Sunday, 25 April 2021

Three Powerful Poems by Lynda Tavakoli

 



Chimney Song

(i.m. Oscar and Valeria Ramirez)

 

From the throat of the chimney, a song,

smoke-trilled in a hearth’s open mouth,

a blackbird offering his end of day story

to earth and sky, while here

in my sitting room the world shifts.

 

On television, a father and child,

his t-shirt backpacking her small frame

suddenly a weight of stones in the current.

Catch of the day.

 

I muzzle the sound, drown a flow

of blame mouthed from the screen

and in my sitting room catch a blackbird’s

song swallowing up the space 

between here and the Rio Grande.

 

 

Floats

 

I am an image in monochrome -

a flipper sucking stubborn

to a naked foot, plastic suicide vest

bottling my chest; death floats, all.

My last swim, my last.

 

Drag me from the shallows,

discover secrets of my insignificance

bagged around the protest of a drenched throat -

mobile telephone, memory card intact,

leaking the riddle of my shattered history.

 

For here I am, ten thousand pixels

washed in technicolour,

my wanderings weaved frame to frame,

preserved like floaters swimming

in the salty lenses of your eyes.

 

 

The Reach

 

He lays a map upon the table

fingering their long journey

from the smudge of home

and stabs redlined borders

that thread like arteries over the creases.

He does not want his children to forget.

 

His touch finds the place

they should now call home –

this wound on the paper

where their healing can begin

and where every voyage taken

gives promise of a new life.

 

Yet his head harbours lists

reluctant to recede, grievances

as infinite as time passing in foreign tongues,

remembered losses that may still break him

and an ache for the land left hungry and alone,

withering into a sort of history.

 

This is their future now, reached

by the single span of a hand across a map.

He will pleat his sorrow into its folds,

pocketing the past in that place

where every road must surely lead

and only the persistent heart can finally know.




 

Lynda Tavakoli lives in County Down, Northern Ireland, where she facilitates an adult creative writing class and is a tutor for the Seamus Heaney Award for schools.  A poet, novelist and freelance journalist, Lynda’s writings have been published in the UK, Ireland, the US and the Middle East, with Farsi and Spanish translations.

Lynda has been winner of both poetry and short story prizes in Listowel, The Westival International Poetry Prize and runner-up in The Blackwater International Poetry Competition and Roscommon Poetry Competition. Her poems have also appeared in The Irish Times, New Irish Writing.

She was recently a guest poet on RTE1 The Poetry Programme and her poem, ‘You’re Beautiful’, was featured in the ‘Words Lightly Spoken’ podcast.

Her debut poetry collection, ‘The Boiling Point for Jam’ is published by Arlen House and includes these three poems which concern the plight of refugees, a subject that has sadly been forgotten about recently.

 

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Friday, 23 April 2021

Five Stunning Prose Poems by Oz Hardwick

 



The Glasnost Legacy

 

In neat suburban semis, windows still bear the white paint of the Cold War, and “normal” has been a fairground mirror image of itself since the days of Ron and Maggie. Spies and tattooed ladies recline before bulky TVs, their feet lined up like weary protesters on glass-topped coffee tables, their trench coats buttoned high to keep the clichés in, as they sip warm beer from cans and leave cigarette butts burning in used teacups. The News parades contradictions, each statement a pratfall with a ladder and a bucket of water, and the rolling subtext has been replaced by a sealion with a beachball and a rack of car horns. There are Russians in our phones, Russians in Number 10, and even the skateboarding cat at the broadcast’s close is Russian. No wonder there are no Russians in Russia. A short break for commercials and propaganda, then here’s John Merrick, with his trombone and the weather forecast, impossibly loveable beneath that conspiratorial hood. The spies note down imagined codes, and the tattooed ladies redden in the knowledge of the hearts and elephants inked in their most secret places. For all anyone knows, the Bomb may have dropped in the 80s, but no one’s about to scrape away the paint and risk breaking the mood.



