Wednesday, October 27, 2021

Lions—in Dublin??

 
—Poetry by George Ryan, New York, NY
—Photos Courtesy of Public Domain
 
 
 
PROTESTER

She may have been younger than she appeared,
a very pretty white girl clad in black.

She carried a two-by-three cardboard sign
with large print white-on-black letters that read
BLACK LIVES MATTER.

In daylight she sighed and said on her phone,
Mom, I swear, right now I’m on my way home. 
 
 
 

 
 
DEAD-LEAF BUTTERFLY

Having dead-leaf camouflage
only on the underside
of its wings probably means
that this butterfly perches
on flowers with its wings closed.

If threatened, the butterfly
might open its inner wings
with an orange bar on blue
to startle a hungry bird. 
 
 
 

 
 
UNQUIET ANTIQUE

In a damaged painting
among old family possessions
from her grandmother’s home
a young woman is shocked
to see a near likeness of her face
in a weird hairstyle and morose look 
 
 
 

 
 
DRINKS OUTDOORS

Elizabeth Bishop
wrote about drinks outdoors
at nightfall in Brazil
and having to avoid
speeding at head level
occasional beetles
of exceptional size 
 
 
 

 
 
BROKEN BRANCH

The roof of a backing truck
breaks off the overhanging
branch of a tree. He picks up
the three-foot length, carries it
home, puts it in an empty
earthenware pot, pours water
and forgets it. And of course
one morning the skeleton
startles him, its twigs covered
in hundreds of white petals. 
 
 
 

 

MY MARTHA STEWART POEM

From the train from New York at Westport station, I shared a taxi
with two confident fashionably dressed women in their twenties
who said they worked for Martha Stewart. I had heard their voices
on the train before I saw them—voices of decisive people.
By the time the taxi dropped me off at an office building
near the women’s destination, they sat in a fearful silence.
It could of course have been me. My presence might have subdued them.
All I knew about Martha Stewart Living Omnimedia
was that Martha slept four hours a night, had done time for trading
and when she was asked what she could not do had answered, Hang-gliding. 
 
 
 

 

CROSSING SECOND AVENUE

Why snowboard when you can zigzag
on your electrified skateboard
at thirty miles an hour
down Second Avenue?

And before I can get across
here comes another skateboarder
slowly in the bike lane
sending a text message. 
 
 
 

 

A BUILDING FIRE NEAR A HOSPITAL

In the news photograph, you do not see the cat,
you only see the firefighter’s back and helmet.
What you do see, running toward him, arms outstretched,
a doctor in scrubs and white shoes
with her mask hanging from her neck.
She has a look of joy and anticipation
that you do not often see on a doctor’s face. 
 
 
 

 
 
WINTER QUARTERS

Even someone who has knocked about in the world
and knows some important people
might be impressed to hear that a person
is a professional lion tamer
who works with his big cats in a circus.

I was twelve or so and remember the cats,
particularly the three that walked around
freely. The one I first sat near,
a grown female, lay on her side,
chin on the floorboards, and watched me
with big eyes while she whisked her tail
from time to time.
One afternoon
I arrived on my own and walked
down the long narrow corridor
that led to the living area.
A female lion ambled toward me.
We were alone. I froze against the wall
and she paused to sniff at me.
Afterward we each went our own way.
I greeted them, felt weakness in my knees
and settled down in an armchair
next to a sleeping lioness
who did not bother to open her eyes.

Before my visits with school friends
who cleaned empty cages for pay
at his winter quarters behind a cinema,
I had been to the circus and seen his act
in which the lions were too obedient.
It ended with a drum roll and beam of light:
a huge male with a shaggy mane
opened its jaws wide and he placed
his head inside the creature’s mouth.

Frequently he had a woman,
often a different woman
due to their nervousness with cats, he said.

He sent me for cigarettes and whiskey
(no coin changed hands with the store keeper)
and this being Dublin in those times
it was not unusual to see homeward
children laden down with bottles.

On a sunny morning, a female lion
wandered out an open door and
fell asleep on the warm pavement.
She lay next to a petrol pump
and for a while the garage man
wondered why cars pulled in and
immediately left again.
A few drivers got out for a close look.
The newspapers had fun with this,
an investigation followed.

This finished my visits to his winter quarters
but not his residence there.
At least several months later
before the trainer could respond
a female lion attacked
a woman I had not met.
With her teeth, she dragged her by the neck
down the corridor where I was once
dismissed by a sister or her.

My friends no longer worked there
but we read in a newspaper
a vet said it was likely the female lion
reacted to the victim’s monthly cycle.
As young males, we were overawed
by jungle cats and women’s chemistry.

