
Kitsilano Take-out Tanka
a late May evening
a take-out from Akbar’s Own
lamb vindaloo, mild
low muslin- filtered sunlight
couples stroll home from the beach
Why I have difficulty writing haiku
problem with haiku
definite article is
first casualty
next casualty
indefinite article
makes me sound little
like Japanese guard
in prison camp in movie
world war two movie
who for some reason
is speaking English (how? why?)
with staccato voice
or perhaps I am
po-faced guru on mountain
dispensing bromides:
crow flies at midnight
in front of luminous moon
affair ends badly
all because I am
in service to, at mercy
of, syllable count.
When Poets Fall Out
I know something’s up
you’re sending mixed metaphors
your rhythm’s way off.
The Light Ekphrastic
pierless, a king tide,
a log boom loses its grip
erasure, dim wit
a slow walk in the March sun
tripping the light ekphrastic
Taking part in open link over at earthweal.
The Poet’s Circle Holds a Haiku Evening
an evening of
syllable counts, cured meats, cheese,
wine – haikuterie.
(photo taken at Vancouver Folk Festival in the time before the time)
1 (conversation overheard in a downtown bar)
he wants to retire
back where all the spires conspire
to show him the way.
2 (too much of a good thing)
summer evening
the red sunset bleeds regret
maturity lost.
3 (Why can’t I write like Rupi Kaur?)
my quinoa* quota
was far from quotidian
thanks! sunflower seeds!
*’keen-wah
4 (Climate Change is Opening Windows)
rumours dropping from the eaves
neighbours thick as thieves
singing off key at three
o’clock in the morning.
The challenge from Laura over at dverse is to write a poem consisting of fragments:
“Either:
a poem of several numbered stanzas. Each being complete in itself and having only a passing relationship to each other, if at all
OR
a poem of disjointed images (like listening to conversation in passing, repetitively switching between radio/tv station, random images across a screen, or paintings/photos seen in a gallery)
Rules:
Your poem should NOT conform to any rhyme scheme
Your poem MUST include Fragment(s) somewhere in the title”
A post from the time before the time.
We got off the train from Machu Picchu at the Ollantaytambo station, walked up the station road to the town square and came upon this: Mother’s Day in Ollantaytambo. It went on all day – entertainment, raffles, prizes, politicians’ speeches. The ladies seemed to enjoy themselves, although they never clapped once.
Later that evening, we had dinner in the restaurant down at the station and walking home we witnessed this haiku-worthy scene.
Station Road
I
Two black dogs humping
a puzzled white terrier
on the station road.
II
Puzzled about what?
about the expectations
of the dog in front.
photo by Marie Feeney
Taking part in Open Link over at dverse.
no more séances
these days it’s hard to find a
happy medium
….because of the week it is…..
Taking part in open link over at dverse.
Domestic Terror
allergens loiter
on the vacuum’s humid breath
spiders abandon
web based solutions
seek cover in crevices
domestic terror.
Sarah over at dverse asks us to write about things that creep and crawl, so I thought I would resurrect these two poems. (The one below was inspired by a fly that appeared on Mike Pence’s head during a vice presidential debate back in the glory days of demagoguery.)
The Fly on Top of Mike Pence’s Head Speaks
It’s so white up here.
What’s that fragrance?
Is it Rogaine?
Is it piety?
Is it Rogaine and piety?
You seem a little nervous
around the women folk, Mike.
Can I recommend a good conditioner?
Redwood Tanka
new shoots from old roots
deep in the cedar forest
I’m birthing clichés
surrounded by the slowness
the ancient ticking of time.
Brendan, over at earthweal, asks us to write about “slowness”.
Ironic Distancing
The mind wanders
I think of a word that rhymes with ‘banker’
and marvel at how
in the middle of a global crisis
my brain still tilts
towards the trivial, the juvenile.
I try a sound poem
panic, pandemic, pandemonium
but it’s missing something,
panache, perhaps.
I make up a joke involving Peter Pan
but decide now is not the time to share it.
I detect the late onset of maturity
and feel depressed.
I text some friends,
we try to out-snide each other
but after a while
we are all chewing on the same bone.
I’m besieged by an idiocy of idioms –
the whole nine yards
the whole kit and caboodle
and that’s only the tip of the iceberg.
I re-assess my relationship with surfaces
I can no longer count on
that counter to lean on,
and as someone inclined
to whistle past the graveyard
walk past the writing on the wall
I have to admit
that the object in the mirror
was a lot closer
than it first appeared.
I write a haiku
four in the morning
moon shining on toilet bowl
porcelain pathway.
Eat your heart out! Basho!
Victoria over at dverse asks us to write a soliloquy incorporating one or more poetic devices, this one is heavy on alliteration with a bit of internal rhyme. It was previously published here, mid- pandemic last year.
Party Animal
in he walks
like a bull
checking out
a paddock
the air shifts
nervously
eyes lower
bells jangle
(Episode 1 is here)
The following is a memory and like all memories it’s under constant revision. What’s significant I think is that it was the first time I realized that Slim was taking this whole slimverse thing a bit more seriously than I was. As I remember it……..
I invited Slim and the rest of The Poet’s Circle over for a few drinks to celebrate something, I can’t quite remember what it was and to be honest, it doesn’t matter.
