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flock of birds

Terri Cohlene’s A CONSPIRACY OF BLACKBIRDS

A CONSPIRACY OF BLACKBIRDS, Terri Cohlene, MoonPath Press 2026.

I want to describe Terri Cohlene’s long overdue debut poetry collection, A Conspiracy of Blackbirds, as a hodge-podge, but only if you understand hodge-podge as that strange little store crammed with ancient washing machines, pitchforks, maybe a statue of Cupid or a wrought iron hen with her clutch of chicks, maybe a bag full of unexpected gems. In this collection of poems, you never know what you’ll find, and you’re sure to find exactly what you need.

Cohlene’s subjects include old photographs, old work boots, mothers, daughters, MS, bronzed baby shoes from decades back, lost checkbooks…I could go on. As Patrick Dixon describes it: A Conspiracy of Blackbirds is “a book of surprises.” Somehow—how does she do it?—it all comes together, even the hard stuff transforming into occasions for delight. In “Finally, I Become What You Always Wanted,” addressed to the poet’s mother, we find these instructions: “Cut me open, / count the rings.” One expects such a poem to end with scars, instead—apple blossoms.

Remind me to make a copy of “On the Table” for my massage therapist. It’s a list of all the places old hurts have secreted themselves (an ex-husband, a third-grade teacher, a bully…), and ends:

Then there’s my estranged
mother, lodged like a lizard
around my sternum—
a reminder of why bones
are needed to protect the heart.

On the back cover, poet Sandra Yannone offers the perfect precis: “A Conspiracy of Blackbirds chronicles how one woman breaks free from a multi-generational cycle of abandonments to reach for the sky in a transformative murmuration of stunning flight.” Exactly so. Cohlene—an artist, children’s book writer, playwright, and more—offers a a map to the healing and sustaining power of art. These are poems that do not merely show their maker to be surviving, but with her sense of playfulness and capacity for wonder fully alive.

Tailor

If I put my mind to it,
all my poems could fit into a thimble.

They are, after all, merely the alphabet,
randomly stitched together
in repeating patterns.

And if I choose a font
small enough, say .05,
they would probably
slip through the eye
of a needle

with the dangle of trim,
casual embellishment
of button, bead, fringe

waiting there to be discovered
by the occasional
unsuspecting elf.

—Terri Cohlene

Visit Terri Cohlene’s website to learn (much) more, and to purchase her book. You can also find her book at MoonPath Press, and on bookshop.org

photo by Bethany Reid

What Am I Doing Here?

Okay, okay, I know it’s been a long time. What have I been busy with?

Trying to undo some of the house problems that I had paid little or no attention to for the previous 40 years of my life. (For the previous 69 years of my life, now that I think about it.)

Trying to hold my finger in the dike as if to stop a small leak in our finances, when — in all truth — there’s a Snoqualmie Falls at flood-time cascading over the top.

Trying to read only so much political news so as not to plunge myself even further into the morass. (I appear to be mixing metaphors, but stay with me.)

Having some good visits with Bruce at his new home — even planning a Valentine’s Day lunch with him and two of our daughters later this afternoon.

Trying to keep on keeping on writing, even a little bit, every day, because I know writing will save me.

Somedays it feels as though someone has grabbed up my life, turned it upside down, and shaken it. Somedays I feel empty, and bereft. Somedays I feel empty and ready to be filled with something new. Something newly mysterious but maybe in a wonderful way. “Be curious,” my therapist says, and I write those two words on a notecard and pin them on the wall above my desk. BE CURIOUS.

Change is hard, but I suspect it’s the cost of living in a human body.

created by Kelli Russell Agodon and shared today in her Valentine’s Day Substack

Previous-Bethany (who hangs around) likes to curl into a fetal position (a lot) and say things like, “I have no talent for this!” “I can’t do this!” But I am changing. I’ve attended a No Kings protest,  I’ve written to senators and congress people, I’m getting a new roof (right now in fact, much hammering overhead), and new flooring (much needed but on hold), and dealing with a wet, rotted sub-floor in the kitchen (not sure how that’s going to turn out). I asked my therapist, “Am I going to get through this?” And she said, “You are getting through it.”

And, miracle of miracles, I have a new review up at EIL — of Matthew Murrey’s Little Joy.

And, other kinds of writing keep seeping out, in part thanks to Sheila Bender’s on-line class about writing grief. In addition to Sheila’s books and my classmates’ posts, I’ve also been reading an anthology, The Language of Loss: Poetry and Prose for Grieving and Celebrating the Love of Your Life, edited by Barbara Abercrombie; and Finding Meaning: the Sixth Stage of Grief, by David Kessler, which The Los Angeles Times calls the very best kind of self-help book.

My typical strategy now would be share a poem or short prose section from one of these books (so many excellent choices). Instead I’m going to share my own new poem. Excuse any hammering or thumping that creeps into the audio. And thank you for listening.

Grief wakes me in the morning

and puts me to bed at night.
She stirs sorrow into my oatmeal.
She fusses, adjusting the light
as I read, offering a blanket.
When I leave the house,
she grabs her shoes and goes with me,
walks fast, takes my hand.
Last winter, too, she was here
though wearing a mask of anger.
Didn’t I wake you then, she asks,
didn’t I lie down beside you?
Sometimes she is a mother,
sometimes a lover,
sometimes my child. I pull her
onto my lap. I begin to call her
by my own name.

—Bethany Reid  (2.11.26)