Showing posts with label Mother Earth Journal. Show all posts
Showing posts with label Mother Earth Journal. Show all posts

Friday, February 23, 2007

Letter to Niyi Osundare

November 22 - Dec. 30, 1996
Dear Niyi—Happy Winter Holidays/ Solstice to you!

It’s hard to say exactly how I’ve been wasting my time as I’m never idle. Sometimes I think the life of a writer is a proverbial black hole. I’m so relieved to be finished with my Breytenbach essay on translation (enclosed). I can’t believe it took so long to write, but I didn’t have the background or knowledge necessary to quickly write something. If I knew what I was going to write, I wouldn’t write at all. The essay & footnotes (nearly 10,000 words—verbose), very difficult for me. I hope J.L van Schaik Publishers (South Africa) will use it! If you have any comments or additions, I would be most grateful to hear them. I also included a manuscript, since you asked for a book of mine to teach my poems to your students.

Sadly, I can’t seem to get it published in the states. I also included some of my children’s poetry books for you. Niyi, I loved so much of your book on turning 40—I found myself underlining lines and whole passages (& it wasn’t even my book!). Some of it reminds me of the Irish Song of Amergin (enclosed). Did I tell you that in Irish my name means she of the sea—for you named me daughter of the sea. . . 

* * * * * * *

After the giddiness of Poetry International, and living a few months in Amsterdam, it feels a bit like a mausoleum here in this poetry mecca of the world (in my cabin too). I know I’ll grow used to it soon enough.

Here’s something nostalgic I wrote for a local newspaper:

THE CHRISTMAS WE HAD TWO TREES

The Christmas my grandmother broke with tradition and returned home dragging a bare madrone tree instead of the typical evergreen tree, I was thoroughly scandalized. Already on shaky ground with the thought of Santa Claus squeezing his girth down the stovepipe—no more than my plump Irish grandmother could do—I was convinced it was an unwritten sin NOT to have a real tree. These things Mattered. The world might end if we didn’t stick to the pattern.

The previous Christmas I’d had my Santa logic seriously challenged with multiple Santas ringing bells over black cauldrons on street corners. Then one Santa dragged my onto his lap, I could see his beard was fake so I wet my pants and cried. Early Christmas morning I tripped down the stairs, head over heels, but the sight of the Christmas tree with its multicolored glass bulbs and icicles caught my attention; I forgot to cry. All those presents! Since I was the smallest, I reasoned all the small presents were mine. Bewildered, I stared at a dozen sets of key ring nestled in shredded wrapping paper.

The New Year: we closed up the three-storey Victorian house on California Street with its leaded glass cabinets, mahogany paneling, hidey-holes, fireplaces in every room, and moved to our West Marin summer home with its firebox attached to the Wedgewood stove—our only source of heat. No fireplace chimneys, only a stovepipe the size of my leg. I was newly five and on loan to my grandmother to keep her company: from a bustling household of a baker’s dozen, we were reduced to only two: the aunts and uncles scattered, my parents were divorcing, both my uncle Myles and my grandfather, dead of cancer.

Etched into memory: the indelible image of my grandfather standing at the front door, with suitcase in hand, saying goodbye. Suspicious, I wanted to know exactly where he was you going for Uncle Myles hadn’t returned from the hospital, would never return. I remember an archipelago of freckles set adrift on the bilious sea of his jaundiced skin, his punishment for burning a mole with a cigarette. Later I learned to wrap my mouth around the word “melanoma” and to watch my moles.

My grandfather rasped, his soft Irish brogue interrupted by the throat cancer, “to the hospital.” I demanded, “When will you be back?” Startled by the answer of “heaven,” I asked where else it was beside in the vast painted dome of the Star of the Sea church. He pointed up to the clouds grazing the brilliant blue sky and mentioned something of angels. Of course I wanted to come; he’d need someone to blow out his cigar matches there too, I reasoned. They laughed uncomfortably and shuffled their feet. Born on his birthday, a month before Christmas Eve, we were twins separated at birth by 60 years. Incorrigible equals in temper and temperament, I was Grandpa’s little monster: at a tender age, I’d learned some nasty habits from him—to cuss, smoke cigars and drink beer—to the horror of my family. Between tantrums, I wasn’t above snacking on stale cigarette butts or licking match heads.