Some of us went to talk to him
but he and his lions were gone.

_____________________

Today’s LittleNip:

WORRIED WRITER
—George Ryan

An editor apologized for not having responded
earlier to my submission—almost nine months had elapsed.
His delay was not unusual. His apology was.
Some editors take so long, I don’t recall sending them work.
And then there are the editors I have never heard back from.
Is their editorial space now silent, dusty, cobwebbed?
Was the cause an uncoerced decision or an accident?
Does anyone know what might have happened to these editors?
I have no wish to pry, but are their loved ones searching for them?

_____________________

George Ryan was born in Ireland and graduated from University College Dublin. He is a ghostwriter in New York City. Elkhound published his
Finding Americas in October 2019. His poems are nearly all about incidents that involve real people in real places and use little heightened language. Welcome to the Kitchen, George, and many thanks for your colorful poems! Come back soon!

•••Tonight (Wed., 10/27), 6-7:30pm: City Lights Booksellers & Publishers (www.facebook.com/CityLightsBooks) presents its Diane di Prima Memorial Tribute, marking one year since her passing in Oct. 2020. Readers include Hanif Abdurraqib, Garrett Caples, Cedar Sigo, Sunnylyn Thibodeaux, Wendy Trevino and more guests to be announced. 201 Columbus Av., San Francisco. Info/(registration required): citylights.com/events-category/diane-di-prima-memorial-tribute/.

_____________________

—Medusa
 
 
 
 

 



 
 
 
 
 
 
 
 
 
 
 
 
 
 
Photos in this column can be enlarged by
clicking on them once, then clicking on the x
in the top right corner to come back to Medusa.

Would you like to be a SnakePal?
All you have to do is send poetry and/or
photos and artwork to
kathykieth@hotmail.com. We post
work from all over the world, including
that which was previously-published.
Just remember:
the snakes of Medusa are always hungry—
for poetry, of course!
 
 LittleSnake, the Lion Tamer 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

Tuesday, October 26, 2021

Dreaming Away the Winter

 
Story Behind It
—Poetry and Photos by Joyce Odam, Sacramento, CA



DAVID IN THE SUNBEAM

In the sunlight on the floor
the cat sleeps.
It is almost a stillness.

The child on the tricycle
pedals into the sunlight
and is broken into
endless golden motes
settling and
turning him again
into a child.

In the sunlight on the floor,
where the cat and child
were a moment before,
all that is alive in it
is lifting and falling.

                    
(prev. pub. in South Florida Review, 1970)
 
 
 
Rendered Thus
 
 

DREAM SCRIPTS

I have never let nights go dreamless,
unsettled and strange
twisting them into scenarios
ever uncompleted—
ever dangerous.

I, the messenger, the lead, the foe,
the very direction—
without finale,
make up the dreams without ending,
knowing I can break out of sleep
at the point of my destruction.

_________________

DREAM MIRROR
After Landscape from a Dream, 1936-38
            by Paul Nash (1889-1946)

It’s not that I love this dream, but I can’t get
through the mirror to the sea. The sky is a flat
and painted blue, and a huge white cloud is in
the way. A pane of glass becomes a cage. A
boulder of fire creates a second, retributive sky
—blood red and near—and a lone dark gull is
flying right at me.

A frame of fear surrounds it all and I don’t know
what to do. I can’t awake, and I cannot sleep.
Mirrored in metamorphosis, I am turning to a fear
myself : my own face holds my feathered face.
My arms have turned to wings. My shoulders hurt,
and my mouth is cruel. My frozen eyes do not be-
lieve this metaphor, of which I am both abstract
mystery and indefinable clue.
 
 
 
 
Like Moods

 
THE DREAM OF SURRENDER
After Portrait and a Dream, 1953
         by Jackson Pollock

A face that is caught in a garish mirror
where colors gnash and light stabs.

Your life
is a white room of sleep.

Your mind holds a candle.
The flame wavers.

You stare through yourself
as if to escape :

you are a smeared painting,
your dream has defined you

against a wall of canvas.
You echo this—repulse,   

then admire—
held by your own stare,

by the anguish of the art,
rendered thus.

You have lost your power.
Such is the angry power of the dream.
 
 
 
The Dream You Dreamed
 


THE DISTANCE OF YOUR MYTH

I have come as far as your life. I am
your fantasy, all you remember

or want. Sometimes I come as shadow
torn by light. Sometimes I lie beside

you in your sleepless night. But always
you forget me…you don’t believe in me…

you want another. I am the distance
of your myth. I become the other.

___________________

THE DREAM OF YOUR SLEEP

I drift on the dream of your sleep.
I am a petal of your thoughts.
I have no image of my own
on this lake of night.
Do not drown me.


