April 14, 2011

21 Days/ 21 Poems: A Poem About Place

Boyhood in Tobacco Country

All I can dream tonight is an autumn sunset,
Red as a hayrick burning. The groves
Not yet leafless, are black against red, as though,
Leaf by leaf, they were hammered of bronze blackened
To timelessness. Far off, from the curing barns of tobacco
Blue smoke, in pale streaking, clings
To the world’s dim, undefinable bulge.

Far past slashed stubs, homeward or homeless, a black
Voice deeper and bluer than sea-heart, sweeter
Than sadness or sorghum, utters the namelessness
Of life to the birth of the first star,
And again, I am walking a dust-silent, dusky lane, and try
To forget my own name and be part of the world.

I move in timelessness. For the deep and premature midnight
Of woodland, I hear the first whip-o-will’s
Precious grief, and my young heart
As darkling I stand, yearns for a grief
To be worthy of that sound. Ah, fool! Meanwhile,
Arrogant, eastward, lifts the slow dawn of the harvest moon.

Enormous, smoky, smoldering, it stirs.
First visibly, then paling in retardation, it begins
The long climb zenithward to preside
There whitely on what the year has wrought.
What have the years wrought? I walk the house.
Oh, grief! Oh, joy! Tonight
The same season’s moon holds sky-height.

The dark roof hides the sky.


“Boyhood in Tobacco Country” by Robert Penn warren. Being Here: Poetry 1977-1980. Random House, 1980.



I first encountered Robert Penn Warren’s poetry in the Reading Room of the U.S. Consulate in Kingston, Jamaica. What drew me to the poems was the subtle intelligence behind the poems and the attempt to create community in a post-agrarian setting in which religious values were in decline.

I was moved then as I am now by the voice in “Boyhood in Tobacco Country” and the speaker’s yearning “To forget my own name and be part of the world,” in the face of a landscape that will that is oblivious to human passion.

And yet, the speaker despite his awareness of nature’s disregard, yearns to respond to  "the first whip-o-will’s/ Precious grief,” and to be “To be worthy of that sound.” The act of witnessing becomes the speaker’s answer to the “namelessness” of the landscape and is in a sense, heroic.



About Robert Penn Warren

Robert Penn Warren (April 24, 1905 – September 15, 1989) was an American poet, novelist, and literary critic and was one of the founders of New Criticism. He was also a charter member of the Fellowship of Southern Writers. He founded the influential literary journal The Southern Review with Cleanth Brooks in 1935. He received the 1947 Pulitzer Prize for the Novel for his novel All the King's Men (1946) and the Pulitzer Prize for Poetry in 1958 and 1979. He is the only person to have won Pulitzer Prizes for both fiction and poetry.

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April 13, 2011

Author Event: Under the Sun









Lip Service is teaming up with the award-winning radio show Under the Sun for an evening of live storytelling.  

This is a night like no other.  You will experience the heartbreaking, hilarious, personal stories of Lip Service--like watching people read their diaries--AND you will go behind the scenes to see how radio is made.
  
Date:  April 23, 2011
Time:  8 p.m.; doors open at 7:30 p.m.
280 Miracle Mile, Coral Gables, FL 33134

Tickets $15.  They will sell out, so buy yours today!  
Storytellers:
Andrea Askowitz
Terence Canterella
Aaron Curtis
Maria De Los Angeles
Robert Foote
Jeremy Glazer
Allison Langer
Esther Martinez
Brenda Mezick

Lip Service, produced by Andrea Askowitz and Esther Martinez, is a co-production of Books & Books.
Under the Sun, created by co-hosts Dan Grech and Alicia Zuckerman, is a co-production of WLRN and ZG Public Media.



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21 Days/ 21 Poems: The Divine

Shook Foil
1

The whole earth is filled with the love of God.
In the backwoods, the green light
is startled by blossoming white petals,
soft pathways for the praying bird
dipping into the nectar, darting in starts
among the tangle of bush and trees.
My giddy walk through this speckled grotto
is drunk with the slow mugginess
of a reggae bass line, finding its melody
in the mellow of the soft earth’s breath.
I find the narrow stream like a dog sniffing,
and dip my sweaty feet in the cool.
While sitting in this womb of space
the salad romantic in me constructs
a poem. This is all I can muster
before the clatter of school-children
searching for the crooks of guava branches
startles all with their expletives and howls;
the trailing snot-faced child wailing perpetual--
with ritual pauses for breath and pity.
In their wake I find the silver innards of discarded
cigarette boxes, the anemic pale of tossed
condoms, the smashed brown sparkle of Red Stripe
bottles, a mélange of bones and rotting fruit,
there in the sudden white light of noon.

