My Wobbly Bicycle

My Wobbly Bicycle, 135

Posted by on Mar 15, 2017 in Featured | 2 comments

Launching The Woods Are On Fire: New & Selected Poems tomorrow!  Today I offer you the tiniest poem in the book, from No Need of Sympathy (BOA 2013). I want to thank BOA for giving permission for me to use 20 poems from a collection that hadn’t been out all that long. That can cut into their sales, so I urge you to have a look at that book, also.

This poem was one of a series of short poems I wrote in response to sculptures by the artist Bill Allen.  The poems and pieces were part of an exhibit at the Dennos Museum in Traverse City.  I wanted short poems so a person could stand there and read them on the wall.



Worms can replace parts.

They can re-start themselves

if they’re cut apart. And

the slime they leave behind

glues the earth together.

They have no eyes.

Imagine scrunching alone

through life, armless,

legless, and blind

yet so convinced

of your usefulness that it

makes some kind of sense.


images-2Oh, all right. I’ll give you two for the price of one. This is also from No Need of Sympathy. The PBS News Hour used to—before they gave up with the sheer numbers—have a period of silence at the end of the show when they put on screen the name and photo of each person killed in Iraq, Afghanistan, etc. I wrote this after watching that became almost more than I could bear. I think of the great World War I poets, Rupert Brooke, Wilfred Owen, and Siegfried Sassoon. “Anthem for Doomed Youth” is a poem by Owen.  I think of the young recruit, just wanting to get out of his small town. He’s so young, it seems as if he’s playing dress-up, going off to war.



imgresHere, In Silence, Are Eight More



Night after night the photos of dead soldiers

go by on the News Hour like playing-cards while we drink


our wine, though we stop for that length of time, of course,

out of reverence, but it’s not enough. The well of


how-not-enough-it-is is bottomless, deeper than TV. Even

if you track back through the Comcast cable, back to


the electrical impulses, you’re not even close to what to do.

Not even if you end up on Main Street in Salisaw, Oklahoma,


and follow the 19-year-old into the storefront full of

uniforms, crisp, medallioned, follow not his vanity


but his hope, his longing for order, for the squared shoulders

of order, his wish for the vast plains of the world


to unroll at eye-level, so he can walk out into the particulars,

the screaming, the blood. Owen, Brooke, Sassoon: what


anthem for the doomed youth this time? His death rests

like a quarter in the pocket, a sure thing. Its arrival


is a few missing lines I fill in, wrongly, because

the mind does that: I have him watching in slow motion,


with love and pity, the flowers beginning to bloom

on his shirt, the sky closing like a book. Sadly, then,


he disappears entirely into my mind, his last breath

easing between my words. There was a book in his childhood.


No, mine. Ducks cross the road, a mother duck leads them

through traffic to the pond. The pages flip so that


the ducks seem to move. They slide into the pond

with the satisfaction of making it through the human


confusion. Our soldier floats like a duck. Like a night-flight

casket. In the photo his eyes, straight-forward, being all


they can be, float on the surface of a pool of uncatalogued

genetic material. One snapshot in time, his eyes were


like that, his mouth. He can’t remember. He never was

like that. He was playing dress-up, then, hoping to make it true,


and did, so true no one could get in a word, in protest.






My Wobbly Bicycle, 134

Posted by on Mar 8, 2017 in Featured | 5 comments

I went to Fayetteville, Arkansas, for my fortieth high school reunion thinking surely, after all these years, a lot of poems would come to me. But I only got a few. You never know. They’re all in Reunion. I could give you one of those here, but I picked a different one from that book because I thought it might give momentary comfort in these frightening times.


imgres-1What I’m looking for in a poem has shifted these days. Every poem is political—I could talk about that at length!—but some carry with them an awareness of particular ways of seeing that help us, or at least help us recognize a companion spirit at a particular time. In this case, a mouse.






I admire the way mouse dashes across the top bracket

of the blinds while we’re reading in bed. I admire the tiny whip


of its tail at the exact second my husband tries to grab it.

