Poetry Drawer: An Awkward Meeting in a Coffee House by John Grey

Talk is mostly small talk.
Despite all I’ve done,
all I know,
I can’t get by the weather,
her sweater,
how she’s done her hair.


I don’t understand
why it’s all so awkward.
It’s not that I expect
us to spill our heart’s insides
but a little mutual scraping
of that organ’s surface
should be possible.


Silence is unfriendly.
Attention is everything.
But nothing much is said.
And concentration
reaps no rewards.
Are we both just shy
and don’t have it in us
to speak freely?


“Good coffee,” I say.
“Yes, it is,” she replies.
In infant talk,
that’d be “dada”
“mama.”

Inky Articles: Professor John J. Brugaletta: Two Hypothetical Poles Of Thinking While Writing Poetry

Editors of poetry have differing standards by which they judge poetry submissions, as do poetry critics. This variety is, in a way, helpful to poets of differing styles, but the wide variety of standards implies a varying degree of uncertainty. Perhaps what is needed is an optional standard that will be helpful to those whose position in society is to evaluate a given poem in a way that will be more convenient.

I am positing that there are two poles to human thought, with a continuum of mixtures between them: type A perceptions, which are near the unconscious and issue from it; and type Z thinking which is conscious, sorted, and verbal. It is seldom that we meet anyone whose day-to-day thinking consists solely of either of these extremes. Now let’s see how this continuum works as an analytical tool with a variety of published poems.

The first example of poetry that fails because written with a strong bias toward either A or Z type are first Ricardo Pau-Llosa’s “Daruma,” the opening lines of which are as follows:

The mind’s open cage awaits its tiger
and no other. Who sets the fire will not
own it. No cure or prayer can break desire.
Go, live by proverbs, then tell hot
about cold and find nothing to say….

This presents simultaneously an example of both type A and type Z thinking without a union of the two. In its epigraph the poet promises references to a variety of Buddhism together with “Hokusai’s sketch of a lost portrait.” But the poem contains no referent to “the fire,” little in the way of a context for “tiger,” and no context at all for “tell hot about cold.” It is presumably erudite (type Z) but also inchoate (type A) for the reader who is primarily interested in poetry.

It has the drawbacks of both extremes, containing both the impenetrable quality of type A and the sorted component of type Z. Without an education in Bodhidharma Buddhism, it is only a series of unrelated phrases and sentences. I agree that the poet has the freedom to write such cryptic verse, but I wonder what the purpose would be in publishing it. To tempt readers to investigate varieties of Buddhism? To dangle tantalizing language poetry before the reader? To fit in with one trend in contemporary poetry to be incomprehensible?

The second example is the first six lines of a poem by Wayne Lee, “In Praise of Formal Poetry”:

Whether it’s ridiculous or sublime,
we need the reassurance of meter,
the familiar recurrence of rhyme.

We yearn for verse that’s fixed in place or time,
lines that march to a regular beat, or
words, whether ridiculous or sublime….

I go no more into detail about self-contradictions in form in this poem, except to say the meter violates its much-vaunted “regular Beat,” and that it struggles for close rhymes. I will say, however, that this piece of verse suffers mostly from its salesman’s pitch in the selling of formal verse. It has neither the intuition of type A nor the type Z articulation required of what is arguably the most difficult kind of writing. It is merely an effort to imitate formal poetry in order to praise meter and rhyme.

It is almost entirely a case of conscious plotting. While there are plenty of examples of fine formal poetry in the Western canon, writing formal verse does not guarantee the successful unification of types A and Z thinking. Anyone who wishes to write successful poetry is more likely to imitate the driver who has been trained to direct the car in two ways, one with hands on the steering wheel, and the other with feet on the accelerator, brake or clutch. Admittedly the simultaneous actions are difficult for most beginners, but plenty of people have learned to do them. Besides, writing real poetry is never easy.

And now for some excellent poems. First, one By Richard Wilbur, “In the Elegy Season”:

Haze, char, and the weather of All Souls’:
A giant absence mopes upon the trees:
Leaves cast in casual potpourris
Whisper their scents from pits and cellar holes.