2

How quickly the grandeur fades into a poem,
how easily everything of reverie starts to crumble.
I walk from the stream. Within seconds
sweat soaks my neck and back, stones clog my shoes
flies prick my flaming face and ears;
bramble draws thin lines of blood on my arms.
There is a surfeit of love hidden here;
at least this is the way faith asserts itself.
I emerge from the valley of contradictions,
my heart beating with the effort, and stand looking
over the banking, far into Kingston Harbour
and the blue into grey of the Caribbean Sea.
I dream up a conceit for this journey
and with remarkable smugness it fits:
this reggae sound: the bluesy mellow
of a stroll on soft, fecund earth, battling the crack
of the cross stick; the scratch of the guitar,
the electronic manipulation of digital sound,
and the plaintive wail of a grating voice.
With my eyes closed, I am drunk with the mellow
swimming, swimming among the green of better days;
and I rise from the pool of sound, slippery with
the warm cling of music on my skin
and enter the drier staleness of the road
that leads to the waiting city of fluorescent lights.




"Shook Foil" by Kwame Dawes. Shook Foil. Peepal Tree Press, 1997


In “Shook Foil,” Kwame Dawes has the audacity to declare: “The whole earth is filled with the love of God.”  It is a bold claim. For despite the natural beauty that surrounds the speaker, “green light /is startled by blossoming white petals,” the profane world, "this speckled grotto" creeps in: “the silver innards of discarded/ cigarette boxes, the anemic pale of tossed/ condoms, the smashed brown sparkle of Red Stripe.”

Suddenly everything collapses and seeking solace from the “valley of contradictions, it is the music, specifically reggae, that provides salvation: “the scratch of the guitar,/ the electronic manipulation of digital sound,/ and the plaintive wail of a grating voice.”

The redemptive power of the music provides ritual baptism: “and I rise from the pool of sound, slippery with/the warm cling of music on my skin” and from this he can re-enter the wasteland of the metropolis: "the drier staleness of the road/ that leads to the waiting city of fluorescent lights.”

In this poem, there is a divine symmetry of the human with music and the landscape-- evidence of a “natural mystic” transforming the mundane into the miraculous.



About Kwame Dawes

Kwame Senu Neville Dawes is a poet, actor, editor, critic, musician, and Louis Frye Scudder Professor of Liberal Arts at the University of South Carolina. He grew up in Jamaica where he attended Jamaica College and the University of the West Indies at Mona. He studied and taught in New Brunswick, Canada on a Commonwealth Scholarship. As a PhD student at the University of New Brunswick, he was editor-in-chief of the student newspaper, The Brunswickan.

Since 1992 he has been teaching at the University of South Carolina. He is a Professor in English and also Distinguished Poet in Residence, Director of the South Carolina Poetry Initiative and Director of the USC Arts Institute. He is also the faculty advisor for the publication Yemassee. He won the 1994 Forward Poetry Prize, Best First Collection for Progeny of Air.

Dawes collaborated with San Francisco-based writer and composer Kevin Simmonds on Wisteria: Twilight Songs from the Swamp Country which debuted at Royal Festival Hall in 2006, and featured sopranos Valetta Brinson and Valerie Johnson.

In 2009, Dawes won an Emmy Award in the category of New Approaches to News & Documentary Programming: Arts, Lifestyle & Culture. His project documented HIV/AIDS in Jamaica, interspersed with poetry, photographs, and other media. The website "Livehopelove.com" is the culmination of his project. He is director of the Calabash International Literary Festival, Jamaica.

Source: Wikipedia


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April 12, 2011

LIFELINES: The Black Book of Proverbs OFFICIAL Book Trailer















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21 Days/21 Poems: Fatherhood


My Father Sings to my Embarrassment

At Las Villas, a small Carol City bar with a makeshift stage,
where he spends too much time drinking,
pretending he can learn to play the guitar at forty-five,
become a singer, a musician,
who writes about “Que Dificil Es…”
to live in Spanish in Miami,
a city yet to be translated,
in a restaurant where he has taken us for Cuban food,
where I sit, frozen, unable to make a sound,
where mother smiles,
all her teeth exposed,
squeezes my hand,
where Mae and Mitzy hide,
under the table shielding them from shame
with a blood-red table cloth,
leaving my mother and me,
pale-faced, trapped by the spotlight shifting on our eyes,
making it difficult for us to pretend
we do not know the man in the white suit
pointing to us.

