Sati Mookherjee

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WAYS OF BEING, Sati Mookherjee. MoonPath Press, PO Box 445, Tillamook, OR 97141, 73 pages, $16 paper, http://MoonPathPress.com.

I am writing a “real” review of this book—Mookerjee’s second, and the winner of the 2023 Sally Albiso Award—to be posted at Escape Into Life (EIL) on May 5, 2023, its release date. So consider this a preview, my quick appreciation and shout-out to a stirring collection.

Washington State Book Award winner Sharon Hashimoto says in her cover blurb:

Rhythms, images and juxtapositions in these poems flow like waves filling and emptying, from past to present to what might be—all while glorying in occlusions. Sati Mookherjee’s lively word play questions our definitions, boundaries around spaces, and leads to fresh and original epiphanies…

“Occlusion,” a fine old word meaning “the blockage or closing of an opening, blood vessel, or hollow organ,” often used in a medical context. In these poems, where Salish Sea, tideflats, “the great lung of bay,” are loved, and desecrated like human bodies, the word is completely appropriate.

I’ll get carried away if I go on (and I want to save that for the review), so I’ll offer this short poem (some are quite long), as a teaser:

Ground

Lay your warm body on the warm earth
and sense how deep the roots go, the roots

we can’t see, think of the acres
of hot black lightless matter under your body.

I think the past is a perfectly fine place to live.
Why not be native to it, visit the present

as necessary, a tourist, in transit, on a brief journey.
I can see you’re dying. This terrarium,

even with its carefully laid nests of leaves and grass
and twigs, can’t keep you, I don’t want to keep you,

go home, back to where you need to be.

—Sati Mookherjee

I’m not sure “Ground” is the right choice—so many of the poems are grounded (deeply) in the present. These are poems of witness. A lifelong resident of the Pacific Northwest, Mookherjee enjoins us to treasure our time here, on earth, adjacent to water.

Ways of Being is available now for presale. Visit MoonPathPress.com for more information. I’ll update the links when the full-length review is posted.

[Update 4.28.23] Mookherjee’s book launch is this coming Sunday in Bellingham, and you can reserve your seat now: https://www.villagebooks.com/event/litlive-sati-mookherkee-043023 

My review of Ways of Being can be found here: https://www.escapeintolife.com/book-reviews/book-review-ways-of-being-by-sati-mookherjee/ 

 

Tony Hoagland (1953-2018)

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TURN UP THE OCEAN: POEMS, Tony Hoagland. Graywolf Press, 212 Third Avenue North, Suite 485, Minneapolis, Minnesota 55401, 2022, 85 pages, $16 paper, www.graywolfpress.org.

I can’t resist the temptation—after the last poem in yesterday’s blogpost—to read and share Tony Hoagland’s posthumous collection, Turn Up the Ocean. Not to have every blogpost an elegy, but if you want to read more about him, you could start with the New York Times obituary, which includes a link to Hoagland reading his poem, “Romantic.”

Tony Hoagland is another poet I have been reading for decades. Not so much for insight into my personal life, as for insight into our times. For insight and for humor—for a wry, often biting (“mordant”) humor. Or this definition, from Hoagland himself:

“Humor in poetry is even better than beauty. If you could have it all, you would, but humor is better than beauty because it doesn’t put people to sleep. It wakes them up and relaxes them at the same time.” (from NYT obit, cited above)

Does Hoagland’s humor relax us? Consider the opening of “Gorgon”: “Now that you need your prescription glasses to see the stars / and now that the telemarketers know your preference in sexual positions. // Now that corporations run the government…”

No matter. Even in poems such as “The Reason He Brought His Gun to School: A Blues,” and “Squad Car Light” (“the officers—so much gear attached to them, / they clank when they walk—the spurs and handcuffs / hung from their belts, / the slender baton for administering shock”), I am right there with him, wide awake, eager to read more.