Or brewed in gullies, steeped in wells, they spend
In chilly steam their last aromas, yield
From shallow hells a revenance of field
And orchard air….

In these few opening lines, the poet gives us a unison in complexity—the facts of fall evoked as if by the magic in their names to create a verbal and harmonious symphony on the season. The facts often surprise us with our own memories called back to us in this incantation of dormant truths. The “giant absence” moping on the trees is a phrase of type A wed to type Z thinking, as far from the accepted lexicon of the journalist as the poet dares to go without straining the literate reader’s patience.

This is a prime example of that dynamic balance between inspiration (type A thinking) and conscious composing (type Z)—inspiration for the stretched and offset vocabulary (“leaves cast in casual potpourris”) and conscious composing for the readable syntax. “Whisper their scents,” and “steeped in wells”; these tropes and others like them make for an animation of inanimate substances. This is not mere synesthesia. They instill with life what would have been dead phrases like “huge lack,” “careless mixture,” “emit their smells,” and “soaked in water.”

A second example of fine poetry is by William Stafford and is called “Found in a Storm”:

A storm that needed a mountain
met it where we were:
we woke up in a gale
that was reasoning with our tent,
and all the persuaded snow
streaked along, guessing the ground.

We turned from that curtain, down.
But sometime we will turn
back to the curtain and go
by plan through an unplanned storm,
disappearing into the cold,
meanings in search of a world.

This poem has received less notice than many of Stafford’s other poems, perhaps because, on a quick reading of it, the impression is, “Just one more poem about a spoiled camping trip.” But if that were so, the poem would be little better than a bit of journalism with a jagged right margin.

Yet that reading is itself broken into by a close reading of the second stanza, which calls the snowstorm a “curtain” twice, and speaks of “disappearing into the cold.” Curtains separate one from another space, so when we disappear into another space, especially a “cold” space, we might have died. Without speculating at this point on the meaning of the last line, it can readily be seen that the speaker of the poem is probably thinking of what lies beyond death (though without a wish for an immediate death).

This poem has the shape of those that were begun with lines the poet had written before he knew of a way to end it. The product of outlining a poem before beginning to write it is a victim of predominantly type Z thinking. “I have never started a poem yet whose end I knew. Writing a poem is discovering,” said Robert Frost. And this accords with the experience of the publishing poet I know best. It is, in fact, probably the procedure in writing poetry that invites the aid of type A thinking for its spontaneous imagery and other tropes, yet still as an addition to type Z thinking for its comprehensible order.

After all, the first stanza might have been followed by the camping party’s decision to outlast the gale, probably even losing some of the members in the cold. But the party packs up and retreats from that “curtain, down.” It is what the ancients would have called the muse hinting at a direction for closure, but I am calling type A thinking, here fused with type Z in its conscious adherence to the physical options left to the party in danger of freezing to death. They can die if they insist on staying, But if not they must retreat down the mountain and out of the gale, out from behind the “curtain,” out of the “cold,” putting off to the future their discovering a world where the meaning of human life fits the facts of that world.

Often excellent poets like Gjertrud Schnackenberg and Dana Gioia are being recognized by our system of editing and publishing, but equally often it seems there are fine poets like Weldon Kees and, more recently, William Stafford, who are for the most part cast aside unjustly. If I am right in saying so, perhaps this test for quality will save some of our excellent poems from inattention by the reading public.

The two extreme poles of thinking I posit comprise what is probably a simplification of the actual process a poet’s mind preforms while composing, but I present it as a basic part. Others more widely read in psychology and the brain’s functioning may wish to build on it.

I should warn the reader that little of this necessarily applies to light verse. Nor is what I have said a formula that will ensure success for any writer of verse. There is more to poetic excellence than this, but this strikes me as one important way to think about our thinking while composing.

Inky Interview Special: Stephen Mead, Poet and Multi-Media Artist from Albany NY

Tell us about your journey towards becoming a poet.

In hindsight, my journey seems to be about dubious reservation vs. obsessiveness in spite of that. Once I started doing work on a fairly regular basis I can’t recall there ever being a “just flow-with-it” time when I was not questioning, even beating myself up, as to why I was doing the work in the first place!