I admire the way it disappears into our house and shreds various


elements. I admire the way it selects the secret corridors

behind cupboards and drawers, the way it remains on the reverse


side of our lives. The mouse is what I think of when I think of

a poem, or of music, going straight for the goods, around


the barrier of our thoughts. It leaves droppings, pretending to be

not entirely substantial, falling apart a little here and there.


Clearly, it has evolved perfect attention to detail. I wish it would

concentrate on the morning news, pass the dreadfulness out


in little pellets. Yesterday I found a nest of toilet paper and

thought I’d like to climb onto that frayed little cloud. I would like


to become the disciple of that mouse and sing “Wooly Bully”

in a tiny little voice in the middle of the night while the dangerous


political machines are all asleep. I would like to have a tail

for an antenna. But, I thought, also, how it must be to live alone


among the canyons of cabinets, to pay that price, to look foolish

and trembling in daylight. Who would willingly choose to be


the small persistent difficulty? So I put out a spoonful of peanut butter

for the mouse, and the morning felt more decent, the government


more fair. I put on my jeans and black shirt, trying not to make

mistakes yet, because it seemed like a miracle that anyone tries at all.

I looked hard for a photo of a trillium with blood-red markings, because there was one in a poem in the collection. I found one on line and wrote to the photographer, Susan Farmer, to ask permission to use it. I sent her $100, but I think she would have given it to me free. She seemed pretty happy to have it as a book cover. I thought it was perfect.

I’ve been using these posts to go back through the collections included in The Woods Are On Fire: New & Selected Poems, before the book launch next week, Thursday, March 16, from 5-7 at The Corner Loft in Traverse City.    I hope you’ll come, if you’re within range. I’ll read, Becky Somsel will play the harp (not at the same time!), and we’ll have refreshments. I’m looking forward to a great party!

My Wobbly Bicycle, 131

Posted by on Feb 15, 2017 in Featured | 8 comments

Here’s Part II of my romp through past books, toward the launch of The Woods Are On Fire: New & Selected Poems, on March 16th.


searchSince my first book was obviously a lucky fluke (this is how my mind works), I would never get a press to take another.  I sent my second manuscript, Do Not Peel the Birches, back to Purdue University Press (if they liked me once….), but the book didn’t win their contest that year. Alas, woe was me, it was confirmed. I was a flash in the pan. The next year, 1993, I sent my manuscript to several other presses as well, but Gerald Stern, Purdue’s final judge that year, picked mine as winner of their newly established Verna Emery Prize, which was book publication.


Not only that, he came to visit me and helped me revise several poems.  “Be wilder here!” he’d say. Geez, wilder.  I made several poems a lot better because he said that. I tried to let my mind drift outward, or inward, beyond the poem. What else? What else could be there? I was learning to do consciously what had only happened occasionally and unconsciously before, that is to dig beneath the narrative for the rumbling deep levels.


“Do Not Peel the Birches” was the sign my grandfather nailed on the birch tree outside the cottage. I’d only recently begun coming back to the cottage every summer. So little was changed! I was obsessed with seeing, with seeing what was, with my imaginings of what was, of re-living, re-seeing.


images-2In this poem, my aunt Cleone was still alive. Her beloved husband was dead. My marriage was falling apart. We were alone—and lonely—up there at the cottage, swimming:


Night Swimming


We are without our men, hers dead

ten years, mine far away, the water

glassy warm. My old aunt already stands

half in. All I see is the white half,

her small old breasts like bells,

almost nice as a girl’s. Then we hardly

feel the water, a drag on the nipples,

a brush on the crotch, like making love

blind, only the knives of light

from the opposite shore, the shudders

of our swimming breaking it up.

We let the water get next to us

and into the quick of losses we don’t

have to talk about. We swim out

to where the dock goes blank,

and we are stranded, abandoned good flesh

in a black of glimmering. We each fit

our skin exactly. After a while

we come out of the water slick as eels,

still swimming, straight-backed,

breasts out, up to the porch,

illuminate, sexy as hell, inspired.