(prev. pub. in
Poetalk)
 
 
 
Dreams Me Again
 


DREAMS ME AGAIN

Dreams me again in violent sleep—sees me in red deep
loom—woman of moan, blood-shadowed, whom he fol-
lows helplessly. I smile at him on mornings when he tells

me stories I do not comprehend. Tonight I will follow
him again and call him to the edges and the dark; and I
will be so silent he will think I am fate masquerading as
love; and

when the morning hand is clocking one more circle
around us, I will slip out of his mind when he wakens
and smile my innocence when once more he tells me
his dreaming.

____________________

DREAM STRUGGLE

At dawn, a silence, thick as air,
gray as morning. Some despair
lays its heavy hand
on troubled sleep and
smothers there—
sleep’s strange land

where sleep becomes an anxious place.
If guilt lives there, so must disgrace.
Mind unlocks—relearns
what always returns :
old concerns
it must face.
 
 
 
Indefinable
 


IF LOVE IS LOVE

If I am echo, what is sound.
If sound is silent, what is love.

Finding is losing. Loss is found.
So go the facts, illusions that confound.

Dreams are hauntings, so we dream,
dare not slumber, lest we drown.

Praise the new day once again.
Then is now, and now is then.

Thus the circle we are in . . .
sleep and waken . . . spin and spin . . .

____________________

Today’s LittleNip:

DISSOLVINGS
—Joyce odam

I am the dream
you dreamed last night.
Am I the one you love?
      *
I am not real.
Or else
I am.
      *
When night comes back
with sleep for you,
will I be sleep?

____________________

Joyce Odam sends “dreamy” poems this week, a side-bar to our Seed of the Week: Hibernation. Who knows what big bears dream? All we can know is our own dreams, and most of those are doomed to be forgotten…

Our new Seed of the Week is “Haunted”. Hey—it’s almost Halloween! Does anything go bump under your bed? Or do you stay awake at night, worrying about [fill in the blanks]? Past memories, good and bad, current worries and misdeeds—most of us are haunted by something, so write about it and send your poems, photos & artwork about this (or any other) subject to kathykieth@hotmail.com. No deadline on SOWs, though, and for a peek at our past ones, click on “Calliope’s Closet”, the link at the top of this column, for plenty of others to choose from.

Today is Sacramento Poetry Day! Tonight, 7pm, in-person and online (note change of day): Sacramento Poetry Center presents Viola Spencer, Patrick Grizzell and Andru Defeye plus open mic to celebrate the 35th Sacramento Poetry Day. 25th & R Sts., Sac. This event is free but seating is limited, so attendance in-person requires a ticket (reservations). See sacramentopoetryday2021.brownpapertickets.com/. Attend online in the usual way: us02web.zoom.us/j/7638733462/. Meeting ID: 763 873 3462/; password: r3trnofsdv/. To comply with COVID protocol standards (and to help protect immuno-compromised participants and audience), admission will require presentation of COVID vaccine card, no-contact temperature taken at door, masks worn inside, and as much distance as possible kept in the theater.

Also: check out the fine
Sacramento Bee article in yesterday’s edition at www.sacbee.com/news/local/sacramento-tipping-point/community-voices/article255191557.html/. And see Facebook for a broadcast of Sac. Poet Laureate Andru Defeye interviewing Viola Spencer and Patrick Grizzell. (Can also be found on youtube/.)

_____________________

—Medusa
 
 
 
Landscape from a Dream, 1936-1938

—Painting by Paul Nash (1889-1946)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 



Photos in this column can be enlarged by
clicking on them once, then clicking on the x
in the top right corner to come back to Medusa.
 
Shh! LittleSnake in Hibernation















 

Monday, October 25, 2021

Briar Rose, Who Doesn't Get Out Much

 
Grand Central Concourse Clock
—Public Domain Photo Courtesy of Stephen Kingsnorth
—Poetry by Stephen Kingsnorth, Joseph Nolan, 
Michelle Kunert, Carl Schwartz (Caschwa)
—Public Domain Photos Courtesy of Stephen Kingsnorth, Joseph Nolan
 


MEETING PLACE
—Stephen Kingsnorth, Coedpoeth, Wales

Discrete acanthus, crowning piece,
as if new-mounted, spear of mint,
to roof sharp-rising piercing point,
fall frieze, the frozen craftsmen’s style;
this meeting base, Grand Central place,
when travel plans need coincide—
under the face, Time Lord in space,
high analogue, brass light to guide.

Mewl crawling baby, on all paws,
add two and two when count at school;
type family, tetrad point four—
foursome suggests polygamy?
Six less than ten, quadrumvirate,
negotiation, table shape,
one more than three—synoptic view—
the canon fired as martyrs queued.