Or lines such as this, from “Among the Intellectuals”:

They passed the days in an activity they called “thought-provoking,”
as if thought were an animal, and they used long sticks

to poke through the bars of its cage,
tormenting and arousing thinking into strange behaviors.

We should thank Hoagland’s wife, Kathleen Lee, for this beautiful, sometimes raw book. In her brief afterword she writes that Hoagland before his death “gathered a group of poems—recent and older—into what he imagined as a chapbook” (p. 83). Lee expanded the collection in 2020, explaining:

“Tony revised his manuscripts almost as much as he revised poems; he felt any version might be good enough, but none exactly right. No doubt he would want to make changes to some of the these poems and to this published version of Turn Up the Ocean.“

I wonder if some of the poems about his illness and dire prognosis are in that category of late-additions to the manuscript, and I’m so glad Lee put them there. (See for instance “Why I Like the Hospital,” “Reading While Sick in the Middle of the Night,” or “Siberia,” which begins: “In these final few months of my life, / I feel a little like a Russian poet / who’s been exiled to a remote / village in Siberia….”)

While I’m at it, I want to recommend Hoagland’s books of prose: Real Sofistikashun (2006), Twenty Poems that Could Save America and Other Essays (2014), and The Art of Voice: Poetic Principles and Practice (2020). For a sample essay, and a poetry tutorial (!), “Image Out of Sound,” visit Graywolf Press, here.

I never studied with Hoagland, but I am told that he was a generous and encouraging teacher (with a razor-sharp wit). His poems, I know, are generous, inclusive and provocative:

Virginia Woolf

On mornings like this I often think of her
lying in bed all day in her pajamas,
the room striped in sunlight and cats
like a painting by Matisse.

Virginia writing newsy letters to her friends:
“The light through fog is convalescent,” she said,
and “The main requirement for public life
is overacting.”

On a morning like this,
when I walk the fields behind the house,
I feel that she is still alive,
sipping from her second pot of tea,
notebook propped up on her knees—

nose deep in language
like a thoroughbred horse,
like an endangered species
brought back from extinction.

I think of her and
I would like to know she is all right,
though I know she suffered terribly
from too much sight.

But who will talk to the petunias now
on Finchley Lane? Who will stand
and look out of the window for hours?
who will tell the sunlight
not to be so vain?

Who will inform the piece of toast
on the small blue plate
with one bite taken out of it

that she will not be coming back?

—Tony Hoagland

Linda Pastan 1932-2023

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ALMOST AN ELEGY: NEW & LATER SELECTED POEMS, Linda Pastan. W. W. Norton & Company, 500 5th Avenue, New York N. Y. 10110, 2022, 122 pages, $30 cloth, www.wwnorton.com.

I began my research for this post by rereading Linda Pastan’s New York Times obituary. I could post a link and be done. The effusive praise you find there, the careful highlighting of biography—it’s exactly what I want to say.

“Linda Pastan writes about ordinary life — family, motherhood, aging, relationships, loss — in crystalline, transcendent verse often filled with humor, surprise, joy, and sorrow.” –Jill Bialosky

Yes, yes, yes, I kept thinking. I picked out a few crumbs, new (delicious) details I didn’t remember from my first reading of the obit in February. For instance, that Pastan didn’t write poems when her children were small—

She took up writing again in the mid-1960s, trying a novel. But, she said, she found she was more interested in the descriptive language of what she was writing than the plot or characters. “My novel kept getting shorter and shorter, becoming almost a short story….Before long I realized that what it really wanted was to become a poem.”

—“Linda Pastan, Poet Who Plumbed the Ordinary, Dies at 90,” The New York Times, Feb. 3, 2023

While reading Pastan’s Almost an Elegy I kept thinking, too, look here, you don’t need to write a poem about this topic: she already wrote it! Even that feeling, Pastan has dealt; her poem “Rereading Frost” begins: “Sometimes I think all the best poems / have been written already…”

I’m surprised, by the way, to learn that Pastan ever did not write. Some of her most memorable poems are about childbirth (see the NYT obit) and living with young children. In her earlier books, I found her mirroring back to me my own ages and stages in marriage and middle age. And now, as I plow toward seventy, I find she has more to teach me.

