the right mood, or sit by a window at a café that happens to be in the right light, a feeling of: Today I could write . . . 

There’s no guarantee, only a glimpse. One can’t recreate this feeling, one can only acknowledge it for the call to words that it is, and get down what one can, “skimming the edges like every poet.”

sunset_mount1

Yakima Ferry at Sunset – Kelli Russell Agodon

Tonight I could write a thousand poems
no one should have to read.

All around me are hippie grandmothers
and grey-haired men with dreamcatchers

hanging from the rearview mirrors of their
Hondas. Everyone is irresistable tonight:

the man in his NRA t-shirt, the child
on the upper deck screaming about licorice,

the woman who cut in front of me to buy a latte.
I am skimming the edges like every poet

on this boat, starting my sentences
with the easiest words – I love, I love, I love

to travel home by ferry, the women
who smile at the men they don’t know,

how my tongue feels in my mouth,
a sort of heaviness that never leaves.

*

Happy ferrying!

José

* short lyrics: (pre)spring mix

As I am on the road – in Corpus Christi, Texas promoting Everything We Think We Hear to be exact – I thought I would do a short, fun post of some seasonal short lyrics. Could be that the winters in Cincinnati are tough that I’ve got spring on my mind already.

I’d like to say a special thanks to everyone who made it out to my readings this week. Thank you for braving a rather stormy week in Corpus Christi. A very special thanks as well to Alan Berecka and Tom Murphy for the opportunity to read at Del Mar College and TAMUCC, respectively.

Below are poems by Kay Ryan, Issa, Izumi Shikibu, and Edward Thomas. The Shikibu tanka is an old favorite of mine. I ran into it almost ten years ago in an essay by its translator, poet Jane Hirshfield. In writing about doing the translations for her book The Ink Dark Moon, Hirshfield’s essay broke down how in five lines Shikibu is able to present an image of enlightment (“moonlight”) reaching through to even the most materially impoverished life (“ruined house”).

Enjoy!

***

Spring – Kay Ryan

It would be
good to shrug
out of winter
as cicadas do:
look: a crisp
freestanding you
and you walking
off, soft as
new.

*
*
*

    The snow is melting
and the village is flooded

    with children.

Issa*
*
*
*
Although the wind
blows terribly here,
the moonlight also leaks
between the roof planks

of this ruined house.

Izumi Shikibu**
*
*
*
The Cherry Trees – Edward Thomas
***
The cherry trees bend over and are shedding
On the old road where all that passed are dead,
Their petals, strewing the grass as for a wedding
This early May morn when there is none to wed.
*
*
Weeping-cherry-tree-arlington-cemetery-dc_-_Virginia_-_ForestWander.jpg
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Happy (pre)springing!
*
*
José
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*translated by Robert Hass
**translated by Jane Hirshfield & Mariko Aratani