Quartet for strings when tied to score,
beats to the bar, a common stave,
my metronome that rhythms pace,
craft corners, square dance on the floor.
For compass, bearing guide for life,
a welcome north, east, south and west,
to greet those from a stranger race—
magnetic pull, direction gives.

When numbers marked, four season zones,
quadruple corners of the globe,
equate quadratic points of view,
then comes the time when peace observed.
So gather, different dials met,
shared inner workings, harmony.
Beyond our power is midnight set—
hold hands, catch train, world’s end arrives. 
 
 
 
—Public Domain Photo Courtesy of Stephen Kingsnorth
 
 

CLAN   
—Stephen Kingsnorth

It seems it’s annual photo time,
the gathered members of the clan,
obvious likeness in the genes,
but each an individual framed.

A compass dial for every face,
a petal stretch, turned petiole,
the larger grown or smaller scrawn,
some neatly dressed and vagabonds.

And what of mirrorwork of scene,
both glassy stare, embarrassment,
more faded, for the ancestors,
though not the age of sepia.

We trace progress through nursery,
suggestive struggle, eager boom,
potential nurtured in the seed,
though somewhere, serendipity.

Their offspring centred, seedbed core,
promise fulfilled as future dawns,
for now hoarfrost pervades the air—
birds hold their harvest festival. 
 
 
 
—Public Domain Photo Courtesy of Michelle Kunert
 
 

BARE FACTS   
—Stephen Kingsnorth

Tracking stories, sheep hours filled,
protectors, flocks from wolves’ maraud,
nightwatchmen, camel caravans,
the zodiac, some future guide,
from asterism’s picture book.

Ursa Major, Polaris line,
plough point to point on image map,
this scene of spotlights maybe there,
though light years’ past, each history,
as Great Bear now might white dwarf die.

Black holes evade astronomers—
are little bears lost, hidden there?
But now I see one in such space
with grizzled face as waking up
from taking winter, autumn past.

It found bare route to vacant lot,
tumbled weeds down, crumbled soil,
took squatter’s rites, long overhaul,
mixed mycorrhiza as its bed,
ahead, emerge, as chrysalis.

I wonder, did he miss that fall
of seeds from pods in wailing song,
scaled gales that spread plant offspring crèche,
broom sprung in airlift overland,
swung sycamore from heliport?

It’s Roosevelt to blame I’m told,
for tears and tantrums, teddy lost,
and Pooh Sticks floating under bridge;
I once bought Winnie, from his shop—
Christopher Robin shelved his own.

Does Goldilocks taste porridge near,
while cousin, polar, think it fuss?
How Yogi, Huggy found his hutch—
ever Baloo, Paddington there,
suspended animation rôle? 
 
 
 
—Public Domain Photo Courtesy of Joseph Nolan


 
THE THIN LIGHT OF OCTOBER
—Joseph Nolan, Stockton, CA

Yes,
It is
October.
Daylight’s
Wearing thin.

We feel the weight
Of shorter days,
As cold
Is moving in.

We feel it
In the morning
When we
Take our walks.

We worry over
Taking time,
To call
Each other
To talk.

Maybe we
Are interfused
With calumny
Or past abuse,
That lingers,
Though, forever?

Such things
Make us worry
In the thin light
Of October.
 
 
 
—Public Domain Photo Courtesy of Joseph Nolan
 
 

HIBERNATION
—Joseph Nolan

What would hibernation
Mean to you
If we were too many
Or we were too few?

If you had
Nothing else to do,
Would you choose to “sleep it off,”
Hoping not to awaken
With a troubling cough?

What if the world were put to sleep?
You had to close your
Non-essential business,
Go home,
Let cobwebs creep,
Over everything you knew,
Avoid your friends and lovers, too?
Would you feel bearish
In your mornings?

Would you
Go into mourning?

For a life that was not led,
For all the dreams stuck in your head
Living life like you were dead
Because of a disease,
For you, as yet, unborn?
 
 
 
—Public Domain Photo Courtesy of Joseph Nolan
 

 
BODY CONCEPTIONS
—Joseph Nolan

I prefer to think of my body
As composed of feathers and light.
The thought of decomposition,
After death, seems somehow not right.

I know that it will happen
But never, I hope, to me;
Maybe just to my body,
After my soul’s been set free,

From its mortal
Cage of bones,
With spirit to merge
And never, alone,
To anymore, be,

Like an old
Suit of clothes,
Offloaded and discarded,
Stripped away,
Separated from me. 
 
