Poetry
Illustration of Madeleine L'Engle, by molosovsky / Flickr.com
Though the inaugural Madeline L’Engle conference felt like a safe haven as we gathered in the cozy glow of art, and fellowship, we were all still very aware of a similar sense of imminent evil in our country and the world at large. We are no longer in the Cold War, but the uncertainty of the impeachment hearings, of uncontrollable wildfires at home and abroad, of the refugee crisis and the hardening of hearts at the borders hang over us daily. Just as is often asked these days about Fred Rogers, we at the conference found ourselves murmuring, “What would Madeleine L’Engle think? What would she do?”
Resource Publications
ROSE MARIE BERGER doesn’t know it yet, but through her tour-de-force poems in Bending the Arch, she has become a holy woman of many nations. Among my own people, she would be called one of the alikchi, a sacred healer, a doctor of the people, a woman who can restore balance to lives that have been shattered. She does this through the strong medicine of words.
Berger, poetry editor and a columnist for Sojourners, describes Bending the Arch as “ethnopoetic documentary poetry.” “Ethno” because it speaks with the accents of a dozen different cultures: European settlers, Chinese miners, Native American leaders. “Poetic” because it uses a cat’s cradle of language from different moments, people, and realities. “Documentary” because it covers a vast scope of America’s manifest destiny history, symbolized by the Gateway Arch in St. Louis, which is depicted on its cover. All these are contained in layers of history, one on top of another, until the spiritual sediment of Berger’s meaning begins to become clear.
Illustration by Livia Falcaru
I am the border agent who looks
the other way. I am the one
who leaves bottled water in caches
in the harsh borderlands I patrol.
I am the one who doesn’t shoot.
I let the people assemble,
with their flickering candles a shimmering
river in the dark. “Let them pray,”
I tell my comrades. “What harm
can come of that?” We holster
our guns and open a bottle to share.
Illustration by Livia Falcaru
Save for the sun, the nearest star
is more than twenty-five million
million miles away.
What has a single star
shining in Bethlehem
to do with us?
Photograph of Robert Lax from Beshara Magazine
IN 1948, A HERMIT was made known to the world by another hermit. Like many Christian holy men, the Jewish-born Catholic contemplative and poet Robert Lax had his early spirituality enshrined in a book: The Seven Storey Mountain, the bestselling autobiography authored by his friend, the Trappist monk Thomas Merton.
“He had a mind naturally disposed from the very cradle to a kind of affinity for Job and St. John of the Cross,” Merton wrote about Lax. “And I now know that he was born so much of a contemplative that he will probably never be able to find out how much.”
Better known to many for what was written about him than for what he wrote (and he wrote a lot), Lax, who died in 2000 at age 84, wanted, according to his archivist Paul Spaeth, “to put himself in a place where grace can flow.” For Lax in the 1940s, New York City was not such a place. Though he worked with the poor at Baroness Catherine de Hueck’s Friendship House in Harlem, and had enjoyed jazz with Merton, he balked at the gaspingly fast pace and materialism of the city. He was also unhappily employed at The New Yorker.
Illustration by Matt Chase
LIKE MANY PEOPLE, I have spoken out more times than I can count under the literal and metaphorical banner of “Silence Is Violence,” my voice growing louder and louder in the past several years.
Yet recently, on one matter, I found myself having fewer words, not more. Gun violence rendered me mute.
The death counts that rise in real time. The fact that before we have comprehended one shooting, another has occurred. The relativizing of value and shifting calculus of loss we have begun to accommodate this “new normal.” The reality—contrary to what one would think based on media attention and political rhetoric—that mass shootings account for less than 2 percent of U.S. gun violence (suicides, by contrast, account for nearly 66 percent).
Photo by Jim Witkowski on Unsplash
THE WORD THAT comes to mind when considering American Journal: Fifty Poems for Our Time is gift. Edited by former U.S. Poet Laureate Tracy K. Smith, this anthology of poems from 50 living American poets addresses the nation with generosity. In her introduction, Smith describes American Journal as “an offering” for us to expand, renew, or establish our relationship with poetry and each other. She writes that she loves poems because they invite her to “sit still, listen deeply, and imagine putting [herself] in someone else’s unfamiliar shoes.”
American Journal presents 50 different takes on the American experience: a school field trip (“The Field Trip,” by Ellen Bryant Voigt); war (“Personal Effects,” by Solmaz Sharif); the shouldering of inequity on young, brilliant lives (“Mighty Pawns,” by Major Jackson); addiction (“My Brother at 3 AM,” by Natalie Diaz); work (“Minimum Wage,” by Matthew Dickman); language (“Music from Childhood,” by John Yau); and hope (“For the Last American Buffalo,” by Steve Scafidi).
Ground cochineal insects used for dye.
Darling of Mayans, Incas, and Aztecs, cochineal
conquered the ever-expanding world—
borne of female coccids boiled, dried, and ground
fine as dust, then woven with water, coaxing color
vibrant as any pink peppercorn, dye so prized,
long before Spain came, natives bred the prickly pear
on which the insects fed to bear fewer spines,
so, horsetail in hand, they could brush the parasites
On the Sunday Gran died, I baptized a little girl sixteen months old. And I was grateful for the unending grace that knows neither limit of time nor space. And, as the water spilled down her rosy cheeks, I remembered how Gran held my firstborn, how Gran held me when I was a child, how I held Gran’s hand for the last time, just a few days before.
