THIS BLOG IS NO LONGER OPERATIONAL. PLEASE ENJOY WHAT IS HERE, AND DO LEAVE A COMMENT IF YOU WISH. NORTH CAROLINA'S NEW POET LAUREATE IS CATHY SMITH BOWERS. SHE WILL SOON HAVE HER OWN WEBSITE THROUGH THE NORTH CAROLINA ARTS COUNCIL SITE. I WILL BE SHIFTING MY ATTENTION TO HERE, WHERE I AM, (SEE SIDEBAR)USING IT TO DRAW ATTENTION TO WRITERS WHOSE WORK DESERVES ATTENTION. I INVITE YOU TO VISIT ME THERE.

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Showing posts with label LSU Press. Show all posts
Showing posts with label LSU Press. Show all posts

Friday, November 13, 2009

POET OF THE WEEK: MICHAEL CHITWOOD



Michael Chitwood is a free-lance writer and a lecturer at the University of North Carolina. His poetry and fiction have appeared in The Atlantic Monthly, Poetry, The New Republic, Threepenny Review, Virginia Quarterly Review, Field, The Georgia Review and numerous other journals. Ohio Review Books has published two books of his poetry--Salt Works (1992) and Whet (1995). His third book, The Weave Room, was published by The University of Chicago Press in the Phoenix Poets series (1998). His collection of essays, Hitting Below the Bible Belt, was published by Down Home Press in 1998. Gospel Road Going, a collection of poems about his native Appalachia, was published in 2002 and was awarded the 2003 Roanoke-Chowan Prize for Poetry. In 2006, he published a collection of essays and short stories called Finishing Touches. His collection of poetry From Whence was released in March 2007 from Louisiana State University Press. Tupelo Press published his book Spill in October of 2007. Spill was named as a finalist for ForeWard magazine’s poetry book of the year and won the 2008 Roanoke-Chowan Prize.

The following poems are from Michael's collection published by LSU Press, From Whence.

At the Wilco with some Founding Fathers


Down the Havoline, Quaker State aisle
goes Jefferson, if his shirt can be believed.
The red stitching over the right pocket
proclaims this man to be a namesake
of the author of the Declaration of Independence
and if you can’t believe a man’s shirt
what are you going to believe?
Hamilton, what a strange coincidence,
doubts aloud that the cashier
cannot access the safe and Franklin,
spook me out, is eyeing the better wines
while recommending the Appalachian spring water.
It’s all here—White Rain hairstyling spray, tic tacs,
flashlights, corn chips and nation-makers.
And now Jefferson, who wanted to be remembered
for penning Virginia’s statute on religious freedom,
says a standing silent prayer over a chili dog
before taking a bite and heading out
through the calibrated doors, he’s nearly six feet I see,
into the republic of Friday morning


Basement Barber



Here were said the words men say.
The oil stove winked its slit black eye;
it knew they did not have their way.

A whitetail made for the edge of the page.
Vitalis came before the talc.
My father’s dark hair began to fade.

Barrelhead Thurman palmed my scalp,
knuckled my ear when he was done
just to hear a little boy yelp.

They rode, hats off, through years of lies
on bus seats the county junked,
out-fished, out-hunted the ones who’d died.

My father’s dark hair began to fade.
The oil stove winked its slit black eye.
It knew he did not have his way.

The dead grow long and beautiful hair.
They have said what they had to say
to stir that basement’s damp, sweet air.


Morning Walk, Holden Beach
for Tom Andrews

Ghost moon in the upper right-hand corner
where we used to write our names—

Is it quiet there, Tom,
adrift from your drift of ashes?

I strike out towards the rising sun,
your blank blue, your murmur in surf

to my right, dunes and salt-blasted beachfronts
to my left. I can still see

the scribblings sand crabs left
in their nightly scurry for the day’s discards.

This page, like all the others, will be erased
soon, but for now there’s a line or two.

The waves unscroll their best bond,
a finish like a mirror under the sandpipers.

You’d like that, I think, text as pure reflection,
no scuff of us to mar the brief recording.

There are no hills here to look to for help
though the ocean seems upgrade at the horizon.

I sing a little under my breath, as the saying goes—
old JT, Dylan, even that God-awful

song about West Virginia where your urn lies,
my honest friend, at Point Pleasant.