“My Father Sings to my Embarrassment” by Sandra M. Castillo. My Father Sings to my Embarrassment. White Pines Press, 2002.

In “My Father Sings to my Embarrassment” Castillo dramatizes the speaker’s predicament in the father’s attempt to remake himself in the new land and the unease that his behavior causes for the rest of the family. The apt descriptions describe a scene in which the speaker feels as if her family has become the focal point of attention: “mother smiles/ all her teeth exposed,” and “Mae and Mitzy hide/ under the table shielding them from shame.” Their predicament is heightened by the setting, ‘a small Carol City bar with a makeshift stage,” where the family is trying “to live in Spanish in Miami/ a city yet to be translated.”

This has always been one of my favorite poems by Sandra Castillo. Her poems dramatize the hyphenated existence on many exiles in Miami and provides a much needed perspective on an issue that has been dominated by male poets. Castillo's voice is singular in her ability to write about her heritage and is an elegant blend of memory and the urgency of the present.






About Sandra M. Castillo

Sandra M. Castillo is a poet and South Florida resident. She was born in Havana, Cuba and left the island of her birth on one of the last of President Johnson’s Freedom Flights.

She attended Florida State University, receiving both a Bachelor's and ultimately Master's degree in Creative Writing.

[Castillo has said that she is haunted by all things Cuban and that much of what she remembers about her Cuban childhood, those eight years of her life, linger in her memory like photographs, like ghosts. Her Tio Berto, to whom she has made repeated references, was an amateur photographer whose photographs documented not only her family's past but a Cuban life. Such photographs captivated her and "formed the basis of [her] aesthetic."] She writes about loss, history, gender, language and explores issues of memory. Her work "depicts contradictory worlds, the memory of a homeland and memory politics while examining the ordinary reality of exile.

Source: Wikipedia

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April 11, 2011

Tribal DDB Caribbean: Logo Competition


Tribal DDB Worldwide, the award-winning, digitally-centric global advertising agency, is launching their Caribbean division - Tribal DDB Caribbean within the coming weeks. 

In an effort to capture the image that best illustrates the Caribbean, and in keeping with our drive towards social creativity, we have decided to crowdsource the logo design for the brand and will be inviting participants from across the Caribbean to submit their designs. 

Anyone with a Facebook account can log onto our Facebook page, check out the app, design their version of the logo and post it.

We are committed to promoting creativity, technology, and connectivity throughout the region.
The competition will have a life-span between 2-3 weeks with the top ten entries (decided by amount of feedback on the submission) will be featured in an event at Rostant DDB Offices. During this media event, the winner will be announced and the logo for Tribal DDB Caribbean revealed. 

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21 Days/21 Poems: A Poem You Sent to Someone

Tu Risa


Quítame el pan, si quieres,
quítame el aire, pero
no me quites tu risa

No me quites la rosa,
la lanzaque desgranas,
el agua que de pronto
estalla en tu alegría,
la repentina ola
de plata que te nace.

Mi lucha es dura y vuelvo
con los ojos cansados
a veces de haber visto
la tierra que no cambia,
pero al entrar tu risa
sube al cielo buscándome
y abre para mí todas
las puertas de la vida.

Amor mío, en la hora
más oscura desgrana
tu risa, y si de pronto
ves que mi sangre mancha
las piedras de la calle,
ríe, porque tu risa
sera para mis manos
como una espada fresca.

Junto al mar en otoño,
tu risa debe alzar
su cascada de espuma,
y en primavera, amor,
quiero tu risa como
la flor que yo esperaba,
la flor azul, la rosa
de mi patria sonora.

Ríete de la noche,
del día, de la luna,
ríete de las calles
torcidas de la isla,
ríete de este torpe
muchacho que te quiere,
pero cuando yo abro
los ojos y los cierro,
cuando mis pasos van,
cuando vuelven mis pasos,
niégame el pan, el aire,
la luz, la primavera,
pero tu risa nunca
porque me moriría.

