The Drowning House

(for Jenny)

by Marian Lamin

such giant waves
such undulating lines of all too fragile wood
floating away
black tiled roof, unmoored, caves and
tumbles headlong
into the basement’s filthy wake of forgotten toys,
chipped china teacups, diceless board games.

the house is drowning; the house from
Kennebunk, Maine
bought one summer when the car broke down
on the way to Manset.
the blue house with a black door: painted, furnished,
wallpapered, electrified.

what then of the family? the dolls from Germany:
Peter the husband, his wife, (named for me)
three tow-haired children
the collie with his paw up

night bugs survey the ruins;
no survivors of this flood.

Marian Lamin: After years as a writer of fiction and nonfiction, I began writing poems and find that poetry is the most difficult and satisfying of art forms.

What Hath God Rothed

by Phyllis Kriegel

A troika of Roths—Joseph, Henry and Philip
Had roots in Galicia (Austro-Hungary’s
Scorned and backward province).
Breeding place of shtetl sons
With scores to settle
Who used words as weapons
To fabulate and manipulate:
Dissemblers, tricksters, wordsmiths, scribblers
In different generations,
Now archived side by side.

Moses Josef Roth of Brody
Shed the Moses, assumed a monocle–
Wrote flawless German, became dandified Austrian,
Called himself an accidental Jew,
Cranked out short works
That said true things in half a page.
Lived on the run out of two suitcases
in six countries.
The Nazis banned and burned his books.

Henry, born Herschel in Tymenitz
Transplanted to America, took root
In East Side slums
At 27 writes Call it Sleep — a classic.
Piled realism, surrealism, parody and parable.
Sixty years of writers’ block
Critics dubbed him one-book wonder.
Then crafts a late life opus
Mercy in a Rude Stream
Turns pain-ridden life into literary.

Philip, son of Bess and Herman with Galician roots,
Home- grown bard of Newark,
Celebrated by the critics
Bad-mouthed in Jewish press
Scourge of rabbis, bane of ardent feminists–
Has chutzpah enough to ignite an audience
Folded his own life (post assimilation, angst-ridden Jew)
Into Portnoy, Zuckerman and “Philip Roth.”
After some thirty books and prizes enough to fill a dumpster
Calls it quits and quietly awaits the big Nobel.

Phyllis Kriegel: Editor, teacher, radio host, feminist activist, painter and constant student. To her surprise and delight, she finds the maxim “only connect” dramatically realized in late life.

Chamber Music – Alice Tully Hall

by James Gould

White-maned men in masses descend the carpet stairs,
Some cling to long-term mates, or failing that, a railing.
Sections found, rows deciphered, untrustworthy bodies glacial slide
Past ushers young and old, sideways shuffle to their seats, till settled.

Programs spread, the forgetting of body begins.
Bows point up, sharp breath intake, as fugue’s celestial sounds
Make spirit halves of self soar far above the fleshly part.
With note and measure and bar and movements until the final crescendo.

Before applause a silence
As spirits fold their wings
And settle again to aging nests
And slowly up the stairs,
Merely mortal once again.

James Gould, since retiring after 34 years of patent litigation, has pursued non-legal writing in many genres, including travel, self help, short story and children’s stories. Present projects include a memoir and a screenplay. He also loves travel and City culture.

Buddha’s Delite*

(A Sonnet about a Jig Saw Puzzle)

by Mark Fischweicher

Autumn Leaves Along Philosopher’s Walk – Kyoto:
2016 very small pieces, all red and orange, all gold and yellow;
Some ginger, some saffron… persimmon, sangria, mahogany… Pumpkin! … …..maroon.
Lava and lust,    scarlet and rust,    raspberry, mustard… and prune.
and the last one, all amber, and hidden, under the couch’s ‘khaki’ pillow.
“Let’s go… It’s done,” says June.

Relax, I frown, was the struggle to finish this just a mandate to move on?
Has part two then, always been the best part of part one?
And is the practice of the form then, never really done?
“Everything fits!” I moan, “don’t throw it out so soon.”

Remember: Siddartha, at 30, renounced his throne. He starved.
So weak, so frail, while bathing, he almost drowned.
Eat! said the village girl, it will place you on firm ground.
Savor my sweet milk rice-pudding till the last leaf comes down.

* After weakening himself for months, following a stern asceticism, Buddha accepted a bowl of rice pudding from Sujata, a village maiden, and with this renewed strength, came to his enlightenment and the middle path.

 

Mark Fischweicher has been scratching out poems since junior high school and still hopes it may become a regular thing.

End Zone

by Mark Fischweicher

Only after the game,
(Three hours selling beer in the bleachers),

Only then
could I bring myself to say

Oh Buddha,
What joy I have seen –

Gulls –
……..fall on the stands,

…………..Sunset forms rows.

…… No fans watching.

All so much garbage

…….Even the birds soon gone.

Mark Fischweicher has been scratching out poems since junior high school and still hopes it may become a regular thing.

杜甫* in Bryce Canyon

by Mark Fischweicher

I take you down the trail with me, Du Fu.
I give you these canyons,
inhospitable, bleak, barren rock.
Perfectly Pink Utah podiums, cut
into postcard ruins.
Free as dust, lifted from the sea 60 million years ago,
posing now as lacy steeples, limestone royalty,
frayed old chessmen waiting for the next move.

