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Harryette Mullen, Urban Tumbleweed

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URBAN TUMBLEWEED: NOTES FROM A TANKA DIARY, Harryette Mullen. Graywolf Press, 250 Third Avenue North, Suite 600, Minneapolis, MN 55401, 2013, 127 pages, $15 paper, www.graywolfpress.org.

In 2020 I mentioned to a friend that I had been writing poems about my daily walks, and she dug around in her bookbag, pulled out Urban Tumbleweed, and gave it to me on the spot. At home, I read a page or two, here and there, and then put it away “for later.” I am really, really glad that I took it down this morning. Although individual tankas can delight—

The determination of a turtle
clambering out of a pond, up the slippery
side of a rock to rest in the sun. (p. 18)

—I discovered further pleasures by reading it all the way through at one go.

At the entrance to the botanical garden,
a sign hung on the gate forewarns: “Slow down.
Watch for turtles on the roads and paths.” (p. 47)

Mullen explains her project in the foreword:

My tanka diary began with a desire to strengthen a sensible habit by linking it to a pleasurable activity. I wanted to incorporate into my life a daily practice of walking and writing poetry. As committed as I am to writing, I needed a break in my routine, so I determined to alter my sedentary, unconsciously cramped posture as a writer habitually working indoors despite living here in “sunny California.” (p. vii)

A professor of creative writing and African American literature at UCLA and the author of seven more conventional poetry books (notably, Sleeping with the Dictionary, which was a finalist for the National Book Award), Mullen adapts the traditional form of the Japanese verse of thirty-one syllables (originally printed as a single line of text, in English generally broken into five lines of 5-7-5-7-7) to suit herself. Each of her tankas is close to 31 syllables, but rendered in three lines. The main point was to walk, pen and notebook in her pocket, each day writing a single observation:

Another goal was to address the question, “What is natural about being human?” While Mullen’s observations are often about the natural world, they don’t stray far from newspaper stories, bus riders, and trash.

Along the roadside, someone has spilled
pink Styrofoam peanuts. They add color
to the grassy green, but I still prefer flowers. (p. 13)

Ha-ha-haw-haw, the dark bird’s rowdy laughter
as it flew over the heads of earthbound
pedestrians who didn’t get the joke. (p. 115)

In The Art of Voice: Poetic Principles and Practice, Tony Hoagland asks a question I’ve been pondering this month:

What do we want from a contemporary poetic voice? One good answer to that question is that we want to feel that we are encountering a speaker “in person,” a speaker who presents a convincingly complex version of the world and of human nature. When we commence reading a poem, we are starting a relationship, and we want that relationship to be with an interesting, resourceful companion. (p. 5)

I find that this is also true with an entire book of poetry. And even when I start out with some reluctance, I find that if I keep going I inevitably begin hearing the poet’s voice, maybe trusting it, definitely glimpsing the world through new eyes. At least, that’s how I felt this morning, reading Harryette Mullen’s 366 tankas. I have a feeling that her journey, in writing the poems, was much the same.

Although I don’t expect that I will soon burst into a book-length experiment with the tanka, I have decided to start carrying a notebook on my walks.

To read more about Harryette Mullen, follow this link.

Lorna Goodison, Turn Thanks

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TURN THANKS, Lorna Goodison. University of Illinois Press, Urbana and Chicago, 1999, 95 pages, $15.95 paper, https://www.press.uillinois.edu.

The first two sections here (of four) are stories set into lines—stories of her family and gratitude, too. You kind of have to enter them with an open mind. And when you do, the wealth of images and playfulness of the language begin to find you.

Several poems celebrate place rather than ancestry. A poem ultimately about Columbus’s arrival in the Caribbean begins: “There is a perfume rising off the sea today. / A scent of almond top notes and base notes of ambergris”; and culminates:

I think about Columbus and how he thought at first

these islands would be a source of gold,
of cotton and mastic, aloes, wood, and things invaluable

to him, poor thing. That sweet smell rising off the sea today.
May the perfumed tides wash my people now bright berries.

It’s clear what the better bounty is—a landscape and seascape rich in sights and scents, plenty, for those able to value it.

And then there’s the section, “The Mango of Poetry,” which addresses a number of poets, including Yeats and Akhmatova, and artists, too. Another sort of ancestry. (My attempts to categorize this book keep falling apart.) In the last section, “God a Me,” lyrical poems abound.

The poem I’m sharing is my favorite in the collection, the first in the book, and the first in an unnumbered sequence of three poems for her mother.

After the Green Gown of My Mother Gone Down

August, her large heart slows down then stops.
Fall now, and trees flame, catch a fire and riot

last leaves in scarlet and gold fever burning.
Remember when you heard Bob Marley hymn

“Redemption Song,” and from his tone and timbre
you sensed him traveling? He had sent the band home

and was just keeping himself company, cooling star,
sad rudeboy fretting on cowboy box guitar

in a studio with stray echo and wailing sound
lost singing scatting through the door of no return.

When the green goes, beloved, the secret is opened.
The breath falls still, the life covenant is broken.

Dress my mother’s cold body in a deep green gown.
Catch a fire and let fall and flame time come

after the green gown of my mother gone down.

—Lorna Goodison

Turn Thanks returns gratitude even for hatred and ill-use. These poems reminded me to be grateful for the wild woman who shows up, uninvited, “disheveled and weeping.” Who knows from where the next line will come?

To read more about Goodison, see my previous post, or go to Poetry Foundation.

Pablo Neruda (1904-1973)

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THEN COME BACK: THE LOST NERUDA POEMS, Pablo Neruda, trans. Forrest Gander. Copper Canyon Press, PO Box 271, Port Townsend, WA 98368, 2016, 163 pages, $23 ($17 paper), www.coppercanyonpress.org.