What is it you love about poetry? Have you considered writing a novel or a play?

Considering the preceding answer, what I love about poetry is that it really is a focal point for what is not only on my mind, but in my spirit, often surprising me when I set out believing the poem is going to be about one thing, and then, on more than one occasion, takes on dimensions I was not expecting.

As far as other forms of writing…I recall experimenting with plays during high school years, and actually did begin writing novels in my junior year. I honestly had this great (desperate) delusion that I would make a living this way, and have wound up self-publishing a couple of novels written before I was 30. These were works I dusted off, yet one more time when the P.O.D. Lulu platforms came into being and ran a couple of contests. In my 40’s I began writing essays, and have an unpublished manuscript that is a quirky memoir where objects, furnishings, rooms, domiciles (one apartment and the farmhouse I grew up in, in particular) invoke the impetus for reflection.

What do you care about? What themes keep cropping up in your writing?

I don’t think anyone writing is not coming from a place of empathy and compassion. I mean, unless it is a personal attack against someone, even if the writing is an expression of anger, I think that anger comes from a mother-bear-protecting-its-young sort of instinctive moral compass. Given that, even if I write in the “I” first-person, that “I” is the voice of someone perhaps shoved into the shadows, lost, forgotten, overlooked…that “I” might even belong to the voice of nature and a species, or landscape trying not to become extinct. Themes of my writing are based on putting myself in the shoes of an imagined experience, as much a direct offshoot of my own.

How do you think technology is affecting humans in today’s society?

Well, there are certainly good advances which have come from technology, mainly medical, and there is something said about media promoting more global awareness, and helping people get together for the good of a common cause. Also, look at how it has helped writers connect and get published! The flip side of that, however, is that there’s always human elements who will use the technology for not exactly altruistic reasons…scamming, identity theft, scapegoating and…to be honest, I think a great deal of social media is just an extension of a Reality TV: disconnect…distraction, titillation…people not really thinking or feeling deeply, but just reacting and spouting, and trying to keep up with a bombardment of messages and tweets. Whether we do this to feel less lonely, to feel as if we belong to some clique/niche or other is completely understandable, but there is certainly the danger of being not just sheep/lemmings-to-the-sea mentality, but also mob/sniper tactics of intimidation and bullying. Like shows that focus on the glamour or lack thereof concerning personalities, celebrity/political or wanna-be, these versions of humanity do not paint a pretty picture overall.

Describe a typical day in your life.

My external life is fairly boring/mundane, and I actually see that as a blessing. Who can write while running from a throng of reporters with microphones? I have a day job and try to work things which inspire creativity before and after that, the actual creating from those times coming after work and on the weekend. I also have a husband, a relationship approaching 20 years, so my other priority is being present for that.

If you could change one thing about the world, what would it be?

One thing? Oh boy! Remove the greed/predator gene from everything!

Who inspires you and why?

Well, certainly other artists and individualists of all stripes…those who have beat their own drum, for they are role models saying it is OK to find my own path. When I was younger I think I was more of an enamoured and put-them-on-a-pedestal sort of person, as if they had some sort of magic I could aspire to, but it is important to realize they were/are humans, with their own struggles, foibles, warts…and I think the ones who inspire me most admit this about themselves, while also trying to be aware of others feelings/needs/circumstances. I mean, to me, a role model could be someone who does his/her best to make a good meal and share it with others, preferably me!

What advice would you give to your younger self?

I wish my younger self the impossible…that I could have had a much stronger disposition, one of confidence, self-love/respect and the ability to fight back. The best advice I could give to that younger self is tell those who want to see me hurt, and couldn’t care less if I died, to go screw themselves and the horses they rode in on (Also find yourself a nice strong posse of allies to back you up!).

Have you been on a literary pilgrimage?

Only internally.

Do you have any advice for other writers?

Failure is another word, a concept when it comes to anything creative. Don’t give yourself an F because something is rejected, or someone else is financially/critically successful…and also, like anything else, writing is not the end all and be all to yourself as a person, or to your usefulness. Allow yourself to exist breathing fresh air with an awareness of all that is around, which may be neutral/indifferent, but also that these natural energies do not want to do harm to the gift of your senses in just being alive. The Universe is OK if you don’t turn out to be the next big or best thing to baked bread.