This poem, which I had not encountered previously, now has its page dogeared:

The Last Uncle

The last uncle is pushing off
in his funeral skiff (the usual
black limo) having locked
the doors behind him
on a whole generation.

And look, we are the elders now
with our torn scraps
of history, alone
on the mapless shore
of this raw new century.

—Linda Pastan

She also has an uncanny ability to predict the future, as if the world contains all its secrets, a jar of bees, and she has pressed her ear against it and listened hard. Her poem, “Somewhere in the World,” from Travelling Light (2011), opens with these stanzas:

Somewhere in the world
something is happening
which will make its slow way here.

A cold front will come to destroy
the camellias, or perhaps it will be
a heat wave to scorch them.

A virus will move without passport
or papers to find me as I shake
a hand or kiss a cheek.

I saw Pastan at SAL several years ago, and wrote here about her book, Insomnia. I feel privileged to know her work from her earlier selected, Carnival Row, which I have picked up so often it is falling apart. Almost an Elegy is, equally, a treasure. Let me end with this poem from the “New Poems” section. Imagine me, inserting Pastan’s name:

Almost an Elegy: For Tony Hoagland

Your poems make me want
to write my poems,

which is a kind of plagiarism
of the spirit.

But when your death reminds me
that mine is on its way,

I close the book, clinging
to this tenuous world the way the leaves

outside cling to their tree
just before they turn color and fall.

I need time to read all the poems
you left behind, which pierce

the darkness here at my window
but did nothing to save you.

—Linda Pastan

Winter Solstice Greetings

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Here in my neighborhood north of Seattle, Washington, we have had our second snowfall of the year—about three inches yesterday and the evening before. Today, it’s 27 degrees (low of 19!) and the sun is shining. Outside my window: glittering white.

On December 1st, despite slush and ice, I set out for a long afternoon walk, and I slipped on a patch of ice, fell hard, and cracked the head of my left radius bone, right up there in my elbow. I was in a fiberglass splint—looked like and felt like a big ol’ cast—for 7 days. The initial evaluation suggested the crack went all the way through. I couldn’t use my arm, I couldn’t get it wet, couldn’t practice my Christmas songs on the piano, couldn’t wear my Christmas sweaters. I couldn’t type! It took me four or five days just to figure out how to wear clothes and leave the house.

I saw the orthopedic surgeon on day seven, expecting to be told I’d need surgery. Instead, he said the crack was partial, and “No surgery,” plus—amazing grace—no cast! In his opinion the crack would heal just fine if I didn’t lift, push, or pull with my left arm, or fall down again. He showed me how a single week of having the arm in the splint had weakened my grip, and compromised my ability to move my wrist or do simple things like touch my head. (Try flossing your teeth when you have only one arm.) “That’s not from the break; that’s from having your arm immobilized. If you wear a cast for six or eight weeks, you’ll need physical therapy for a year!”

He said I could do “light kitchen work” and—more important—“you can type.”

I admit to having entirely lost my Christmas spirit. I’m only now getting it back. Partially.

Nonetheless, over the last few weeks I have been co-leader of an Advent study at my church. I committed to it in October, after all, and my primary role in the group is merely to bring poems. Easy peasy. I’ve collected both traditional Advent poems by well-known Christian writers such as Madeleine L’Engle and Oscar Romero, and poems that might not spring to mind when we’re talking about Bethlehem, gentle donkeys, shepherds guarding their flocks by night, and the birth of a savior in a stable.

Not that such poems can’t be wonderful. (Of course they are.) I guess what I’ve been after is to broaden our context, to make us see the Advent season in the light of our own lives.