Diluvial

 

Tree shade. Paw prints in dried mud. Outlines of speech bubbles hanging empty over garden fences. When you speak, your voice is lawnmowers and the names of family pets, and your jaw aches like growth rings and dead leaves. On the doormat lie red envelopes with windows to break in case of emergencies. In the kitchen, an alarm repeats its electronic warning, though it’s not clear what it’s for. It’s probably just a test, but these days everything’s a test: What tree is this? What breed of dog? What exactly did you say? You know it would be easier if everyone kept to the rules, but you can’t remember what they are. When you speak, your voice is a scythe and the pet name of Plague’s horse, and your tongue settles like a new seed. In the garden, a fox nuzzles at the base of the fence, though it’s not clear what he’s worrying at. Maybe it’s new growth? Maybe it’s the scent of a dog? Maybe it’s the words you dropped when you warned your neighbour that nothing would be quite what it appeared.



The Evolutionary Urge

 

When we stopped wearing watches, our hands became lighter: a small point, but that’s the nature of evolution – one day you’re a fish, then before you know it, you’re shopping for trousers, considering colour and cut, the ethical sourcing of material. Or perhaps you are a lemur, developing digits to suit specific circumstances, whether that’s riddling out grubs from deep beneath tree bark, or forming barre chords to ease your way into a Status Quo tribute act. So when we stopped wearing watches, it wasn’t just our hands that became lighter, but also our spirits and the pigmentation of our eyes, until we floated above ourselves, timeless, observing the earth and its deep, disordered waters as if through a glass, darkly, our hearts strumming that good old 12-bar blues.



YOLO

 

When the monsters come, we don’t complain, for all their slamming doors and stealing children. It’s what they do, after all, and if there’s one thing modern life has taught us, it’s that we should all be true to ourselves, regardless of cost or moral niceties. We have little remaining faith to speak of, and you only live once is as good a maxim to live by as anything else. It’s like making America great again or getting Brexit done; a box to tick before moving on to the next ambiguous short-term goal. So, when the monsters come, we relax in the satisfaction that we’re doing as we please, kicking through the leaves of sixty accumulated autumns, as if there was nothing ahead but a weekend full of bicycles and lime cordial, then maybe a lifetime learning to fly. The house is as untidy as my head, with papers piled like snow drifts and every window left snapping in the night. I’m not sure it matters. The monsters should arrive before morning, or perhaps they’re already here.



Heredity

 

It’s not the torn flesh, it’s the torn hems that tie us to our ancestors; not the atrocities, but the inconveniences. It’s neither bullet nor fire, nor even treasonous cells undermining governance or decorum, but the gloxinia carelessly cut, the pipe tamped awry. There is our grandmother, purple-fingered at the oven, her brother a comet in her nightmare sky: which do we cry over – a toffee tin of mismatched buttons, or that which is stored unmarked in an underfunded museum? I have catalogued envelopes of coarse cotton, brittle hair, photographs that were never good enough for mantelpieces. Our grandmother brings a plate of spiced cake, too hot to eat: she has burnt the inside of her wrist, her floral hem hangs low.





Oz Hardwick is a UK-based poet, photographer, occasional musician, and accidental academic, whose work has been widely published in international journals and anthologies. His prose poetry chapbook Learning to Have Lost (Canberra: IPSI, 2018) won the 2019 Rubery International Book Award for poetry, and his most recent publication is the prose poetry sequence Wolf Planet (Clevedon: Hedgehog, 2020). He has also edited or co-edited several anthologies, including The Valley Press Anthology of Yorkshire Poetry (Scarborough: Valley Press, 2017) with Miles Salter, which was a UK National Poetry Day recommendation, and The Valley Press Anthology of Prose Poetry (Scarborough: Valley Press, 2019) with Anne Caldwell. A keen collaborator with other artists, his joint collection with Amina Alyal, Close as Second Skins (Indigo Dreams, 2015), was shortlisted for that year’s Saboteur Best Collaborative Work award, and he has contributed to performances, exhibitions, installations, and recordings with artists in diverse media. Oz is Professor of English at Leeds Trinity University, where he leads the postgraduate Creative Writing programmes. www.ozhardwick.co.uk