 
 
Anthony Bourdain, Top Chef
—Public Domain Photo Courtesy of Joseph Nolan 

 

TOP CHEF
—Joseph Nolan

(with a nod to Anthony Bourdain)

Completely lost,
Completely wasted,
Completely raw,
The man
In the chef’s hat
Walks the kitchen’s
Galley floor.

He’s been there
Far too long
To know what
It’s been for.

He only knows
The show
Must keep going,

He hollers
Orders out
Above the din
Of shouting
Waitresses
Who’d never
Let him in;
They know where
He’s been.
It isn’t pretty.

He just goes on and on
Since he is now
The Top Chef
And the restaurant’s destiny
Is tied to his apron strings. 
 
 
 
—Public Domain Artwork Courtesy of Michelle Kunert
 

 
INSECT COLLECTION
—Michelle Kunert, Sacramento, CA

One of the stupid and utterly useless things I had to do in junior high school was make an “insect collection”
    It was along with other exercises in the defilement of being in awe of God’s creation in nature, such as dissecting frogs
    Like trophy hunting, insect gathering for “science” can also remove otherwise healthy, functioning animals from the ecosystem
    I had no problems with capturing and killing “pests” such as flies, cockroaches, mosquitos, fleas, and moths
    but after watching a butterfly I caught slowly suffocate in a poisoned jar, I just couldn’t do that again
    and it saddened me to figure out how to open up the dead butterfly’s closed wings to pin it flat for mounting
    I’ve figured since that those who enjoy killing butterflies just to display their bodies on shelf cases have a sort of mental illness
    I also figured insect collecting is a “gateway” to lead to kids to later shoot and kill animals for “taxidermy"
 
 
 
—Public Domain Photo Courtesy of Michelle Kunert
 


After The Smith’s Morrisey song, “Girlfriend in a Coma”, 1987

—Michelle Kunert

I have to thank Morrisey of The Smiths for an extreme turn on the “sleeping beauty myth" with his song, “Girlfriend in a Coma”  
Somehow the woman in this tale has been possibly cursed or cast into an "unresponsive hibernation” state, possibly from the man!—
It’s not an evil witch who put her into “sleep”, but the man in this story who regrets not being a heroic prince to her
the coma may be, also, the woman’s own doing, in response to how he was to her in waking life
and now the man struggles with his conscience as to whether he wants to wake her, even though he misses her  
 
 
 
—Public Domain Artwork Courtesy of Michelle Kunert
 
 

THIS IS A HOLDUP
—Caschwa, Sacramento, CA

behold the American flag
waving proudly to
celebrate an insurrection

behold the marriage certificate
the first prerequisite to
celebrate getting a divorce

behold the Constitution
and its Amendments
to celebrate freedoms we allow ourselves

behold the Sheriff’s shiny star
accompanied by deadly force
to celebrate my way or the highway 
 
 
 
—Public Domain Photo Courtesy of Joseph Nolan
 

 
WE THE PERSONA NON GRATA
—Caschwa  

were once a collective of people with
common needs who consented to be
governed by a system of rules that
addressed those needs

now our very needs are seen as a dire
threat to the money stream that feeds
the super rich, top one percent, and so
we are now regarded as a liability to big
business, so much so that we have been
demoted to a level far below mere, human
“people” to that of disposable chattel, like
tissues that are used once and then
thrown away

it is as if all of the temerity and self-
righteousness our ancestors mounted to
abolish slavery and win a Civil War is
now being deflected back to us by a small
minority of contemptuous, gluttonous
stakeholders whose only goal is to amass
a bigger and bigger stake 
 
 
 
—Public Domain Artwork Courtesy of Joseph Nolan
 
 

ICY DISPASSION
—Caschwa

(prompted by Joyce Odam’s “Boat
With Crows”,
Medusa’s Kitchen,
October 19, 2021)


a giant, overloaded container ship,
crowded with hopes of freedom, justice,
fairness, and peace, sits just beyond
the breakwater, hibernating while
awaiting the signal to forge ahead and
unload its cargo of keenly benumbed
passengers, and return empty, to the
homeland that had abused them and
denied them basic human rights

this is the docket being tabled by our
esteemed Congress, each immaculate
member frozen in the fear that breaking
the ice might interrupt their warm and
cozy revenue stream, gobs of old money
endowments, generations in the making

a crow enters and joins the silence…..no
matter what it says, its voice is not welcome
 
 
 
—Public Domain Photo Courtesy of Joseph Nolan
 

 
IT TAKES YOU AWAY
—Caschwa

(after reading Jean Jones’ wonderful
treatment of how people respond to
other people,
Medusa’s Kitchen,
October 20, 2021)


what is the age when kids become
overwhelmed by the feeling that they
really, truly, must be taken to some
amusement park or else life is over
for them?

