Saturday, November 13, 2010

Poem Storm Systems

 earlier draft revised for clarity

Storm Systems

I am in the cramped framed house my past father's cancer built .
I stand in one corner, while the broken skies, still numb from flashes
carry the radio’s blues falling on Alabama, all those heavenly ruptures.
I can hear the preacher say, Find Jesus in the pain,
remembering the silver marks of the good farmer
in the land of Uz, whose oxen plowed through
a hard summer storm, who stood firm. Still, my father
is in bed again, the ghost bed, the robes of the forgotten.

Outside, the sons of man asked God to reset
the grandfather clock, you see, here’s what happened:
walking from supper's burnt okra to the field with lost brothers,
three speak again, There is none like you on the face of the earth
For now in that abandoned barn, the clock lies broken.
In the house, the great mahogany gloom of the piano, 
spills the dark day light onto the ceiling
in wild fits. I don’t ask why the trees break into fire
each winter, or why the clocks seem unteachable.

Outside, in the field with no corners, I don’t ask why
we walk or why the mirrors of wet red clay streak
with flashing Azure. I don't ask if the why my brother.
The hints of wet horses and Dogwoods
don’t tell me I don't ask why my Grandfather.
I see no signs of angels with burn sores,
no electric, elemental smell in the mist, and no light
points to those trees that will soon be struck.
I wont ask why I am alone in the field, the lighting can't tell me.

Waking, tomorrow, we will all pray again from different places.
The wrong time will turn the radio dial, as it plays
Lili Marlene again, burnt cornbread and soup in the kitchen.
She’ll sing, “There'll be bluebirds over the white cliffs,”
mocking the empty plates, which are all that I’ll have—
those and the lightning bugs. Why must they be beautiful?

Surviving Storm Systems

I am in the cramped frame house my father’s cancer built. I stand in one corner
by the sick bed, while the broken skies, still numb from three flashes,
let loose the radio’s blues, falling on Alabama, from their heavenly ruptures.
I can almost hear the preacher say, Find Jesus in the pain,while remembering
the silver marks of the good farmer in the land of Uz, whose oxen plowed
through a hard summer storm, who stood firm. My father is in bed 
again, the ghost bed, the robes of the forgotten.

Walking through a Barn frame of burnt ocher, those three sons of men
try to wind back the Grandfather clock with a simple have mercy. 
In the field with no corners, the flashing mirrors of wet red clay streaked
with a hint of horse and Dogwood trees don't answer. I see no signs of angels

with burn sores, no electric, elemental smell in the mist. No more light points
at these three watches, two are lapsed from broken wires, while one still ticks.

I am in the frame house, again, as the mahogany gloom of the piano, spills dark 
day light onto the ceiling in wild fits. Long gone, father, can't answer my questions.
I will never know, why the trees broke into summer fire, or how to repair a clock. 
I only know this morning, One man and two prayed in the kitchen corner. Tomorrow
one boy will pray from a different corner, his alone. The wrong time
will turn the radio dial to Lili Marlene. Burnt cornbread, and soup in the kitchen.
She’ll sing, “There'll be blue birds over the white cliffs of,”mocking empty plates,

which is all that I’ll have— 
those and these lightning bugs.
Why must they be so beautiful?




4 comments:

  1. Jeff,

    I could tell without reading your side note that this piece is well into the drafting process. Again, you demonstrate a variety of rich and intense language. My biggest suggestion at this point would be that you might consider a little creative erasure. I say this simply because you provide a slew of and places, and I'm not sure why yet. I like how you enter with the death of the father, exit that space, and return to end the piece, but I'm still kicking it around. I understand that your reference to God and the Divine works hand in hand with the elegiac nature of the draft, but I wonder if you would be better served by toning down these elements. You might consider mentioning the Divine only in fleeting, passing remarks. I say this because, if executed correctly, your draft will maintain all of the "spiritual baggage" while gaining some interesting and subtle nuances. You could imply the reset you call attention to with some minor tweaking, I think.

    For instance..."Walking through burnt ocher, these sons of men wind back the clock with a shallow have mercy upon us. / In the field with no corners, the mirrors of wet red clay streaked with horse and Dogwood trees won't tell. / Why should they ask this of time?/ I see no signs of angels with burn sores, no electric, elemental smell
    in the mist./ No light points to those three watches, which will soon strike.
    No sign foretells of two clocks lapsing from broken wires, while one ticks.

    Obviously this is impromptu, but I think the surreal nature of the thing is still present. I hope some of this helps,and I look forward to what you come up with.

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  2. thanks Billy very good suggestion here, and I will borrow it, with some minor alterations, if you don't mind.

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  3. Questioning seems to be an interesting impulse in this draft. However, the use of so many questions detracts from the rich, intense language offered in the poem. How could you take the questions and make them statements or images of what the speaker is looking for? You have an amazing amount of material to work with here.

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  4. I agree with Billy on toning down the emotional register that the images of the Divine seem to implicate. A way, perhaps, to bring more logic in the poem might be to stick to the triggering agent, that of the dying father and use the language you already have to help further the implications of the relationship between the speaker and the father. You bring in a lot of characters and places in the draft that make it a little confusing to follow so perhaps just focusing on the relationship between the father and the son could bring more clarity to the piece.

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