 

One Flash Fiction Piece by Art Ó Súilleabháin

 



The Cherry Blossoms in Washington DC 

 

It is peak daffodil time in Ireland. They are blooming all along our roadsides, in gardens and in abandoned fields. What do they mean beyond the yellow displays of Spring promise?  They are candy for the eyes but we don’t trumpet their blooming, barring the great institution of Daffodil Day. In Ireland the daffodils just arrive, emerging from the green to flood the margins with yellow. They are foreign invaders that come by some stealth. No fanfare or commemoration accompanies their history here. 

 

In Washington DC it is different. They think of the cherry blossom as the heralds of Spring. They build up the expectations for them along the banks of the Potomac river. It has a history, a story to be acclaimed. It is observed as a time of expectation, a time of meeting, a time for walkers to get out and enjoy the promise of spring, a time to enjoy the blaze of colour streaming along the river. People emerge from the winter darkness into the pink of spring. They just walk underneath the colour of the blooms revelling in the faint scent, basking in the glow of promise, stopping for a morning latte at one of the many coffee docks, while nonchalantly looking around to see who else might be about. 

 

For weeks those watching Good Morning Washington over breakfast or listening to WTOP-FM while negotiating the ‘beltways’ into the city are treated to updates on the phases of the blossoms. There are six phases of bloom with phase six being the ultimate crowning before the petals begin to fall and litter the previously immaculate sidewalks. 

 

As the phases grow so too do the masses of people thronging the sidewalks at Georgetown Waterfront, Ohio Drive or along the Arlington Bridge. Couples decide which phase might be best for them to enjoy the blossoms. Crowds of all nationalities pose for photographs under the colourful trees. The Japanese seem to outnumber everyone else. But that is as it should be.

 

On February 14th 1912 over 3000 cherry blossom trees were shipped from Yokohama in Japan to Washington, a present from the Yukio Ozaki the Mayor of Tokyo. The trees were planted all along the Potomac River near the Lincoln Memorial and Constitution Avenue. They thrived and after some initial setbacks the ‘Cherry Blossom Festival’ was inaugurated. It stretches now for weeks. I was fortunate to be in Washington in the spring of 2018 with my friend Eamonn. We walked along the Potomac, bought souvenirs and generally acted the tourist type. We were inevitably asked to take photographs of groups of fashionably dressed Japanese people around the Stone Lantern. 

 

This lantern donated to the people of Washington by Japanese in 1954, as a mark of peace after the 2nd World War. It is a block of eight feet high granite and weighs about two tons. The National Cherry Blossom Festival is officially opened each year by the lighting of the lantern. You can buy all sorts of souvenirs from pencils to pedestals, badges to bookmarks and the predictable t-shirts – the whole thing has become an industry – not to mention the tourists who throng into Washington to walk among the blooms and take in visits to the White House and the Smithsonian while in the capital. Of course there is the unescapable ‘Cherry Blossom Queen’, selected from ‘Cherry Blossom Princess’ from every state in the union.

 

But the story is most important. Cuttings from descendants of the original cherry trees were propagated and returned to Japan in 1952 to replenish a dying cherry grove in the Adachi region there. The cycle of peace, giving and preservation continued in 1965 when the Japanese Government made another gift of almost 4000 Yoshino cherry trees to Washington. The First Lady, Lady Bird Johnson (wife of President Lyndon B. Johnson) re-enacted the first planting in 1912. 

 

In 1982 more cuttings from the original stock were sent to Japan to renew another threatened grove. The United States National Arboretum now take cuttings from the documented, surviving 1912 Yoshino cherry trees to ensure preservation of the originals. These trees are be used in subsequent replacement plantings to preserve the genetic heritage of the grove and indeed some are sent back to Japan, thus continuing the cultural exchange of beauty and peace.