What are you reading at the moment?

I am reading a novel Black Deutschland by Darryl Pinckney and a book of poems Writing Down the Bones by LB Sedlacek.

What is next for you? What plans have you got?

Since around the end of 2015 I’ve been working on a series of montages tentatively titled From Nostalgia, Through Now & Beyond, an homage to LGBT individuals, couples, organization and allies predominantly pre-Stonewall. I have completed roughly 300 images and am still working with/researching roughly 2,000 more, and would like to create some sort of free online museum with these.

Check out Stephen’s work here

Pantry Prose: The Young Man and the Sand (a contemporary homage to Ernest Hemingway) by Joseph S. Pete

Nick gnawed rubbery chicken and mushed soggy green beans in the chow hall in Iraq, a country that was hot in a way that could break the stoutest of men. The climate was unforgiving, and so was the chow. The food in the D-Fac was either leathery straps of meat or slop spatulated on his Styrofoam tray, a far cry from the succulent oysters bathed in briny cold liquid he once slurped out of rocky shells in Paris, or the warm, meaty pasties he wolfed down as a boy in the Upper Peninsula of Michigan. Some food gave delight, while other meals were truly lost, just a way to shovel nutrition into the maw.

Nick gnashed the tough strands of chicken and deposited stripped bones back on the disposable tray, which he ultimately cast off as one would toss the rib cage of a deboned marlin. He nearly gagged on the sour broth of the day’s soup, wished he had a strong drink to wash down the tasteless mash of the watery green beans. But when the chow was gone, it was gone, like any other meal.

Dusty and sweaty after a long hike on patrol, Nick would enter the D-Fac after clearing his M-4 carbine in a burn barrel. He’d file into the long chow hall line, mechanically request the standard ration of protein, carbohydrates and vegetables, and make his way to an empty seat at an isolated table in the great circus tent where the soldiers congregated for chow.

Nick spent his days marching on patrol through the dust-swept streets of Iraq, past crowds of stern-faced men in sweat-stained dishdashas and steely-eyed women in gravely driveways. They strode past glowering young men camped out in Opels, trying to earn a living as taxi drivers with no fares in sight. No one seemed to want these American interlopers there. The unwelcome soldiers strode past all the scowling and resentment, hoping no one would start taking potshots from a distant rooftop.

Bedraggled under a scorching sun that left the land arid, the men just wanted to return to the relative safety of post, where they had gyms and shops and computer labs and all the approximate comforts of home. But the work there could be long and grueling too. Nick drove a flimsy e-tool into the earth to fill sandbags, cinched them and chucked them onto the pile until his back spasmed and his arms noodled. He sat in a guard tower through the wee hours of the night until his eyes weakened and eyelids sagged, dipping tobacco and instant coffee to try to keep them aloft. He worked midnight shifts guarding detainees, fighting off sleepiness, repeating mantras like ‘Stay alert, stay alive’.

Nada, nada, nada. All for nada.

The harder he fought, the less his efforts yielded.

The deployment was an unending blur. Nick was a man in a foreign country that did not want him, had no place for him. He pined for something as simple as casting a line into a clear pond, watching a sinewy boxer’s glove slap into an opponent’s jaw, or biting down into a freshly grilled burger.

The chow hall was a clean, well-lit place that evoked warm memories of home, or his occasional sojourns to Europe. It was a respite in a distant desert, at least until it wasn’t.

One day, a blast tore through the tent, submerging everything in thick black smoke that blotted everything out. Nick’s heart jackhammered, and he couldn’t breathe right. He could hear. That was it. That was all that was left of his senses. The screaming would haunt him. Nick heard pain and wailing as he flailed about.

The third-world nationals KBR shipped in to Iraq to spoon out overcooked food, they were the ones who bore the brunt of the explosion. It was quick and brutal and senseless.