with that in mind, it is all the sudden
no big coincidence that the marketing
divisions of giant corporations reach
out to that age to bring in whole new
generations of customers for their
alcohol, tobacco, firearms, drugs,
gambling, prostitution, etc. ...the whole
product line of vices and addictions

reinforced, of course, by the daily
exercise of watching one’s elders
devote their entire fame and fortune
to the pursuit of those questionable
activities

until the only remaining choice they
have is to storm through those “adults
only” doors and announce their little
selves all grown and ready
 
 
 
—Public Domain Photo Courtesy of Joseph Nolan



RANDOM THOUGHTS
—Caschwa

(after reading the poetry of
Mike Hickman, particularly
“Back Today?” and “Arcs”
in
Medusa’s Kitchen,
October 23, 2021)

 
There I was, an account holder
in quite good standing, back today
bickering with an ATM about how
that financial institution, ANY financial
institution, should make it easier for
the customer to communicate
his wishes

of course my request was denied,
the damn machine only spitting up
a crumpled receipt stating “funds
not available” with all the heart and
compassion of a pay phone demanding
“exact change only” when it knew or
should have known folks need that
change for the toilet

***

I am a star on the big screen, but you
probably know me better from my day
job as a brake drum in your left rear
wheel; it is very tiring to endure those
continuous arcs of sparks that occur
from metal on metal, and they don’t
allow me a stunt double, so I have to
just do what I can until I fall apart…

______________________

Today’s LittleNip:

EMERGING
—Joseph Nolan

There’s no point
Being abstract
In a schism.

Pastels
Fail to shine
On a hazy day.

Summer slips away,
Leaving you to deal
With all that’s Fall!
 
 
 
—Public Domain Artwork Courtesy of Michelle Kunert
 
 
_________________________



Here we are, last week before Halloween, with our playful-yet-serious poets and photo-givers helping us along on what is, here, a stormy Monday. Our Seed of the Week is Hibernation—though, I don’t know about you, but I think I’ve been in hibernation for several years, now… and intend to stay there, like a grumpy old bear.

Playing on our on-going “snake” theme, Michelle Kunert has sent us a recipe for snake repellent: balconygardenweb.com/natural-snake-repellent-plants-that-repel-snakes/?fbclid=IwAR2bkbYK9xAL3cgeUlVU5gsKph0nTUTbK4JpNEQ5tNJAynEEcUMvTIkJi_E/. *sigh* Our snake theme, in case you weren’t around back in the early ‘oughts, originated from Rattlesnake Press’s motto, “Poetry With Fangs”, and all its spin-off characters, including LittleSnake who appears at the bottom of each Kitchen post. When I started Medusa’s Kitchen in 2004, Medusa came about because of all the snakes (publishing ideas) coming out of my head. (And, of course, my personality is pretty much Medusa-esque…) So, Michelle—repel those snakes? I think not—though, as I used to say, the only thing that scares me more than poetry is snakes…
 
 
 
—Public Domain Artwork Courtesy of Michelle Kunert
 
 
 
In terms of our current Seed of the Week, Hibernation, Michelle reminds us of Anne Sexton’s “Briar Rose” (www.poemhunter.com/poem/briar-rose-sleeping-beauty), and she has sent us some lovely paintings of the “hibernating” Briar Rose (Sleeping Beauty). Michelle also sent a quote from Wikipedia: “Researchers have studied how to induce hibernation in humans. The ability to hibernate would be useful for a number of reasons, such as saving the lives of seriously ill or injured people by temporarily putting them in a state of hibernation until treatment can be given. [Star Trek does this all the time.] For space travel, human hibernation is also under consideration, such as for missions to Mars. Archaeologists are also studying whether hibernation was possible in early hominid species.” See also: Suspended Animation (www.theguardian.com/science/2019/nov/20/humans-put-into-suspended-animation-for-first-time), which Stephen Kingsnorth mentions in one of his poems today. Thank you, Michelle, for sending photos and other riffs on our Seed of the Week, and thanks to today’s other poets for sending poems on hibernation—and everything else—including Stephen Kingsnorth and Joseph Nolan for his tribute to Chef Anthony Bordaine, and Carl Schwartz for his riffs on three of our recent poets.
 