Advent first began in the 4th century as a period of penance for new converts. It didn’t lead to December 25, like an Advent calendar with little chocolates inside, but to Epiphany (January 6). Advent comes from the Latin, adventus, meaning “arrival” or “coming,” and from the Greek, parousia, which is also translated as “presence,” especially, “presence after absence” (or second coming). Back then, Advent was sometimes referred to as “the Lent of St. Martin’s” (and began on St. Martin’s day, November 11). Also, it was considered heretical to associate the Christian season too heavily with the winter solstice—too pagan. Sorry, but for me that’s exactly what’s evoked, and why I was drawn toward wanting to take part in the class. Well, light and an adventure.

I’ve made some surprising discoveries. In the book my co-leader assigned, Jill Duffield’s Advent in Plain Sight: A Devotion through Ten Objects, the first object is “gates.” I love that—I did a little digging and learned that the word “gate” appears 418 times in the King James Bible. In my introduction to the poems, I talked about how a gate can seem to be a barrier, but it’s really an invitation. A gate marks a path to be followed.

Poems, too, are gates. In my college teaching career I often encountered students who hated poetry. They saw a poem as a gate with a “no trespassing” sign hanging on it. But isn’t a poem, like a gate, an invitation? Open this. Walk through. See the world the way I see it. The first poem I brought was Naomi Shihab Nye’s “Kindness,” and the study group climbed onto the bus with me. “There’s communion here,” one participant gleefully noted. And another: “it’s a story of the good Samaritan!”

I found this short poem by Richard Bauckham on an Advent website, The Adventus Project. Details such as keeping vigil, a turn of the tide, and the cattle-shed roof lend it an Advent gloss, yet it’s multi-valent. A Druidic heart could be happy here. Bauckham is a theologian and poet who lives in Great Britain, but he could be my neighbor here in the Pacific Northwest in my house in the woods.

First Light

After all the false dawns,
who is this who unerringly paints
the first rays in their true colours?
We have kept vigil with owls
when the occult noises of the night
fell tauntingly silent
and a breeze got up
as if for morning.
This time the trees tremble.
Is it with a kind of reckless joy
at the gentle light
lapping their leaves
like the very first turn of a tide?
Timid creatures creep out of burrows
sensing kindness
and the old crow on the cattle-shed roof
folds his wings and dreams.

Richard Bauckham

https://richardbauckham.co.uk

My apologies for a somewhat wobbly, all-over-the place post. (Consider that I was told I wouldn’t be able to type for 6 weeks!)

Sunday evening at 11:00 my dog desperately needed a walk, so, despite the falling snow, we went out (with every caution for secure footing), and one reward was an owl hooting continuously from the snowy woods. No wonder my dog was restless. No wonder I love Bauckham’s poem: “We have kept vigil with owls.” Me, too.

It’s a gorgeous time of year, when you’re not all broken and needing a nap and a cookie (did you know that when you have a broken bone your body burns 20-30% more calories? Someone told me so—maybe just indulging my natural inclination).

When I first began gathering poems for the Advent class, I had a notion that the study participants would want to write with me. That didn’t happen (with the addition of a co-leader and the book, it became more conventional, which is fine), but it hasn’t kept me from writing. Early on, I came across a poem by Laura Walker titled “Psalm 100” (follow the link to read it for yourself). It made me open my Bible and reread Psalm 100. And then I wrote my own poem. Is it an Advent poem? Not really, unless you see it—like Bauckham’s poem—in a tradition of praise.

So, for solstice, here’s my poem in praise of light. From here on out, each day enjoy those extra few seconds of daylight.

Morning at Glen Cove

Make a joyful noise to the Lord, all the earth!
–Psalm 100, NIV

After a night of wind the cove sings.
Under cold water, a skein of herring,

above, a skein of glaucous-
winged gulls. Scraw of bald eagle

and great blue heron, sky
brimming, unfurled. In the early morning half-dark

sea lions bark, hoarse with so much praise.
Sunrise offers a kingfisher

chittering down the pink light.

Bethany Reid / 2022