Nick staggered through the smoke, plodding a step at a time, plowing into chairs and tables. Having cleared his weapon before entering the chow hall, a safe space where soldiers faced a greater risk from an accidental misfire than from the enemy, Nick fumbled around with a pouch on a flak vest and eventually extricated a magazine that he jammed into the rifle. He slid back the charging handle, chambering a round.

His heart palpitating, he held the carbine at the ready, as he had been trained by drill sergeants back in basic training on that red Georgia soil, and stepped forward into the blackness that enveloped everything. He trained the gun ahead of him and moved toward the screaming.

Nick slipped on blood underfoot, came crashing down on a fallen cafeteria worker. The man was pale and wheezing and bleeding profusely out of his thigh. The man needed help. He could die within minutes if his femoral artery bled out.

After wheeling around, scanning for threats, Nick thumbed the safety on his rifle and cast it down so it clattered on the concrete floor. He fiddled with the cargo pants, pulled out his gloves and pressed them into the gaping wound, applying as much pressure as he could muster to staunch the wound.

‘Medic!’ he called. ‘Medic!’

No medic emerged from the ashen haze.

He hunched down toward the man, keeping pressure on the shrapnel wound, whispering that he would be okay, everything would be okay, they were going to take care of him and make sure he would get home. He would be okay; he would make it.

‘Where do you come from?’

‘Myanmar,’ the man coughed. ‘Myanmar.’

Blood trickled from the man’s lips, streaked down his cheek. Colour drained from his ashen face as he shuddered. His clammy skin was all gooseflesh and flopsweat. Nick moved aside when the medic arrived so he could see and assess. He grabbed his rifle and swept around again.

‘What the hell happened?’

‘Suicide bomber, posing as an Iraq policeman. Damn, put pressure back on that wound.’

Nick grabbed his bloodied gloves, pressing them back into the oozing puncture. The medic readied a bandage, affixed it and started tying a tourniquet. He twisted the stick around to stop the hemorrhaging.

The air suddenly wafted with the pungent scent of manure. The dead man’s intestines emptied themselves as the last vestige of colouring blanched away from his waxen flesh. It was all for naught, all their hustle, all their effort. He was gone. He would never return to his wife’s embrace, to his children’s clingy hugs.

‘You can be destroyed,’ Nick said, genuflecting and saying a quiet prayer over the dead man, ‘but you cannot be defeated.’

Nick later realized the man was never defeated, but only in the sense that he had never been fighting for anything in the first place. As Nick rested in a plush library chair one brisk fall day, it occurred to him all that bluster and bravado led to young men, bystanders really, bleeding out in puddles where they had dished out mashed potatoes. There was nothing to romanticize. There was no nobility in scooping mashed potatoes for soldiers of another country, and there was certainly no nobility in such a senseless death.

He could hear his dying platoon sergeant later telling him only a fool would believe you couldn’t die if you didn’t give up, which was the best bulldung he could come up with while trying to comfort the bloodied, bullet-ridden man.

The epiphany that they all died for little purpose still hit Nick in the gut even though it occurred many years after he returned home, married in an old barn and sired children of his own, who grew up strong and sturdy like tree trunks, went on to study law and medicine. He made a career for himself, strolled the leafy streets of Oak Park, and dined on pan-seared trout at white-tablecloth restaurants that prided themselves on elegant continental cuisine.

He renovated his stately brick home several times, and one morning, while stepping out of the glass shower, collapsed onto the bed with a brain hemorrhage.

In his dying moments, he thought not of his wife, his daughters or his son, but of that dying man he failed to save in the chow hall. He wished he could have tried harder, got there faster, pressed harder, done something differently. He wished the medic had been more skilled or that the chow hall bomber struck at a different hour, when he was out on patrol. He wished he had never seen that man’s glassy eyes, which haunted him for years in the ash ends of late nights when he was dulled by drink. He wished it had been him instead of the thirteen who died that day, but then figured that in the end the relentless crush of time defeats every man. Whether you stalked through sandy streets with a belt-fed machine gun or helped your child build a rudimentary castle in a sandbox, time would destroy you just the same in the end.

