Posts

Plum Blossom Wine

PLUM BLOSSOM WINE, Poems by Li Qingzhao, trans. by Sibyl James and Kang Xuepei (Empty Bowl Press, 2024).

I had a hectic week, but this morning—with no where to go, no errands, no doctor appointments—I decided to read a book of poems. I cheated, perhaps, by picking up a small book.

But, oh my. Mostly I am here to tell you how exquisite and inspiring I found this “small” —only 30 poems, printed in a 7 X 5 inch format—but powerful book, produced by Empty Bowl Press. The original Chinese of the poems written by Li Qingzhao, a Song dynasty poet (1084-1151) faces the English translation by Sibyl James and Kang Xuepei. I don’t read Chinese, and have, really, not a clue about it, but there’s something about seeing (and almost feeling) the weight of the original characters that deepens the experience.

I remember the January day when I picked this up, from a book display at Book Tree in Kirkland. Despite my resolution to buy fewer books, I couldn’t resist it. (Just look at that cover!)

James and Xuepei explain in the introduction how in their partnership they tried to honor the original spareness and artistry of the poems. They do a brilliant job. They add titles to the poems, but preserve the poet’s habit of naming the song each poem honors. (Alas, the music is lost.)

Their introduction also succeeds in briefly sketching for us the life of Li Qingzhao, a rare woman poet of her time, lucky enough to be educated, and to have married a husband (also a poet) who valued her voice. When exiled during a time of war, she lost almost everything, including her husband. Her poetry persists. Even writing of despair, her lines sing.

Just to Console Myself

To the tune of “Washing by the Stream”

Healed again, but my temples suddenly gray.
From bed, I watch the thinning moon
climb my screen, drink cups of cardamom
steeped like tea.

Good to lie reading in bed, loving
the look of rain outside my door.
All day beside me one consoling friend,
Osmanthus, the sweet olive.

—Li Qingzhao

It was a lucky way to spend my time.

Kang Xuepei is a Chinese translator with three other books. Sibyl James is a Seattle native, though she lived and worked in China for a year; this is her fourteenth book (or fifteenth?). You can learn more about Plum Blossom Wine at its page at Empty Bowl Press.

Apple blossoms from my morning walk

Rialto Beach from https://wa100.dnr.wa.gov/olympic-peninsula/rialto-beach

NPM #4: Curve

CURVE, Kate Reavey. Empty Bowl Press, Chimacum, Washington, 2022, 93 pages, $16, www.emptybowl.org.

The curve here is the touch of a hand to a child’s head, the shape of a maple leaf, the sole of a foot against a floor, and it is curve as in the trajectory of a life. A woman remembering her mother’s body as she anticipates the birth of her own child. A woman with small children. A woman whose grown son sleeps upstairs. A brother, surfing a wave. A blue and white bowl. Weaving throughout, the loss of the mother and grandmother. Weaving through all the other poems, the poignant grief and sweetness of making jam on a stove top, as one’s mother once, conjuring memories that curl (and curve) in the room along with the aroma, “the taste of blackberries, the reticence of grace” (“Grief”).

In “Honeycomb,” the surprise of these lines:

Beyond buzz, beyond the onomatopoeia
of desire,
the strum of air
on each iridescent wing—

Many of the poems are long, but, perhaps because insomnia has been haunting my nights of late, I want to share this shorter one. Watch for the curve, and know that this beach near Reavey’s peninsula home will recur later in the book:

After Insomnia

I walk among jellyfish.
Their nimble veins still
and glisten in curves of sand.

This is the time in between tides,
unsettled, and I lean close, squint
into pools of jelly and light—

the glare on the surface of their clear bodies,
drying by and by. Salt winds

tickle and I wake the surest
sign of sleep—a circle of spittle and breath
collecting on my pillow, muses of just-waking

trembling in my limbs.

—Kate Reavey

One of the small pleasures of doing these blog posts comes when I research the poet. If these final links seem tacked on, I hope you’ll click through them and take a look for yourself.

Empty Bowl: https://www.emptybowl.org/

And find a review at Mom Egg Review here: https://merliterary.com/2023/08/23/curve-by-kate-reavey/

Kate is a mover and shaker at bringing poets to Port Angeles / Peninsula College. I just followed her on Instagram, too: https://www.instagram.com/katereavey/

Ann Spiers, RAIN VIOLENT

RAIN VIOLENT, Ann Spiers (poet), Bolinas Frank (artist & calligrapher). Empty Bowl, 14172 Madrona Drive, Anacortes WA 98223, 2021, 78 pages, $16, paper, www.emptybowl.org.

“In Rain Violent, Ann Spiers unfurls the ravages of climate change,” so Deborah Bacharach begins her Compulsive Reader review of this arresting book. Along the way, Spiers unfurls her own life: a child’s knees, dead bees, Dakota, chickens, China.

In his Raven Chronicle review / interview / potpourri of and about this book, Jim Bodeen describes the 61 short poems in Rain Violent as “compulsive” and interpretive of not only weather but of our lives. “We’re in this weather together, reader.” He talks with both Spiers and Bolinas Frank, whose hand-painted weather symbols illustrate and accentuate each title (please skip over there and take a look at all he has to say).

Do take note of the cover designed by Tonya Namura.

My own weather today (Rain Continuous: three black dots arranged in a loose triangle):

Rain Continuous

I wear rain gear always.
Some of us go naked, cycling
through the market. Everyone wears
shower caps, crinkling over coiled hair.

—Ann Spiers

The poems are 4-lines each, not much room to play in, you would think—though every line bears Spiers’ signature sound-play, “Electronic hearts skitter. / Data, like confused fighter jets, scramble” (“Wind Out of the North”); “Snake skins, shunting in the wind like riffs / from a broken guitar” (“Thunder Heard”).

The prose introducing and following the poems also drew me in. I love Spier’s biographical note, a Vashon Island, Washington, poet I have reviewed before, but should know better. And we get this from the bio note on artist and calligrapher Bolinas Frank, suggesting the depth and range of the symbols, not to mention the themes packed into this slim book:

Bolinas sees the painting surface as a skin, and his creation emerges on the intelligent edge where art and life interface. Through his painting’s stacked messages, he asks what is underneath things, what is on the hidden side, what secrets lie underneath, and what information asserts itself….His work speaks about migration, domesticity, atrophy, exposing underlying flaws and defects that are carried, delivered, and exposed. (p. 77)

Rain Violent is a fast read, only 244 lines of poetry, after all. But the format and the content work together to slow you down. I found myself pondering each page. Despite the one-poem per page, and the artful titles and international weather symbols as rendered (beautifully, starkly) by Frank, there’s also a sense of the book as one long poem. When I finished I went back and read it again.

I often feel an urge to leave you with something gorgeous. Instead, this:

Clouds Dissolving

Faucets dry. Streams silent. Pools
fill with brush. I spit on my finger tips
to wash black oil from my child’s knees.
From the air drop dead birds.

—Ann Spiers

You can read more about both Spiers and Frank by following these links to their websites:

http://bofrank.com/

http://annspiers.com

Raven Chronicles Review

When I was given a copy of Tele Aadsen’s What Water Holds (Empty Bowl Press, 2023), I knew I wanted to review it. I’m so so grateful to Phoebe Bosché at Raven Chronicles for making room in their on-line forum for it. To read the review, click on this link: https://www.ravenchronicles.org/book-reviews/bethany-reid-what-water-holds.

You can learn more about the author at https://www.teleaadsen.com/.