Well. What does one say about Pablo Neruda? Lauded as the greatest poet of the Americas, the greatest poet of the 20th century, influencer of all subsequent generations of … Nobelist … etc. I can’t imagine what I might add.

All I will say is that I attended the Seattle Arts and Lectures presentation of this book — back in those lovely old pre-Pandemic days, and heard a number of the poems, first in Spanish (which was like listening to music), then read by Forrest Gander (a remarkable poet in his own right), the translator. The book is part poetry collection, part artifact, with color plates. It’s funny, and loving, and generally just worth the trip.

I’m compelled to share a scrap from poem #20. Although Neruda died well before our current age of iPhones, it so anticipates our enslavement: “raising my arms as though before / a pointed gun, I gave in / to the degradations of the telephone.” “I came to be a telefiend, a telephony, / a sacred elephant, / I prostrated myself whenever the ringing / of that horrid despot demanded” — and so on (pp. 60-61).

The Prologue, by Gander, is worth reading (and rereading). He tells about how these poems overcame his reluctance to do the translation (“The last thing we need is another Neruda translation.”) And he shares the process with us — not only his encounter with the locked vault of the Neruda archives, but with his own journey through the poems, often hand-written on menus and placemats.

Once I moved through the introductory material and into the poems, it was all over….When the glowing screen revealed the lost poems, hours suddenly clipped by in minutes. I neglected to come in for dinner. The windows opaqued with night. The world hushed as I translated the first three poems. The truth is that I disappeared from myself. I was concentrated entirely into the durable moment of translation — which begins in humility, a sublimation of the self so extreme that the music of someone else’s mind might be heard. And for a while, no remnant of me existed outside of that moment.

— Forrest Gander, “The Prologue”

“For a while, no remnant of me existed outside of that moment.” I can think of no better reason to come to poetry.

17.

I bid the sky good day.
There is no land. It slipped away
from the boat yesterday and last night.
Chile’s been left behind, just
a few wild birds
follow us drifting and raising up
the dark cold name of my homeland.
Accustomed as I am to goodbyes
I didn’t strain my eyes: where
are my tears bottled up?
Blood rises from my feet
and roves the galleries
of my body painting its flame.
But how do you stanch the moaning?
When it comes, heartache tags along.
But I was talking about something else.
I stood up and beyond the boat
saw nothing but sky and more sky,
blue ensured in
a web of tranquil clouds
innocent as oblivion.
The boat is a cloud on the sea
and I’ve lost track of my destination,
I’ve forgotten prow and moon,
I don’t remember where the waves go
or where the boat carries me.
There’s no room in the day for earth or sea.

— Pablo Neruda

Click on the links above to read more about Neruda and Gander. Also, you can find a description of the project and links to the paperback edition at Copper Canyon: https://www.coppercanyonpress.org/books/then-come-back-the-lost-neruda-by-pablo-neruda-forrest-gander/.

Forrest Gander

T. Clear: A House, Undone

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A HOUSE, UNDONE, T. Clear. MoonPath Press, PO Box 445, Tillamook, OR 97141, 2022, 86 pages, $16.00 paper, http://MoonPathPress.com.

What a pleasure to read this book this morning!

“Pleasure” seems a less than adequate word as the topics of some of these poems drift far from the pleasurable. Unexpected deaths, lawsuits, houses slipping from foundations. Bird nests, dismantled. A beloved’s clothes trundled off to Good Will. Squalor of a homeless camp. Even so, in every poem we find the glitter of well-chosen words. The trajectory of the poems pulls a life together, lining up events like laundry on a clothesline: “ice brittled in every empty pocket.”

Kelli Russell Agodon, from the back cover: “A House, Undone becomes the beautiful architecture for poetry, where we live in a house of words on ‘a bed littered with leaves, / starlight for a roof.’” And Jed Meyers: “These poems turn personal loss and uprootedness into a highly contagious empathy for those whose dwellings we couldn’t call houses.”

I’m amazed by how the poet makes everything fit here. It’s biography (three sections: childhood, marriage, after) but settling in alongside the biography are two poems written in Ireland, a poem about cheese (“Autobiography of Cheese”!), beekeeping poems. I had to go back and reread just to figure out how Clear carries it off so convincingly. Maybe it’s the way house/home is always lurking around the lines: “a stone cottage hunkers / in decay, vulnerable to stars”; “let me be small enough to enter a honeyed hive / …fold myself, shoulder to shoulder, / into the sweet company of their cluster.”

I’d love to share a dozen poems, but I’ll settle for the first poem in the collection, which opens the door and invites us in:

Life Sentence

I live in a house of scant beginnings,
of rupture and leakage,

splinter and rot. A wire
dangles to nowhere, something

cut mid-sentence, a thought
that will never complete itself.

A house of raveling sweaters
and unpainted stairwells.

Crack in the glass, hemless curtain,
the last bit of aluminum foil

flattened and folded one more time.
Awaiting the phone call, the letter,

a knock at the window,
crow at the door—

here lie all my unfinished cadenzas,
my abrupted couplets.

—T. Clear

I always read the acknowledgments — “Gratitude,” here — and was so tickled to find a tribute to Professor Nelson Bentley:

…under whose tutelage I learned that one can be a poet and live a perfectly ordinary life. (Although “ordinary” is a slippery word, open to myriad interpretations.) His generous spirit, his sense of humor, and his inclusive community of poets profoundly shaped how my next forty years of “poeting” would play out.

A House, Undone shares that generous spirit. It won MoonPath’s 2021 Sally Albiso award, and you can read more about it here.