Members of the theatre group Papel Machete perform during a protest calling for the resignation of Governor Ricardo Rossello in front of La Fortaleza in San Juan, Puerto Rico. July 21, 2019. REUTERS/Gabriella N. Baez
The water that gives life mixes
With the blood and the tears
From the gas, the bullets
Illustration by Jon Krause
Why wouldn’t they drop by, stare up
approvingly at the point of the minaret?
Perpetual connoisseurs of the loving work
of centuries, the stacked stones, nails pounded
until synagogues, temples, shrines
little houses of worship rise from the land.
Illustration by MUTI
This seep of droplets sponged by moss leaked
from a cleft in the rock; the waters in the cleft
rose osmotically from earth:
the aquifers of earth rained down
from cloudburst skies;
HUMANITY HAS BEEN reaching ever since Eve put her hand out and plucked the forbidden fruit. Since then, our acts of extension have been plagued far too often with violence and, in the end, death and despair. Philip Kolin’s new book of poetry, Reaching Forever: Poems, takes on those stretches and examines them with grace. His book is a fresh take on what it means to be loved and loving.
In the poem “God Comes to the Eternal Gate Holiness Church,” Kolin makes short work of people whose reaching is unsuccessful, via one of my favorite lines: “Bystanders down country roads reach out to him.” In other words, the spiritual life is not one for spectators but for those who do God’s will.
Screengrab from ‘I don’t want to be in my body no more: a visual poem’
Writing poetry has helped me face all the fear and uncertainty that surrounds a lifelong diagnosis.
Via Shutterstock
In my Mexican heaven, my grandfather's hands would be calloused from turning pages of poetry. He would be sitting at the dinner table, sipping coffee, and reading, looking up as I walked out the door to tell me “que dios te bendiga mijo.” He wouldn’t sing hymns or shout hallelujah, but every evening at the same time he’d sing the song “Gema” to my grandmother.
Irish poet Micheal O’Siadhail. Photo by Julia Hembree Smith
IRISH POET Patrick Kavanagh famously said, “Any poet worth his salt is a theologian.”
In The Five Quintets, a poetic tour de force by Micheal O’Siadhail, Kavanagh’s quip is flavorfully borne out. Quintets offers a sustained reflection on Western modernity (and its yet unnamed aftermath) in the vein of The Divine Comedy, Dante’s sustained reflection on medieval Europe (and its aftermath, the Renaissance).
O’Siadhail (pronounced O’Sheel) inspects 400 years of Anglo-Atlantic culture—artistic creativity, economics, politics, science, and “the search for meaning”—with the skillful hand of a citizen-poet, refracted through an Irish Catholic soul. Dublin born and educated, now poet in residence at Union Theological Seminary in New York, O’Siadhail embodies the vatic tradition of the Hibernian Gael—poet, prophet, priest, and, at times, jester.
His blind guide for the modern era is Madame Jazz—who encompasses klezmer from the Jewish shtetls and céilí music from famine Ireland as well. Jazz is the consummation of all that is truly human, the best of our polyphonic harmonies, a wild, joyful freedom born of shared suffering. Her chilling counterpoint, who ends the age of monarchs, is Madame Guillotine, whose shadow reaches forward into our War on Terror.
Steve Shreve / Unsplash
The first cast in the ochre light of the dawning sun is a morning prayer, filled with hope and faith that ceremonies sought in earnest will feed the soul. I reel dutifully, waiting for a faint tap on the end of my line. My father stands at the front of the boat, scanning for ripples on the water in the low light. “Wachale!” he exclaims in joking Spanglish as he reels in the first largemouth of the day. Two Mexican-Americans bass fishing in Texas. This is the face of the Reconquista.
Debby Hudson/Unsplash
As a poet, I used to compartmentalize my poetry. Christian poetry, poetry of the body, and Spanglish poetry all had their unique boxes until I came across the term theopoetics in academic scholarship. We all know how language and scholarship work. While white men are busy naming theopoetics to utilize in scholarship, women, women of color, black women, and indigenous peoples have been theopoeticizing since before Sor Juana Inés de la Cruz to the time of Macuilxochitzin.
Voter registration booth in the 1960s. Kheel Center, Cornell University Library.
In the black community, voting has always been complicated.
We voted and yet you lynched us.
We voted and yet you incarcerated us.
We voted and you poisoned our water.
EVERY POLITICAL LEADER on the planet should be stuck aboard a jet and taken north to see the Greenland ice sheet—it would be well worth the carbon emissions to show them just how fast climate change is now happening.
Case in point: I was aboard a boat en route to the Qaterlait glacier in August when I looked up at the GPS unit above the captain’s head. It showed an icon of the boat, steaming rapidly across ... solid land. That’s because when the chart was drawn a decade ago, the bay we were crossing didn’t exist: It was still solid ice.
I had the great fortune of journeying to the ice sheet with two young poets—a Greenlander named Aka Niviâna and a native of the Marshall Islands, Kathy Jetñil-Kijiner. These two remarkable women were at opposite ends of the same story—as the ice melted, the traditional life of Greenlanders was beginning to disappear. And the water that poured into the oceans is now drowning low-lying islands such as the Marshalls.