That ridge – they call The Sentinel,
there, Thor’s Hammer; there, The Sinking Ship and
there, in the distance,
Chinese Wall,
not as long, I admit
but with the same moon over it;
the same moon over all.

I smile at the sadness you bring me.
The Cretaceous ocean hasn’t invaded North America for eons
but I see it washing up against the Gulf Coast now,
ready to devour Florida at any time
ending the lines at Disneyland,
leaving only canyons behind.
Not even canyons, just the wind and the dust,
already characters in your cracked
old poem.

I have read poetry for many years and make but little pretense.
The blooming lilies do not make me weep,
The singing birds here do not shock my heart.

The dust claws at it.
The frost chips away at it,
and the wind, silent now,
as much a part of it as you are,
having died a thousand years ago or more
and never having heard of U
tah
as it will hear of you.

But “No one listens to poetry,” said Jack, says the wind
again and again.
The way we’re going,
Someday it might all look like Utah,
deserted courtyards, swept clean as any yard in Athens,
Georgia,
clean as your prince’s garden, Du,
the one in ruins that you saw,
that made you see that nothing would be left,
not the palace, not the pinnacles
not even the poem.
No volcanoes left to erupt the white pages.

Whether we imagine it or not
the palace is gone, the poems, annotated,
followed by questions and a possible quiz.

The wind does not need to be heard.
Quietly,
the oldest trees arch their roots
into the sloping red dust that no longer reminds me just of you, Du,
now that you are here,
that coats my shoes as I walk now with Simon, my five year old.

And, that summer –
the rivers flooded the midwest,
drought and heat burned up the east,
Sarajevo continued to die,
Akita was buried in ash
and New Yorkers
headed for the beaches
once again. . .

“Paiutes called them legend people,
turned to stone by Coyote’s anger.”
Simon heard the story,
saw a postcard of Mount Rushmore
and noted how angry the Gods must’ve been at those guys.

And, further south in Arizona, all that’s left
are monoliths, huge single stones spread across
a vast valley of dust and sand.

Years ago, I stopped there in an old blue Plymouth,
Valiant,
not us; we had to sleep in the car.

The wind rocked the chassis much of the night
and painted it, covered it with the red sand,
ready to take us in.

Ready to take us
in.

*Du Fu ( 712-770) – Tang Dynasty poet.
The poem cited is Kenneth Rexroth’s translation of Jade Flower Palace

 

Mark Fischweicher has been scratching out poems since junior high school and still hopes it may become a regular thing.

Teresa Ahumada Cepeda de Avila

by Mireya Perez Bustillo

I will speak to you
who came from far
to this my Avila
to see my dried up sandal
and my defiant bone,
my right middle finger,
the only one not stolen by the
Holy Fathers for their reliquaries.
see, this relic of my flesh
desecrated by this emerald, that Indians
died for, that I never wore in life.
Do you see this spot? Here he
came to me and it was sweetness.
What do you think was that
fragrance lingering in my inviolate
body that so drew the clerics?
His fragrance in me.
You call me Santa. What did
I do? All I wanted was to
fight the Moors as in the romances
of chivalry and to have a swain
rescue me from the crenellated heights.
I was just a woman whose dream came true.

Mireya Perez Bustillo: Mireya’s poems invoke a powerful array of spirits. Her poetry appears in Caribbean Review, IRP Voices, Anthology of Colombian Women Poets, among others.

Memory

by Eileen Brener

Our green cottage, a small square,
chosen for distance from father’s
family, was set in a clearing.
From heaven’s view it seemed
a clear bull’s eye in a target
surrounded by a thick forest
of pines towering and dark.
We thought it belonged in a fairy tale—
the gentle kind with an unhappy
duck or a princess faint after a night
of dancing, but nothing of cannibal
stews, no shaggy shapeless creatures
who’d slip though our house’s tiny cracks
to eat all our food
or change us into lizards.

We bounded into the forest
looking for frogs to kiss or streams
full of talking fish. We left bread
crumb trails and always found
our way home.

Once we spied a raggedy man fishing.
We froze in our tracks, backed slowly
down the path.

Eileen Brener has enjoyed studying writing–poetry and prose–at the IRP.

An Etymologist Muses

Marco Polo (1254-1324) traveled through Asia for 24 years.

by Eileen Brener

My suitcase is packed—
overloaded, drooling
slivers of denim and fleece.
There’s no escaping it.
I’m “travailen”
from the Old French travailler
to suffer, torment, labor.
According to 14th century
Frenchmen, traveling
was suffering.

Go back to Vulgar
Latin via Anglo-French
for trepalliare: to torture;
           trepalium an instrument
of torture. Like Marco
Polo I must prepare
to be stranded (probably
in Atlanta), travel in endless
circles (over LaGuardia), face
constant miseries of hunger
and thirst. Next year I’ll plan
a journey: from the Old
French journee, a day trip.

Eileen Brener has enjoyed studying writing–poetry and prose–at the IRP.

In a Churchyard

by Eileen Brener

Sunday morning, feeling doleful, I drift
into a neighborhood rummage sale. There,
in front of the rooster-shaped teapot
with its four fat hen cups, salt and pepper
shakers lean and kiss, miscegenate.
The breadbox doesn’t care; it’s cozying
up to ceramic canisters. Meanwhile
a two-story dollhouse boasts blue plastic
chairs, quilted beds, open doors, perfect
maintenance: nothing mars this happy
home. . .

It breaks my heart.

Eileen Brener has enjoyed studying writing–poetry and prose–at the IRP.