 
 

 
 
Tuesday (tomorrow) is Sacramento Poetry Day, as proclaimed 35 years ago by then-Mayor Anne Rudin, bless her heart! See: www.facebook.com/events/201435748767913?ref=newsfeed for info, and note:

•••Mon. (10/25): Sac. Poetry Center’s Monday reading is MOVED to tomorrow—see below:

•••Tomorrow (10/26), 7pm, in-person and online (note change of day): Sacramento Poetry Center presents Viola Spencer, Patrick Grizzell and Andru Defeye plus open mic to celebrate the 35th Sacramento Poetry Day. 25th & R Sts., Sac. This event is free but seating is limited. Attendance in-person requires a ticket (reservations). See sacramentopoetryday2021.brownpapertickets.com/. Or attend online in the usual way: us02web.zoom.us/j/7638733462/. Meeting ID: 763 873 3462/; password: r3trnofsdv/. To comply with Covid protocol standards (and to help protect immuno-compromised participants and audience), admission will require presentation of Covid Vaccine card, no-contact temperature taken at door, masks worn inside, and as much distance as possible kept in the theater.
 
And check out the Sacramento Bee article in today’s edition at www.sacbee.com/news/local/sacramento-tipping-point/community-voices/article255191557.html/.

•••Wed. (10/27), 6-7:30pm: City Lights Booksellers & Publishers (www.facebook.com/CityLightsBooks) presents Diane di Prima Memorial Tribute, marking one year since her passing in Oct. 2020. Readers include Hanif Abdurraqib, Garrett Caples, Cedar Sigo, Sunnylyn Thibodeaux, Wendy Trevino and more guests to be announced. 201 Columbus Av., San Francisco. Info/(registration required): citylights.com/events-category/diane-di-prima-memorial-tribute/.

•••Thurs. (10/28), 4:30pm: Sac. Poetry Alliance Literary Lectures presents Sarah Browning, who will speak about activist poetry. The ZOOM link for ALL Literary Lectures is us02web.zoom.us/j/81872835469/.

•••Sat. (10/30), 2pm: Poetry of the Sierra Foothills features Lucille Lang Day plus open mic, Love Birds Coffee & Tea Co., 4181 Hwy 49, Diamond Springs, CA (where Hwy 49 meets Pleasant Valley Rd.). Host: Lara Gularte.

The Poetry Box (up in Portland) reminds us that there are only SEVEN days left until 10/31, the end of this submission period for poetry and art for this issue of
The Poeming Pigeon. Info: thepoetrybox.com/the-poeming-pigeon?mc_cid=b86a8230e8&mc_eid=b02a0f9fa2/.

Also deadline: Oct. 31: Finishing Line Press Open Chapbook Competition: $1500 and publication for a chapbook-length poetry collection, perfect-bound print. Info: finishinglinepress.submittable.com/submit/199003/2021-open-chapbook-competition?fbclid=IwAR2FXppHW8F3yif7FQDF9dK03-qHyGi_jPl_HdGNXfnDjUeMXIzHu1Zzx_w/.

___________________

—Medusa
 
 
 
 —Public Domain Photo Courtesy of Joseph Nolan
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 


Photos in this column can be enlarged by
clicking on them once, then clicking on the x
in the top right corner to come back to Medusa.

Would you like to be a SnakePal?
All you have to do is send poetry and/or
photos and artwork to
kathykieth@hotmail.com. We post
work from all over the world, including
that which was previously-published.
Just remember:
the snakes of Medusa are always hungry—
for poetry, of course!
 

 


















 

Sunday, October 24, 2021

Hannibal Marches On

 
—Poetry by Jack D. Harvey, Delmar, NY
—Photos and Artwork Courtesy of Public Domain


ZAMA

Hannibal at Zama:
among the cannibals
an eye as fierce as any.
A quick revenge
proved slow as sand
in an hourglass;
the swamps, the lake,
like dreams
on the long marches
back and forth
across the Roman boot.
Elephants wonder
how many there were to
defeat, again and again;
so many legions,
beast against beast.
Then a pause.
Loss follows loss,
an old general
makes his last stand;
unfortunate palaver
at the end;
then slaughter
complete as a harvest.
Down the drain
goes Carthage,
gone for good,
and history can't tell
us what was
left among the ruins,
and what was not left.
We see Cato's fields of salt,
the old Greek
tells us a thing or two,
sharpening his point,
and then
blue skies
under which
Hannibal
paints with red paint.

The bodies glisten
at Zama
the bodies glisten;
and then zebras
and then the brimming sand.
 
 
 
 
 
 
PERIPATETICS

We have here to speak
of stone benches,
hard and uncomfortable,
mostly antiquarian,
of peculiar significance
in the lives of those citizens
of the world, those old Greeks
and the others,
scholars and vagrants,
walking and sitting, sitting and walking,
thoughtful heads, sensitive souls,
sore behinds;
philosophers all, of one
sort or another,
but a hard bench
is a hard bench.

