John L. Wright

THE LOVELINESS OF THIS WORLD, John L. WrightFinishing Line Press, PO Box 1626, Georgetown KY 40324, 2020, 36 pages, $13.00 paper, https://www.finishinglinepress.com/.

It is always a pleasure to recommend a local poet. Wright lives in Edmonds and until 1988 was a physician at Swedish Medical Center. I’m so glad he made his way in retirement to poetry, or that poetry made its way to him.

Among many poems taking a fond look at people and dogs he has known  (and many, lost), The Loveliness of this World also catalogs Wright’s walks through a northwest landscape. After I walked at Japanese Gulch in Mukilteo this afternoon, I sat in my car and read this prose poem:

Walking in the Woods without an iPhone

–the red crest of pileated woodpeckers their drumming the whinnying flight of the flicker its white rump the call of the owl the eagle and the quail the basket bark of cedar the insipid taste of salmonberries the wild huckleberry’s tartness licorice fern rooted in the bark of big-leaf maple the purplish blush of alder its hanging catkins the Indian plum its white blossoms the leathery leaves of salal the yellow flowers of Oregon grape the fragrance of evergreen after rain.

Yes, I thought, exactly so

Let me add that this poem is not representative of the collection–many beautiful, more conventional poems I could have chosen–but I love the joyful and playful compression of this.

 

Tomas Tranströmer (1931-2015)

THE HALF-FINISHED HEAVEN: SELECTED POEMS, Tomas Tranströmer. Trans. Robert Bly. Graywolf Press, 250 Third Avenue North, Suite 600, Minneapolis, Minnesota 55401, 2001, 2017, 118 pages, $16 paper, https://www.graywolfpress.org/.

Tranströmer won the Nobel Prize for Literature in 2011, and his influence is pervasive. But he is not merely a serious and learned poet, he is also wry and funny and readable. In his 2017 introduction, Robert Bly writes of Tranströmer:

“…he was a genius–for things in human communication that are half-sensed, half-understood, only partially risen into consciousness, liable, like a fish, to disappear into the lake a moment later. If you are addicted to certainty, there’s no point in going toward his poems–they’ll just lead you into islands that disappear a moment later.” (xxiv)

I purchased my copy of this expanded edition of his selected poems when I was in San Francisco last fall, at City Lights Booksellers. I’ve wrestled with what to include here, and have decided on one of the longer poems.

Out in the Open 

I.

Late autumn labyrinth.
At the entry to the woods a thrown-away bottle.
Go in. Woods are silent abandoned houses this time of year.
Just a few sounds now: as if someone were moving twigs around carefully with pincers
or as if an iron hinge were whining feebly inside a thick trunk.
Frost has breathed on the mushrooms and they have shriveled up.
They look like objects and clothing left behind by people who’ve disappeared.
It will be dark soon. The thing to do now is to get out
and find the landmarks again: the rusty machine out in the field
and the house on the other side of the lake, a reddish square intense as a bouillon cube.

II.

A letter from America drove me out again, started me walking
through the luminous June night in the empty suburban streets
among newborn districts without memories, cool as blueprints.

Letter in my pocket. Half-mad, lost walking, it is a kind of prayer.
Over there evil and good actually have faces.
For the most part with us it’s a fight between roots, numbers, shades of light.

The people who run death’s errands for him don’t shy from daylight.
They rule from glass offices. They mill about in the bright sun.
They lean forward over a desk, and throw a look to the side.

Far off I found myself standing in front of the new buildings.
Many windows flowed together there into a single window.
In it the luminous night sky was caught, and the walking trees.
It was a mirrorlike lake with no waves, turned on edge in the summer night.

Violence seemed unreal
for a few moments.

III.

Sun burning. The plane comes in low
throwing a shadow shaped like a giant cross that rushes over the ground.
A man is sitting the the field poking at something.
The shadow arrives.
For a fraction of a second he is right in the center of the cross.

I have seen the cross hanging in the cool church vaults.
At times it resembles a split-second snapshot of something
moving at tremendous speed.

Sage Curtis

TRASHCAN FUNERAL, Sage Curtis. dancing girl press & studio, Chicago, IL, 30 pages, $7 paper, http://www.dancinggirlpress.com/.

Last October my friend Carla and I traveled to San Francisco and read our poetry at Sacred Grounds Cafe. The featured reader was Sage Curtis, whose poems (like her) are young, sexy, and full of great sounds.  (The whole evening was pretty raucous.) We traded books. It was my delight to spend this afternoon amid her poems.

 

The Things That Keep Me Up at Night

red wine lipstains, the grease
spot on the hem of my green dress,
my leatherjacket straightjacket,

watching her light up
an American Spirit & sunglasses,
laced up boots, an exposed

breast on a balcony above a dumpster
surrounded by city lights.
It’s two am.

If I find myself in the woods,
I’ll find a way to lure myself back.

The neon signs & streetlights & barstools
are landmarks. A silver 24-ounce can
is a North Star anywhere.

The stumble happens late night
along the Milky Way. If the moss
is growing purple, go toward it.

Maybe I’ll never get out alive. The wind
is holding its breath with every gun
shot & explosion.

The North Star booms into itself,
all that’s left is avenues lined

with insomniacs like me.

Donald Kentop

ON PAPER WINGS, Donald Kentop. Rose Alley Press, 4204 Brooklyn Ave. NW, Seattle, WA 98015-5911, 2004, 44 pages, $6.95 paper, https://www.rosealleypress.com/.

Donald Kentop loves traditional forms, sonnets and villanelles, rhyme and meter. Though he occasionally breaks into free verse, reading this entire, short book was a delight to the ear.

For a story about more recent work, see this article in The Seattle Timeshttps://www.seattletimes.com/seattle-news/poet-reminds-us-of-price-profit-can-exact/.

But there is something timeless about a poem such as this:

The Winter Cherry

As I grew up, impatient for the spring,
I noticed that a fruitless cherry tree
would bloom behind my house in wintertime
and, counter to the season, blossoms burst
along the branches even through the snow.
Erupting wide as it was tall, the pink
anomaly would always startle me
like mushrooms in a morning lawn. The soft
rebellion had defied the solstice once
again, compressing months into days
in my mind. The prunus autumnalis
blooms again this year. How many more,
who knows? Except that trees have lifetimes too,
like men, and this one I am sure is old.
I no longer see the tree a joke
on nature, rather nature’s joke on me.
A wonder still, each petal when and where
it ought to be. Now I welcome winter
because the springtime comes too soon for me,
and I have gone to counting–having found
it easier to tally winter nights
than to subtract from sunny summer days.