Books From The Pantry: Park Symposium by Claire Bassi

Hunger

We played till daylight failed, left, hungry, wolf-eyed,
mince and mash on the breeze, street lamps coming on.
Shadows long and lawns damp, we wish for June,
the bread and honey months.

Zero-G

In my hands are chains, wearing hard
the skin of well-oiled palms.
I’m light, I’m plastic.
Pendulum timed in the beat of two,
soon to fall
out of sync. I’m pushed, I fall,
weightless in the wake of you.

Get your copy of Park Symposium

Inky Interview Exclusive: Chinese Poet and Eremite: Hongri Yuan

Tell us about your journey towards becoming a poet.

I liked literature when I was a child, and dreamed of being a great writer in the future. When I was about eleven years old, I wrote my first poem. Although it was only a few short sentences, it was astonishing at that time, as books were barren. At the age of sixteen I started my job, and read world literature in my spare time. Then I decided to make literary creation my career, for all my life. Basically, my creation may be divided into two periods: the first period is before 1990, the second period is after 1990. In the first period, lyric was the main form of my poetry. Later, I found that lyric only expressed emotions, and they were incapable of changing the world. So I began to read Laozi’s Daodejing and explore the truth of the universe and life. After that I started to roam around. In the meantime, I saw some monks who practiced in temples, and the fairies who lived in seclusion in the mountains. They all gave instructions and enlightenments to me. These edifications taught me a new understanding from the universe and life, especially in understanding the two ancient philosophical thinkers, the men of the age, Laozi and Zhuangzi. At this time, I began to have a knowledge of prehistoric civilization and ancient civilization. From then on, there has been a qualitative change in my poetry, and I created successively some poems beyond time and space, especially when I meditated one day at noon in 1990. I saw an extraterrestrial city above space — Platinum City.

Thereupon, in 1998, it seemed to me that I was inspired by the Gods, and created a series of works such as Platinum City, The City of Gold, and Golden Giant, continuously.

You are interested in creation. What is your philosophy?

I had an insight into the knowledge of time and space, and I thought that time is namely space. Ancient civilization and prehistoric civilization did not disappear, but hid in another space.

What is it you love about poetry? Have you considered writing a novel or a play?

I like the poetry of the ancient Chinese poets, of British poetry I particularly like the works of William Blake, Keats, and Yeats. I had once written a short novel of magic realism. I will further explore and create novels in the future. I once wanted to create a new type of writing: integrate poetry, novels, and plays, but there is no clear distinction or limit.

What other themes do you write about?

The theme of my creation is prehistoric civilization and the future civilization of mankind, especially the exploration of future civilization. Platinum City, that I have seen, is exactly the future civilization of mankind. I believe that this is a revelation given to mankind by the Gods.

How do you think technology is affecting humans in today’s society?

Platinum City has answered this problem, the development of science and technology will not destroy mankind, on the contrary, with the development of science and technology, human civilization will change dramatically. Platinum City written in Golden Giant is exactly the future civilization of mankind.

Describe a typical day in your life.

I am an eremite and have lived in seclusion for the past 20 years. I copy China’s ancient codes and records, practice meditation and calligraphy, and also take a walk every day.

If you could change one thing about the world, what would it be?

Help mankind to find their own soul, and mankind will find their sanctity and greatness.

Who inspires you and why?

Laozi and Zhuangzi, the philosophers of ancient China have deeply inspired me, especially Zhuangzi, because they made me aware of the insignificance of mankind.

Do you have any advice for other writers?

Explore the human soul and create works beyond politics, time, and ethnicity.

What are you reading at the moment?

I’ve been reading China’s ancient codes and records, which I do all the time.

What is next for you? What plans have you got?

To explore further the secrets of the universe, and the future civilization of mankind, write poetry, or a new type of writing. Thousands of years ago, the tradition of monasticism from an ancient sage was not at all cut off, not only in the temples, but carried forward by the fairies who lived in seclusion in the mountains or countrysides. I hope one day I can write of their incredible wisdom.

Special thanks to Yuanbing for his assistance.

Inky Interview Exclusive: Poet Sanjeev Sethi

You have written three poetry collections. Can you tell us about them?