 

The pink and white cherry trees will blossom in gardens all over Ireland, singular displays of colour cheering the planter and the odd passer-by. They will tower over the yellow spirit of the daffodils, but without the hoopla that the cherry blossoms on the banks of the Potomac still generate. In Washington, the traditions of cultural exchange, international friendship, and taking time to enjoy the blooming of the cherry trees will go on despite the constraints of Covid 19 – and according to Good Morning Washington the cherry blossoms' much-anticipated ‘Peak bloom’ is set to happen between April 9th and April 15th. Pity I cannot be there.





Art Ó Súilleabháin was born in Corr na Móna, Co. Galway and spent some years in Boston USA. He worked in Dublin, Castlebar and Washington DC (Fulbright scholar) before returning to Corr na Móna. He won North West Words Poetry and he has been featured in Poetry Ireland, Boyne Berries, Skylight 47, Salt on the Coals (Winchester) and with Cinnamon Press (UK). He has published books for children and has read on Sunday Miscellany (National Radio in Ireland) in English and Irish. His first collection of poetry for adults (Mayflies in the Heather) has just been published by Revival Press in April 2021. ( see: artosuilleabhain.com  or revival-press  )


Five Fabulous Poems by Ken Gosse

 



Toddlers’ Tales Entwined in My Mind

 

Tales told often, and many quite old,

can readily soften the sorrows we hold

when it seems times are rife, full of troubles and strife,

but we find hope and comfort through sharing our life.

 

There was an old woman who lived in a shoe;

her cupboard was bare and her children were, too,

except for knit gowns from a woolly black sheep

who said, “I’ll share mine, for it’s warm and it’s deep.”

 

Her cupboard was empty; just seven starved flies.

When opened, she swallowed one—what a surprise!

Since that didn’t kill her, she thought, “I’ll be fine.

Perhaps there’s a spider on which I can dine.”

 

Her skinny old cow had jumped over the moon

so she worried they’d run out of milk very soon.

Her poor, hungry cat, nearly out of his mind,

ran off with the fiddle—his grin stayed behind.

 

She had an old lodger, a crookedy man

who sold pies at the fair—apple, cherry, pecan.

On his way he met Simon who traded three beans

for the lodger’s last pie (Simon had simple means).

 

Since the path to the fair was a long, twisty mile,

he stopped by a brook where he rested a while.

A troll ’neath the bridge shouted “Answer all three

of my questions, old man, or you can’t pass by me!”

 

But he, in good wisdom, returned to his lodging,

not waiting to answer the questions, but dodging.

The woods he traversed on the way were quite deep

yet he scurried along with a promise to keep.

 

On arriving, he opened his pack and he said,

“It’s time for bean stew, even though we’ve no bread,”

but the first bean fell out and it dropped on the floor

where it rolled and it rolled till it rolled out the door.

 

That moment, a peddler arrived with two sacks

full of tin pans and candles and other knickknacks.

Before every sale he’d regale with some tricks,

so he lit and jumped over two tall candlesticks

 

as his wife, lovely Jill, who returned from the hill

where she’d taken a bucket they needed to fill

from the well at the top, and she walked very still

taking care not to fall or the bucket would spill.

 

Although not a liar, Jack’s his pants caught on fire!

Jill soused them and doused them before it was dire

but some of the water drained out the front door

and moistened the bean that had rolled there before.

 

The seed quickly grew till its stalk reached the sky

where it broke through the clouds drifting hazily by.

Growing fast as could be, first two miles, then three—

Jack said, “That’s a sign of adventure for me!”

 

His pants were still steaming when he grabbed the creeper.

’Twas quite a hard climb and it couldn’t be steeper,

but quickly he flew like the down of a thistle

and reaching the top, he let out a loud whistle.