"Tu Risa" by Pablo Neruda. Cien Sonetos de Amor [Translated by Stephen Tapscott] University of Texas Press,  1986.


My exile had just begun in Miami. I was twenty-one an in love with a girl from Colombia. Pablo Neruda, the Chilean poet, was my only hope of speaking to her:

Mi lucha es dura y vuelvo
con los ojos cansados
aveces de haber visto
la tierra que no cambia,
pero al entrar tu risa
sube al cielo buscándome
y abre para mí todas
las puertas de la vida.




Neruda was to become my constant companion for the next thirty years, not only because of his startling verse with its rugged physicality matched by the sheer abandon of his associations, but his willingness to express his love for Matilde openly, Neruda’s verse is filled with phrases such as “quiero tu risa como/ la flor que yo esperaba,” which he uses without any fear of sounding mawkishly sentimental, and which are testaments to his deep abiding love for Matilde;

Plena mujer, manzana carnal, luna caliente, 
espeso aroma de algas, lodo y luz machacados, 
qué oscura claridad se abre entre tus columnas? 




Pablo Neruda (July 12, 1904 – September 23, 1973) was the pen name and, later, legal name of the Chilean poet and politician Neftalí Ricardo Reyes Basoalto. He chose his pen name after Czech poet Jan Neruda.

Neruda wrote in a variety of styles such as erotically charged love poems as in his collection Twenty Poems of Love and a Song of Despair, surrealist poems, historical epics, and overtly political manifestos. In 1971 Neruda won the Nobel Prize for Literature. Colombian novelist Gabriel García Márquez once called him "the greatest poet of the 20th century in any language.” Neruda always wrote in green ink as it was the color of hope.

On July 15, 1945, at Pacaembu Stadium in São Paulo, Brazil, he read to 100,000 people in honor of Communist revolutionary leader Luís Carlos Prestes.[2] During his lifetime, Neruda occupied many diplomatic posts and served a stint as a senator for the Chilean Communist Party. When Conservative Chilean President González Videla outlawed communism in Chile in 1948, a warrant was issued for Neruda's arrest. Friends hid him for months in a house basement in the Chilean port of Valparaíso. Later, Neruda escaped into exile through a mountain pass near Maihue Lake into Argentina. Years later, Neruda was a close collaborator to socialist President Salvador Allende. When Neruda returned to Chile after his Nobel Prize acceptance speech, Allende invited him to read at the EstadioNacional before 70,000 people.

Neruda was hospitalized with cancer at the time of the Chilean coup d'état led by Augusto Pinochet. Three days after being hospitalized, Neruda died of heart failure. Already a legend in life, Neruda's death reverberated around the world. Pinochet had denied permission to transform Neruda's funeral into a public event. However, thousands of grieving Chileans disobeyed the curfew and crowded the streets

Source: Wikipedia

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April 10, 2011

America: Insufficient Funds?


One of the forgotten metaphors of Dr. King’s “I Have a Dream” speech is a check:

In a sense we have come to our nation's capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men would be guaranteed the inalienable rights of life, liberty, and the pursuit of happiness.

It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check which has come back marked "insufficient funds." But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. So we have come to cash this check -- a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now.

It is ironic that at a time when many of those who marched and cashed the check for civil rights should now be told as they are entering retirement age that there are insufficient funds in a system in which they involuntarily invested a portion of their payroll. It is also ironic that a president who was elected from Chicago should be leading the nation at this time of so-called fiscal insufficiency.

Yet, for better or worse, this has never been the dream that America has ever had of itself, nor should it ever be as Carl Sandburg’s Chicago Poems remind us:

Hog Butcher for the World,
Tool Maker, Stacker of Wheat,
Player with Railroads and the Nation's Freight Handler;
Stormy, husky, brawling,
City of the Big Shoulders:
They tell me you are wicked and I believe them, for I have seen your painted women under the gas lamps luring the farm boys.
And they tell me you are crooked and I answer: Yes, it is true I have seen the gunman kill and go free to kill again.
And they tell me you are brutal and my reply is: On the faces of women and children I have seen the marks of wanton hunger.
And having answered so I turn once more to those who sneer at this my city, and I give them back the sneer and say to them:
Come and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning.
Flinging magnetic curses amid the toil of piling job on job, here is a tall bold slugger set vivid against the little soft cities;
Fierce as a dog with tongue lapping for action, cunning as a savage pitted against the wilderness,
Bareheaded,
Shoveling,
Wrecking,
Planning,
Building, breaking, rebuilding,
Under the smoke, dust all over his mouth, laughing with white teeth,
Under the terrible burden of destiny laughing as a young man laughs,
Laughing even as an ignorant fighter laughs who has never lost a battle,
Bragging and laughing that under his wrist is the pulse, and under his ribs the heart of the people, Laughing!
Laughing the stormy, husky, brawling laughter of Youth, half-naked, sweating, proud to be Hog Butcher, Tool Maker, Stacker of Wheat, Player with Railroads and Freight Handler to the Nation.

What we are facing is not a failure of fiscal policy; it is a failure of the imagination.





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April 8, 2011

21 Days/ 21 Poems: A Recent Memorable Poem

 If You are Lucky

If you are lucky
you will carry one night with you
for the rest of your life,
a night like no other.
You won’t see it coming.

Forget the day, the year.
It will arrive uninvoked,
an astrological anomaly.

You will remember
how every cell in your body
knew him, this stranger,

how you held your breath,
the way you searched his face.
This is how such evenings begin.

And you will be real in your skin,
bone and sinew; the way you always thought
you could be. Effortlessly
This is how you will fit together.

His parted lips between your thighs,
your half-lit nipples darkening,
the hot-breathed arrival of desire,
the frenzied coupling
as you opened soundlessly
and the world flooded into you.

In the morning, maybe,
soon after sunrise
you will walk barefoot above a waterfall in the forest,
light-headed with the smell of sex
laughing at your déshabillée.

You will carry
the music of this memory with you
and from time to time,
in the small, withered hours,
your body will sing its remembering.

“If you are Lucky” by Michelle McGrane. The Suitable Girl, Pindrop Press, 2010.

The poems in The Suitable Girl surprised me at every turn. From the harrowing lines of self-mutilation in “Skin Offerings” to the stoic “Madame Bovary’s Final Visit,” McGrane confronts gender issues with a stark resolve and subtle irony.

In “If You are Lucky,” McGrane celebrates the body and its memories of sensuality. And although the lines seem to have a casual abandon, there is a subtle intelligence in the association of “bone and sinew” with “frenzied coupling.” The poem may have a libertine tone, but this is a poet who is in control of her craft.



Michelle McGrane lives in Johannesburg and blogs at http://peonymoon.wordpress.com. Her collection, The Suitable Girl, is published by Pindrop Press.

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April 7, 2011

21 Days/ 21 Poems: An Erotic Poem

The Bedstuy Notebook: The Men

Some men know what to do with a woman
tell difference between the scent of girls
sounds of a woman underneath them.
Men who know how to open
the sky in a woman in one glance,
what moment is plum
for lovin’
drum meaning memory.

Some men know what to
do with their hands
how to set a house on its foundation,
how to hold a woman
gently,
like smooth wood of a hammer
as they follow
anywhere she wants to go.

Other men know how to build things,
how to measure
intricacies of electricity,
difference between gas lines, water lines,
complexities of knowing exactly,
where to lay their lips.
Some men know
more than three ways to open a lock
and a woman's heart,
men who carry understanding
in their sweaty, dust-filled hair.

"The Bedstuy Notebook: The Men" by Jacqueline Johnson. reprinted in Caribbean Erotic, Peepal Tree, 2010.



What I love about this poem is the subdued sensuality. It's a grown-up poem with a working class sensibility about men who work with their hands and know how to "open/ the sky in a woman in one glance." These are strong men who know the "intricacies of electricity" and how to "follow/ anywhere she wants to go." At the center of "The Bedstuy Notebook: The Men" is a knowing (in the biblical sense?) which clearly works because of what it doesn't say. But we all know tings a gwaan.


About Jacqueline Johnson

Jacqueline Johnson is the winner of the third annual White Pine Press Award for poetry. Her collection, A Gathering of Mother Tongues, was published by White Pine Press in 1998. Ms. Johnson has received awards and residencies from the New York Foundation of the Arts, McDowell Colony for the Arts, Blue Mountain Art Center, Soul Mountain, Hurston Wright Foundation and is a Cave Canem fellow. Ms. Johnson currently resides in Brooklyn, New York.

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