Suddenly For Someone was published in 1988. I was 26 years old. Nine Summers Later, the second one as the title suggests, was issued as many years later. That makes it 1997. This Summer and That Summer was released in 2015/16 and published by Bloomsbury, India.

I see poetry as an extension of myself. I seek it in most settings. Poems are my response to stimuli. They help me make sense of my situation. I wrestle for nuance by wrenching words and woes. Some poems dip into my emotional deposits, others document the demotic. The attempt is to arrest a moment of truth in a tasteful manner. In short, poetry is my engagement with existence.

Each of these books encapsulates my understanding of the world and my capability to express it. The basic premise hasn’t changed, just my skills as a craftsman, and perhaps I have a deeper understanding of what I write about.

Can you share a few of poems from your collection, This Summer and That Summer, and walk us through the idea behind them?

The opening poem is Pigeons. In suburban Mumbai where the average size of a flat is as large as your handkerchief, the poem is about the issues a harmless bird and her progenies create as intruders:

Pigeons

Pigeons have no tenancy laws.
She placed her squabs on my sill.
When I protested, she gazed at me
with looks which were a hybrid
of hesitancy and hostility.


At night, the pigeons cooed.
Throughout the day,
the exhalation of their excreta
wafted across the apartment.
During feed-time, their twitter
was louder than church bells
annunciating crisis. But I was helpless…


Soon I decided — to be kind to myself,
I had to be cruel.
I opted to evict them.
But there are no courts for this.
No legal machinery.
Only feelings.


Feelings have always failed me.

(Soul Scan is a meditation on the travails of being a poet):

Soul Scan

(1)

Shells of silence underneath my skin
burst in a rash of run-ons.
Clear as mud, carp the critics.
But I soldier on like an infantryman
bulwarking his nation’s border,
hoping to be helpful
in an era of nuclear warfare
or bombardments from the Net.

(2)

In my growing years I wished to be famous.
Parents gave value to visibility.
It was reassuring for them
to have others accept their issue.
When their pressure ended
I realized,
I am best in my booth.

(3)

Without strain of the perfect gargle
or granules of pitch
I sing sweetest for myself.
Skills of a soloist
I have not gathered.
I thrive when my skin trills for itself.

(Have a look at):

Realization

Fraught with fissures, I can see
my life wriggling like some children
waggle out of their parents’ care.

In my case there is no one
to chide. I’m ward
and the warden.

Survival anthems urge
you to be accountable.
Here I’m,
mindful of my mistakes.
Now what?

(Ruse is a love poem):

Ruse

Bathed in bounties of the elements
vacillating fronds blushed. On the corniche
your palm in mine, we were at a fork
parrying tines of the past. You & I
told our truth, as we wished it
not how it had panned out. Like maquillage
or habiliments, we tried removing
the restrictions but doing away with untruths
did not blend with our biotope.
Our chansonette ran on another tune.

(I will end this with Friendship):

Friendship

Whenever I call her, she is on the cusp
of an interlude. When we are together
honesty is her other name.

The world riddled with rift must reign
in the sequences of her smile.
Grief is her gatekeeper.

When the phone rings, her callers
have promises to proffer.
Full of fire, she is destiny’s flaw.

Some symphonies will never be hers.
Still my friend’s lilt has the potential
to light the lame. Often she disowns this gift.

Her universe seems untidy,
but it is unsoiled. Her haphazardness
is on display while mine is disguised.

It is things that we disagree upon
are the things that draw me to her.
Fortitude is this friend’s flag.

You live in Mumbai, India. Describe a typical day in your life.

About five years ago I began an intense creative phase which continues unabated. In this phase I have no life outside of writing. All of me is engaged in writing and its auxiliary activity. I’m at my desk for almost 15 hours.

If this seems drudge-like, it is not. I am in it out of choice. I luxuriate in it.

Who inspires you and why?

Life and its layers.

What advice would you give to your younger self?

To not be as tense as I have been. There is no big battle to win. The journey is about small everyday victories and loss. To try to have as clean and meaningful existence as is possible. To be of value to others, and if that isn’t possible, at least try not hurt others.

Tell us a story in five words.

You are your best story.

Have you been on a literary pilgrimage?