 

The Jabberwock guarded a great castle gate,

but Jack was excited and just couldn’t wait.

From his pack he pulled out the renowned Vorpal sword

and jabbed the Jab-Jab like a butternut gourd.

 

As fast as he could, through the entrance he ran

stopping dead in his tracks when he saw a huge man

who was snoring like thunder to waken the dawn!

This rousted Jack’s courage, and so he moved on

 

through a hall full of riches too great to behold:

in the corner, a cage made of silver and gold;

inside it, a shoe which was carved out of wood;

inside that were three boys in a trance where they stood.

 

Winken and Blinken and Nod manned the boat

which they’d sailed in a dream when it started to float,

flying up through the sky past the eye of the giant

who caught them and caged them, though they were suppliant.

 

Their pitiful pleas brought no ease to his ear

for the giant liked crying—it brought him good cheer—

and though they stayed quiet while Jack slashed the cage,

the noise woke the giant who yelled out in rage!

 

Too late—for their boat had reached such a great height

it was well past his grasp though he flailed with his might.

On this dark, stormy night, now released from his plunder,

o’er treetops they sailed in a great clap of thunder.

 

The bow of their ship held a marvellous sight

which Jack hadn’t seen in the darkness of night,

for hidden away was a sight to behold—

a goose in a nest laying eggs of pure gold!

 

While soaring, their path crossed a trulio dragon

named Custard, who said he would pull their shoe-wagon.

No coward was he (once the billows had passed),

though when danger appeared, he was brave, first to last.

 

Far off in the distance they saw Peter Pan,

John, Wendy, and Michael who crossed the sky’s span

on their first trip to Neverland, floating with ease

as if they’d been tossed from a flying trapeze.

 

At last homeward bound, as they passed the full moon

came an owl, cats, and cow, and a runcible spoon.

One cat was singing, another played fiddle;

two hitchhikers joined them, brers -Dee and -Dum Diddle.

 

On landing, they saw the vine’s flowers had bloomed

sprouting food of all sorts—hunger no longer loomed!

Gold petals and eggs were passed throughout the land,

now freed from the greed of the giant’s fierce hand.

 

The giant was angry! The vine was too small

and he couldn’t climb down to take vengeance on all

so instead, in a violent rage he jumped down

but fell through the Earth a short distance from town.

 

And now they’re all happy, their lives full of laughter

with love, hope, and joy in their dreams ever after.

These journeys we’ve taken, like many before,

still help us believe there is more hope in store. 


 

The Sound of Wisdom

 

The Wise Old Owl ~

A wise old owl

once sat in an Oak.

The more he saw,

the less he spoke.

The less he spoke,

the more he heard,

but when he asked “Who?”

he sounded absurd.

 

Fishing for an Answer ~

A wise old fish,

once swam in a pond

and spoke not a word

till a hook from beyond

flew out from a wand,

then he shouted “Who’s there …”

but he was cut short

when he snapped at the snare.

 

Brazen Wisdom ~

An old wise ass

once stood in the way

for he thought everybody

should hear what he’d say.

So loudly he’d bray

to expound every word

that the noises he made

always sounded absurd.

 

Silence is Olden ~

A wise old man

once sat in an oak.

Some thought he was wise

because he never spoke.

Some said, “It’s a joke—

he’s a looney old bird,”

and when the tree fell,

alas, nobody heard. 


 

The Peaceful Pair Who Rested There

 

A moose on the loose by the name of Tonoose

(like the Lebanese uncle who had a screw loose)

loved to rest on the ground thinking thoughts most profound

(as did Burns on the day that his plans went agley)—

of the humdrum of tundrum, a puzzling conundrum

(no riddle-wrapped mystery in an enigma,

a phrase which, to him, wasn’t even a figma)

for his hapless thoughts were a series of naughts

(not the ones and the zeros of geeky-brained Neroes

whose reign on the plain in the cloud was arcane);

and without plan or palindrome, his mind would roam.

