A. Garnett Weiss Posts

The day before Canada Day, Brick Book’s website featured JC’s article on A. Garnett Weiss’s use of the cento form to celebrate the writing of poets such as Al Purdy, Lorna Crozier, E. J Pratt, Monty Read, Molly Peacock and Leonard Cohen.

Here’s the link to the article:  http://www.brickbooks.ca/category/news/celebrate-canadian-poetry/

I accepted the day 29 prompt in NaPoWriMo.net because the Day 30 prompts from that site and from Found Poetry Review were not a good fit. I am pleased to have participated in this month-long writing challenge but, at the same time, feel relieved it’s over. And apologetic that I was a day late once in a while.

Here’s the prompt: “write a poem based on things you remember. Try to focus on specific details… You could start… every line with “I remember,” and then you could either cut out all the instances of “I remember,” or leave them all in, or leave just a few in….”

What has emerged is a more personal poem than my other offerings this month. Perhaps that’s fitting for the last in this series, perhaps not. I’ll let the poem be for a while, then may revisit “Generation, from memory.”

Thanks to Found Poetry Review and NaPoWriMo.net for kick-starting every day in April with great ideas.

Generation, from memory

In May, the jubilant pronouncement: “I’m pregnant!”
Your mother’s words turned an ordinary day into a celebration,
then draped me in a shawl of worry: Would she be alright? Would you?

In June, she popped pills to stem the nausea, then slept day-long.
My gentle words that this would pass so inadequate,
I offered mint-leaf tea, dry toast, warm blankets and hugs.

In July, a visit to the midwife, tattooed and pierced, tightened
the worry around my shoulders. I asked myself could I trust
her judgment, her experience? Could I trust her with my daughter?

The rapid thrum/thrum/thrum/thrum of your heartbeat filled the room
when you were smaller than a lime, still on the tree. At that moment
I understood the passion, the argument about when life begins.

In November, my hand on your mother’s stomach—smooth,
without stretch marks, swollen to watermelon size— I felt
you kick at me as though you were dancing the can-can.

In January, on walking home with your mother from the spa,
sudden cramps stopped us every ten minutes, then every five,
then every fifteen as she breathed through your false start.

I packed that evening, took the long ride home, even though
I wanted so badly to stay, to wait with her it hurt in my gut.
I gathered the shawl to me but felt its cold through the car window.

Then a text message: your mother and father were at the hospital,
your mother resting well with a local anesthetic.
I sat in the living room, sipped wine, held your grandpa’s hand.

Waiting, worrying, waiting, worrying, waiting, worrying,
waiting, worrying, waiting, worrying, waiting, worrying.
In the silence, the shawl constricted like a straitjacket.

The phone rang, delivering your mother’s voice.
She sounded like a child herself.
“He’s here! It’s a boy. I’m looking at him.”

I tasted tears as I put down the receiver. I cast off the shawl,
left early the next morning to greet you before you were a day old.
Coming into the hospital room alone that first time to hold you,

light as a feather, I studied your eyelashes and tiny fingernails, traced
the line of your soft cheek with my arthritic hand. I both believed
and couldn’t believe the wonder you are, of my flesh, my blood.

I began singing “Hush little baby, don’t say a word…”
for the first time in almost thirty years
and remembered all the words.

 

Beth Ayer’s challenge through FPR was as follows: “In the spirit of heading into darkness after all things unseeable and obscure, write a poem using a text that is inexplicable to you. Could be quantum physics, thermodynamics, mathematics, aeronautical engineering – or something else altogether that to you speaks in incomprehensible language. Choose a text or texts and begin selecting words and phrases as they spark associations. Write a poem using the collected words and phrases. Let your imagination fire, and don’t worry about what these terms mean in their original context.”

I went online and used phrases and words largely unaltered from an article from European Nuclear Society (euronuclear.org.) What Is A Nuclear Reactor? to respond to the prompt on this penultimate day of National Poetry Month.  I certainly didn’t understand the technicalities in the article when I composed the poem below. Comments are welcome.

This basic difference

After the separation
converted their bond,
transferred power
for multiple purposes,
fission released them.

Before they escaped
slightly enriched,
they felt intense deceleration,
released from the laws of nature,
the pressure to combine.

Devices designed in a loop
fed into the fuel they use:
The same, reinforced, secondary light.

I will return to April 28’s fine prompt from Jenni B. Baker in FPR which warrants far more time than one day provides.

Instead, I chose one of Greg Santos’s from yesterday to: “Go to Wave Books’ Erasures website to find online source texts…The cool website lets you click on any word or punctuation mark to make it disappear. You can save, print, or email the newly sculpted text when you’re done.”

Well, I went to the site, which, indeed, worked as he suggested. In fact, I felt a ‘frisson’ of power as I erased parts of the source text “Pointed Roofs,” by Dorothy Miller Richardson.

I failed dismally, though, when I attempted to save and email the poem, though I could print it.

So you see, above how “Home Schooled” appears, to which I added punctuation by hand, though I seem to have mislaid the period at the end. Sigh.

Here is how it reads:

Home schooled

Bright faces collected misery.
Dreadful experiences at home had swollen
until she worked her trembling wrists and hands,
elbowed the bottle of green Chartreuse on the tiles.
Full of angry discomfiture, she had poked fear,
and burning nervousness twice
had astonished her day.

 

Though it proved hard to select which of Greg Santos’ April 27 prompts to follow, I chose this one: “Find a draft of a poem you’ve already written. Rewrite your new poem backwards, writing the last stanza first and so on. The new order might reveal something new and exciting.” I began with a piece I had posted in response to the day 6 FPR prompt to create a poem comprised of a single sentence, spread across at least seven lines of no fewer than five words each, in which I had to repeat one of the lines three times, but not in succession, and include specific vocabulary.

Here is my April 6 original.

Uncle

You make me do what I don’t want to
but I can’t pretend I don’t understand —
you: Self-satisfied, self-pleasured, self-absorbed, self-ish Sam—
you speak to me in dialects I wish were foreign
or that I’d need a cochlear implant to hear
but I can’t pretend I don’t understand
which is to say I’m like helianthus facing south and west
as when the sun goes down toward Ecuador
and I turn, too, because you make me do what I don’t want to
but I can’t pretend I don’t understand.

Here is the first reversal I tried, where I simply began with the last line and worked back to the first (with one minor word change, some line break adjustments and the addition of punctuation.)

I can’t pretend I don’t understand,
but I turn, too, because you make me do what I don’t want to,
as when the sun goes down toward Ecuador,
which is to say I’m like helianthus facing south and west.

But I can’t pretend I don’t understand,
or that I’d need a cochlear implant to hear
you speak to me in dialects I wish were foreign,
you self-satisfied, self-pleasured, self-absorbed, selfish Sam.

But I can’t pretend I don’t understand
you make me do what I don’t want to, uncle.

Here is a variation on the first reversal,with line breaks all changed and a surprise reversal of victims in the last line. Who would have expected that?

But I can’t.
Pretend I don’t understand.
But I turn, too, because you make me.
Do what I don’t want to,
as when the sun goes down toward Ecuador,
which is to say
I’m like helianthus, facing south and west.
But I can’t pretend.
I don’t understand.
I’d need a cochlear implant to hear you, uncle.

Speak to me in dialects I wish were
foreign, you self-satisfied, self-pleasured,
self-absorbed, selfish Sam.
But I can’t pretend.
I don’t understand.
You make me do what I don’t want
to uncle.