The sun’s up now, full, and gulls yuck
at their own stand-up. I smell coffee

and turn, my back to the sun’s hot yolk,
to head for home, following my shadow.

Men Throwing Bricks


The one on the ground lofts two at a time
with just the right lift for them to finish
their rise as the one on the scaffold turns
to accept them like a gift and place them
on the growing stack. They chime slightly
on the catch. You’d have to do this daily,
morning and afternoon, not to marvel.


The One Day



We were behind on the job
so waited out the rain in the pickup.
Because the backhoe would mire
he shouldered the four-foot pipe joints
and brought them to us in the ditch.
The red mud clutched and tugged at his boots
and Bill laughed at his “Swan Lake”
as he fought through, lurching and staggering
when the mud would suddenly let go.
But he kept them coming, lugging the red joints
to us and then slogging back for another
while we slid on the gasket and fit the pipes together.
You can see how, pushing like that, he wound up,
two years later, with the tiny plastic piping of IVs
feeding into both arms and the three drainage tubes
snaking from under the patch on his chest.
His skin was a shade away from being same as the sheet
when I saw him in the ICU,
and he couldn’t have lifted the drinking straw
on the bedside tray.
But that one day he brought two hundred yards of pipe
and even the red earth couldn’t stop him.





Saturday, August 8, 2009

SHADOW BOX: Fred Chappell


(http://www.lsu.edu/lsupress/bookPages/9780807134528.html)

Four years ago Fred Chappell sent me a beautiful broadside of The Foreseeing, telling me that it was a new kind of poem he was now exploring, the "embedded poem," or a poem within a poem, and that it was devilishly difficult. In this poem, the voice of the woman is embedded in that of her partner, who is beginning to realize that she is in love again. The two voices work with and against each other, forming a whole. Call it poetic counterpoint. The "inlaid" poem. Better yet, call it stunning, an enviable achievement.



Now these poems, at which Fred has been working since The Foreseeing, have been gathered into a new collection from LSU Press: its title appropriately enough is SHADOW BOX. Last night, August 7, at City Lights Books in Sylva, NC Fred read from SHADOW BOX, with his wife Susan presenting the woman's voice in the poems. The two of them gave a haunting, at times beguiling, performance.



(Joyce Moore introduces Fred to the audience in the bookstore's Regional Room.)






Spotlight
The hamlet sleeps under November stars.
Only the page of numerate thought toils through
The darkness, shines on the table where, askew
And calm, the scholar's lamp burns bright and scars
The silence, sending through the slot, the bars
And angles of his window square, a true
Clean ray, a shaft of patient light, its purview
Lonely and remote as the glow of Mars.

Brian's wife, the poet Catherine Carter, gets acquainted with Dana Wildsmith, who drove several hours from Georgia to be with Fred and Susan. Catherine's first book, The Memory of Gills, won the Roanoke-Chowan Award two years ago and was highly praised by none other than---Fred Chappell.



Dana Wildsmith, a long-time friend of the Chappell's, has published several collections of poetry, as well as numerous essays, the most recent being in The Sun, published out of Chapel Hill. She lives in Bethlehem, Georgia.



Fred will be on hand for the NC Literary Festival in Chapel Hill in September, as well as at the Smoky Mountain Bookfair in November, to name just a few opportunities for hearing him and Susan read from his new book. This new collection by the author Lee Smith calls our "resident genius," deserves all the readers it can get!

City Lights contact information:
more@citylightsnc.com
phone: (828) 586-9499
web: http://www.citylightsnc.com

Friday, December 12, 2008

Full Moon, by Kathryn S. Byer



FULL MOON

Full moon says look I am
over the pinebreak, says give me
your empty glass, pour
all you want, drink, look
out through your windows of ice,
through the eyes of your needles
observe how I climb, lay aside
what you weave on your looms

and see clouds fall away
like cold silk from your shoulders,
be quiet, hear the owl coming back
to the hayloft, shake loose
your long braids and rise up
from your beds, open
windows and curtains, let light
pour like water upon your heads,

all of you women who wait, raise
the shades, throw the shutters
wide, lean from your window ledge
into the great night that beckons
you, smile back at me
and so quietly nobody can hear you
but you, whisper, "Here am I."

by Kathryn Stripling Byer, from BLACK SHAWL, LSU PRESS, '98