 

And so rested he, although no Tumtum tree

would provide useless shade in his cold, northern glade—

tit-willows weren’t heard from some sad dickybird

to guide his direction to gentle affection—

when what to his wandering eyes should appear

but a Canada goose with a honk loud and clear

as it flew through the air with the greatest of ease

as if flung with full flair from a flying trapeze.

Its down had the grace of fine Chantilly lace

as that cute long-necked goose came to rest its caboose

of top of the moose head he used as a bed.

 

This tale of two friends without need for amends

calmed each dark, stormy night, and each day gave delight

to the pair and to all come to watch them rest there:

an odd couple, mismatched, although none were dispatched

to say “please, move along” to the curious throng

who found they enjoyed the view filling the void

of the chilled, endless plain, which became their domain.

So full speed ahead, any difference be damned,

no intent of pretense therefore neither was shammed.

May this friendship of two without further ado

lend us courage and hope to find peace for us, too. 


 

Odd Couples

 

Walruses and carpenters aren’t singular but plural;

each word means that there’s more than one

though one of each beneath the sun

oft’ walk the shores and have much fun

(for walruses, of course, can’t run),

while ponderings unfurl.

 

And whether beaches they traverse are urban or are rural,

the sand will show their recent trod,

their footprints being rather odd

since both of them are not bipod

and one must waddle on a quad

of fins and flippers as he’ll plod

while dragging an enormous bod

which he can deftly hurl.

 

A walrus and a carpenter may walk along the Ural,

(and when they do, though they are two

yet each is singular, still you

know one of each makes two, not few)

for this is what they like to do

and countless oysters will accrue

(they’ve never eaten too beaucoup)

although their small friends should eschew

their company and their fondue,

they’ll join the dance and twirl.

 

Do pairs of these odd couples ever join to knit and purl?

Do they amass with others in a congo line to curl

along the shores where they’ll eat s’mores and talk about the girl

that they once knew (a date or two, who thought they were a churl,

although, sweet thing, they gave her bling and told her she’s a pearl.

She wouldn’t prance their highland dance—she loathed the bagpipe’s skirl!)?

They may partay but dancing? Nay, for walruses can’t whirl. 


 

The Brew Wasn’t True

 

You knew that it was serious

when she said “sweetest dearious”

and you felt most sincerious

that she’s the girl for you.

 

You must have been delirious

to cook a meal mysterious

(though somewhat deleterious)

to prove your love was true,

 

for suddenly some hottentot

that sizzled in your dinner pot

began to say, “Forget me not!”

before your final chew,

 

and although you were both besot—

for love and liquor hit the spot—

you saw that this would twist the plot,

so, wondering what to do,

 

you found you must abbreviate

your meal and somehow deviate

from hopeful plans, then intimate

your rendezvous was through,

 

full knowing this would aggravate

the lady fair you chose to date;

it seemed most likely she’d berate

sans mercy, full beaucoup,

 

not the kindness of your soul

nor fullness of the dinner bowl,

but call you a despisèd troll

for serving poisoned stew,

 

and knowing that you’d lost control—

and there was naught which might console—

at last you saw, upon the whole,

it’s best if you withdrew.

 

Her faded love for you now gone,

the time has come—you must move on—

your bound’ries once again redrawn

another time or two.

 

And there you stand, your hopes withdrawn.

Excitement slowly yields to yawn.

There’ll be no thunder ’fore the dawn

nor drop of any shoe.




   Ken Gosse usually writes short, rhymed verse using whimsy and humour in traditional meters. First published in First Literary Review–East in November 2016, since then in The Offbeat, Pure Slush, Parody, Home Planet News Online, Sparks of Calliope, and others. Raised in the Chicago, Illinois, suburbs, now retired, he and his wife have lived in Mesa, AZ, over twenty years.

 

One Poem by Ray Whitaker

  DRAGONS How could the anger go the disappointment from then the mad over lost love dissipate from sight,  from feelings? Wafted away in a ...