The way in which they
won comfort from the hard stone
was by fortitude or willpower
or plain indifference,
standing the pain on its head,
or, for the less limber of mind
or more resourceful,
by collecting rags in the streets
or boughs fallen
from trees along the concourse.

Symbolizing the common rights
of noble-minded men they sit.
Their tired feet become
precious necessary relics,
delicate and easily broken.

Their thoughts collapse
on their own lives,
troubled by too much
time spent on the road;
the bleak consequences of
loneliness and deprivation
make them old
before they know it,
cold to the world
and even wisdom and
history have no comfort,
no good end.

Like the hero of the Odyssey
they return eventually,
but they return unrecognized
and leave again incognito.

Sitting alone, in the days,
in the nights, wayward
in their thoughts,
the history of Rome, eternal city,
compassed in blocks of
stone on the hills;
the tragic emperor's reign
no more than the life
of a precocious child. 
 
 
 
 
 
 
MICHAEL THE PAPHLAGONIAN

Michael’s fingers
were big as his arms,
riding in from
a good war;
sick as a dog,
he won acclaim.

A long disease does more
to our souls
than our bodies;
the fretful blood
and flesh accept.

God called,
Michael answered
at the last;
the crown of gold
exchanged for
the white robes
of the anointed,
the helmet of salvation.

At the sacred font,
omphalos of
God’s mother,
Michael stands;
dipped in the
watery hole
Michael emerges,
waiting on death
like a good servant.
The mystic waters
close again,
unbroken
as Christ’s belly.

Take, O take
these bleeding guts
away, whispers Michael
to his servants.
Tottering off,
he remembers Zoe
betrayed in her palace,
a moment’s pleasure repaid.

He has gone to
his reward,
they say,
looking skyward.
In a golden halo
he smiles from
his beautiful picture;
art for life.

Psellus told too much
and not enough about
those troubled times;

again and again
never to touch
the groping fingers
find the reins.
 
 
 

 
 
ON THE MARCH

It's a long high fly,
going, going,
the slow army,
elephants and all,
from the Alps descending,
going deep towards the belly button,
the breadbasket of Rome.

Along the Trebia flats,
the shores of the Trasimene,
Roman soldiers fell in droves,
legion by legion,
covering the ground
like the glittering leaves of autumn
or driven to drowning in the lake;
the silent uncaring water
swallowed them whole.

Fabius Cunctator, old and wily,
waiting in the wings,
patient for the reckoning;
but not his turn,
not his time;

Hannibal marches on. 
 
 
 

 
 
Today’s LittleNip:

YOU’RE ONLY DEAD ONCE
(Odyssey Book XI- Nekuia)

Farming not at all
we like,
the pasture boggy and
the day dirt-long with toil.

In the kingdom of the dead
Achilles’ flap
about working a live sharecropper
than ruling the death-house—
he must have been kidding.

He was.

Toil is lady luck’s backside,
unfurnished and smelly;
give me ghosts and
the rest of eternity.

___________________

We have another new poet in the Kitchen, today! Jack D. Harvey’s poetry has appeared in
Scrivener, The Comstock Review, Valparaiso Poetry Review, Typishly Literary Magazine, The Antioch Review, The Piedmont Poetry Journal and elsewhere. He has been a Pushcart nominee, and over the years has been published in a few anthologies. Of the poems he sent us today, “Zama” was previously published in Pyrokinection; “Peripatatics” in Sybil Journal; and “Michael the Paphlagonian” and “You're Only Dead Once” in Mediterranean Poetry.

Jack has been writing poetry since he was sixteen, and he lives in a small town near Albany, New York. He is retired from doing whatever he was doing before he retired. He once owned a cat who could whistle "Sweet Adeline", use a knife and fork and killed a postman. His book,
Mark the Dwarf, is available on Kindle at https://www.amazon.com/Mark-Dwarf-Jack-D-Harvey-ebook/dp/B019KGW0F2/.

Jack’s book, alas, has not exactly set the world on fire, but competing against the likes of Harry Pothead and the Sorcerer's Behind and Strictly From Hunger Games is tough going for those of us old enough to have received an education in what is usually referred to as "the classics." Our literary endeavors, alas, are out of joint with the times.

Well, Jack, you’re not out of joint with Medusa’s Kitchen, so come back soon and don’t be a stranger!

__________________

—Medusa
 
 
 
Jack Harvey







 






Photos in this column can be enlarged by
clicking on them once, then clicking on the x
in the top right corner to come back to Medusa.

Would you like to be a SnakePal?
All you have to do is send poetry and/or
photos and artwork to
kathykieth@hotmail.com. We post
work from all over the world, including
that which was previously-published.
Just remember:
the snakes of Medusa are always hungry—
for poetry, of course!