Almost every time I am on my desk. For me inditing is a meditative stance, so when I go within and create a meaningful poem, it is a literary pilgrimage. There are days when I end up at the picnic level, the results reach my dustbin. But that is another story.

Why do you think poetry is important?

Because it reminds us of our humaneness, it keeps us in touch with our truths. And perhaps makes us better individuals.

What are you reading at the moment?

In this phase of extensive writing I am not a serious reader. The internet has opened possibilities, on an average day my inbox receives fifty to hundred poems from various sources. As the mood and mind decides, I peruse some of them. But no serious reading.

What is next for you? What plans have you got?

To keep writing and publishing as long as I rejoice in it. I’m published in this or that place somewhere in the world, almost every other day. To continue with vigor.

Get your copy of This Summer and That Summer

Poetry Drawer: Occupied by Shannon Donaghy

My mind has been circling an idea
For a few hours now
Like a bird gliding above roadkill
I have it pinned down, located
Claimed as my own
But I have yet to touch down
To sink my beak into the gore of it
It is merely baking on the pavement
In the hot fruit fly summer sun
Glistening and raw with blood
My mind has been too occupied
To do what my circling implies
Circle, screech, die, repeat

Poetry Drawer: Prisoner of Infinity: To Felino A. Soriano by Rus Khomutoff

Oh Prisoner of infinity
countercurrent between transgression and transaction
insinuation of eternity’s unrepeatable coalescence
poise deposited in an effervescent aye
on this iron chain of birth and annihilation
you espouse your catastrophe of charm
surefire voices that furnish the kiss of death
an unwearying impulse
to decrypt and decipher longing
like an idea infested with platitudes
realm navigator on the edge of consciousness

Inky Interview Special: Italian Poet Gabriella Garofalo

Tell us about your journey towards becoming a poet.

It is a journey born under the powerful signs of loss and sorrow. I, a child who had to face the death of her brother, and who grasped for the only help she felt was being close to her, grasped for words and poetry, because words can heal and hide, and poetry is a meaningful hiding place. Decades elapsed. Yesterday’s child still here, still busy with sails and rigging, her mind rife with images from all the harbours she’s docked at, the only change being the language, after writing in Italian for many years she switched to English.

What is it you love about poetry? Have you considered writing a novel or a play?

The endless, boundless freedom poetry allows me whenever I write. I’ve never considered writing a novel, funnily enough, though, every now and then I wonder what it’s like to write a play.

What do you care about? What themes keep cropping up in your writing?

What themes? Loss, I think, pain, the sorrow my soul is plagued by whenever facing the relentless, intractable inconsistency of life. To be more specific, I might argue that my poetry is a cartography of my soul.

How do you think technology is affecting humans in today’s society?

I’m so glad we have technology, it’s made our lives better, and I mean it; just think of our health: nowadays so many diseases that killed so many people until a few decades ago are treatable; besides, we can communicate much better and much faster, communication being, I believe, an important thread in that tapestry we call life.

Describe a typical day in your life.

Nothing to write home about, I’m afraid. After handling my daily errands and my daily chores, I sit at the PC, read, write, words and books being the main staple of my diet, of every day in my life.

If you could change one thing about the world, what would it be?

Only one? 🙂 If I could, I’d eradicate the tree of selfishness, the root of so many evils.

Who inspires you and why?

Emily Dickinson and Sylvia Plath. They were so powerful when handling those high-charged wires that are words, and when shaping for the readers those unforgettable scenarios that have both haunted my mind ever since I read their words, and fed my phantoms, my obsessions.

What advice would you give to your younger self?

Yes, well, what advice, with the proviso, of course, she takes careful note: Never stop believing in words: they do deserve your trust.

Have you been on a literary pilgrimage?

I have indeed, and twice! I’ve been to Amherst and to Chawton.

Do you have any advice for other writers?

Never stop befriending words, never stop trusting them, never stop loving them.

What are you reading at the moment?

Karl Barth’s The Humanity of God and Matsuo Basho’s poems.

What is next for you? What plans have you got?

I’d like to keep on writing, reading, living the way I’ve always done- what else?