The evening began relatively smoothly with an intense discussion about accessibility (no surprises there) and I made an emotional speech about the end rhymes in Leonard Cohen’s song, “Suzanne”. The conversation moved on to verse forms – cinquains, tankas, sestinas, halibuns, what happens if one turns a haiku upside down -fascinating stuff. Then Slim chimed in and asked where our own invention, the slimverse, fitted in to this pantheon. There was an awkward silence. Eventually, The Accomplished Poet spoke up. I should add that he is indeed accomplished and his compact vivid poems, mostly about his garden, have been widely published. He politely suggested that perhaps a 3 syllable line was too limiting, that making poetic music with such a restriction is quite difficult.
Now there was another kind of silence, the kind that ensues when a lion tamer drops his whip. Slim said quietly “fuck you and your fucking garden” and aimed a punch at The Accomplished Poet’s head, who, perhaps because of all that work in the garden, is quite agile. He ducked Slim’s punch and kicked him adroitly in the crotch. When the applause died down and Slim could speak again, he uncharacteristically apologized and gave The Accomplished Poet a hug, a doubtful pleasure given Slim’s personal hygiene issues. The evening ended on a happy note with a raucous rendition of “Suzanne”, everyone hitting the end rhymes hard.
Later that night Slim and I wrote the above poem which stretched the slimverse form to two verses. History in the making.
(*Slimverse – four 3 syllable lines)
Taking part in Open Link over at dverse
Two Bros at the Art Gallery
v- necked, buffed, burnished
pumped, pectoral, and puzzled,
aerobatic hair.
The Oscar of being George ( a hesitant haiku)
pride comes before a…….
without pride….one would never…
get up……off one’s arse.
Slim’s Third Dream
Slim retires again
to do battle with the night
his mother appears
they share complicated jokes
in his sleep, he laughs out loud.
Over at earthweal, the challenge is:
For this challenge, explore the art and acts of entanglement in a poem. How does one life entangle another? How do the dead remain entangled with the living? Become the thing you see. Reflect on how that seeing changes the world (at least, your view of it). Then (or separately) ask yourself what existence would mean without that entanglement: how much less light and air and beauty. Flip the switch both ways to see how it works. Entangle yourself in the world. Let your witness be our testament.
A lot of questions, I think I may have addressed one!
The Poet Steps Out with Uncharacteristic Resolve
No free verse today
I’m taking my doggerel
for a long, long walk.
This haiku, by my good friend, Slim Volume, was short-listed in the non-starter category at the Mountmellick Haiku festival. Well done, Slim!
stunned in the meadow
channelling Ansel Adams
lens like a cannon.
Photos by Marie Feeney
In response to Sherry Marr’s prompt over at earthweal
Stepping Out
and inside the mask
a faint whiff of grease
from this morning’s eggs
stepping out, he finds
the outdoors secure,
still, in its greatness
the sea still open
the sky limitless
the sky, the limit
the sky, off limits.
Brendan’s post over at earthweal (https://earthweal.com/2020/06/22/earthweal-weekly-challenge-culture-and-nature/ ) asks us to write about “the intersection of culture and nature”. He asks:
” How do you see yourself as a poet of culture and nature?”
Well, I have never considered myself a poet of nature. I have to come at it sideways. Here is a poem about the intersection of pop culture and nature.
Jerry Seinfeld takes a walk in the park and writes a haiku
Why, when dogs chase birds,
do we see optimism
not futility.
Brendan asks:
“If your life’s work were assembled in one silo, who would it feed?”
Well, I think my life’s work so far, could probably be served as a light snack and I’m happy with that. I am not particularly ambitious. Stephen Hawkins wrote “The Theory of Everything”. I would be happy writing “The Theory of a Few Things”. I read an interview with Leonard Cohen in which he spoke of tending to his garden. He implied modestly that his garden was small but that he took good care of it. He was talking of course of his particular talent and, I think, of how one should take care of what one is good at, know your talent (big or small, major or minor) and cultivate it.
Brendan asks “What is a well-made thing?”
(You really should read Brendan’s post, he poses a lot of questions, and is, as always informative and erudite)
When I first started writing poetry, I wrote mostly free verse. Then when I started blogging, I became more aware of short verse forms, in particular, the haiku and the tanka. I see poetry as being similar to sculpture or wood carving, whereas novel writing is more like architecture. The poet takes a large slab of words or a tree stump of words and whittles it down to a small well-made thing. When writing short poems I find a form is useful. I can’t really write traditional haiku. I can’t summon the required ineffability and the results end up po-faced, self-conscious, weighed down by solemnity. But I do like the arbitrary restriction or the discipline, for example, all the lines in the first poem above contain 5 syllables. I read a book of poems recently by Paula Meehan, the Irish Poet, in which every poem contains nine lines and every line contains nine syllables and amazingly she does this without making it obvious (the name of the book is “Geomantic”). Anyway, here is one more attempt at a well-made thing, and yes, nature is involved.
One Swallow
one swallow does not
one tries to swallow one’s pride
one swallow does not
when it comes to (what else?) Spring
one swallow does not do it.
Raccoons in the Road
caught in the headlights:
too much eye shadow, fellas,
too much eye shadow.