Uneasily I stood amid a forest of legs watching the stained glass window spill its crimson and green tide onto the black and white tile floor, the known world unraveling at the seams. If I went with my grandfather, would I see my family again? I was relieved when he didn’t ask me along. I wrapped my arms around my grandmother’s leg. I don’t remember my grandfather returning home from the hospital, but he did—only to die New Year’s Eve. The family all returned home from their New Years’ parties early. No one could say exactly why: a premonition. Our last year together as an extended family. Little did we know the loan of myself to my grandmother was to last twenty Christmases until I moved away from home.

Our first Christmas season on our own, I was miffed that my grandmother managed to sneak out of the house undetected on the morning of St. Nicholas’ Day without me (Dec. 6th; Old Saint Nicholas/ Sinterclaus/ Santa Claus is the patron saint of children and sailors). She hiked up the hill with saw in hand, bundled in sweaters, longjohns, and baggy homemade black pants; she returned home the hunter dragging a bare madrone tree, a nest of leaves and twigs in her hair—smelling faintly of Wildroot—she swore by the men’s restorative hair tonic. Not that she was in any danger of going bald with a thick white thatch of hair she trimmed herself in front of the bureau mirror, an audience of Jesus and Mary behind their gilt frames and a crucifix overlooking the unused bureau brush set and a small harbor of bottles—unopened Christmas gifts. She preferred the heady scent of Bushmills. Uisge beatha, she’d say, giggling, water of life, dabbing it behind her ears.

At a loss, I wasn’t prepared to let go of the Christmas Tree symbol too, ever the curmudgeon, I trudged up the ridge in a drizzle and dragged home my own tree: a spindly Douglas fir that was more sprout than tree. We made another cross for the base and the two trees stood side by side, my green tree was far too weak to hold ornaments or lights, the one angel we had kept doing swan-dives off the top. But the red-skinned madrone tree, aglow with its lights, silver glass balls and songbirds, was strong enough to hold up the Christmas angel. Begrudgingly, I climbed up the ladder and placed her at the crown of Grandma’s tree.

In retrospect, her madrone tree was beautiful, but at the time it just didn’t feel right. Only now does the metaphor shine through the branches of that tree, ten years after her death. Resurrecting pieces of the story of Rhiannon’s Birds, we were building a new life, starting with the bones of the tree, the grief shining through the skeletal branches, the red-skinned flesh of madrone, peeling from the heat, revealed the green heartwood beneath, with the promise of the life to come in spring.

* * * * * * *

Dec. 30: When I started this letter over a month ago, it was raining; would you believe it’s still raining! We had two clear days: Christmas eve & day. I think we got our entire 1997 rain allotment in November - December, 1996! We had a flash flood warning (wherever roads and creeks or culverts intersect, the water can rise several feet within minutes because the ground’s so saturated, the rivers so overfull, they can’t carry their payload to the sea.) A major river flood warning for this afternoon: the Russian River is to crest 36 feet above its summer banks at Hacienda Bridge—just 2 miles from my cabin. I’m above 50’; thank god for small favors like mountains. The power’s threatening to go out all day, flickering on and off; my computer’s not a happy camper. We’ve had terrible winds. Small branches falling on my roof and the hood of my truck. Another storm due in New Year’s Eve. Think I’ll practice growing webbed feet and feathers, or build an arc. Luckily the post office is nearby, though I may need a snorkel to get there!


Niyi, I loved that story about you receiving your copy of Mother Earth Journal at the post office in Ibidan, and everyone excitedly passing it around from hand to hand, so that you didn’t even have a copy for yourself. Thank you for telling it to me—for making this journal has truly been a labor of love under adverse circumstances. 

I still have to write to Tanure Ojaide, Tayo Olafioye and Frank Chipasula—I’m so behind on my correspondences—my parents and uncle died within the year 3 years ago, and I’ve let a lot of things slide. The African issue is the last issue I designed; the Latin American issue I typeset, but didn’t do paste-up, Herman Berlandt did. (Going to Poetry International was my first big venture out into the world as an orphan!) I’m so glad to have personally met you after reading and publishing your work. 

Tayo was recommended to contact us by you? or possibly Syl Cheney-Coker, I don’t remember who. . . and imagine our surprise when we found out that he was teaching at the local college in Santa Rosa! A message from us for poetry traveled to Africa, then boomeranged back to our very front porch! Small world. Tanure got a residency at the Marin Headlands and we all (& Herman) had dinner together. 

I can’t remember how Frank was contacted—I’ve never met him though we’ve corresponded and talked over the phone a few times. Kofi Anwoor was in the area at the time—so many connections effortlessly fell into place it was truly magical. Now that I’ve actually finished this letter (and it’s 1:30 AM, and officially Dec. 31), I realize I don’t even have your address. I hope 1997 will bring you prosperity and joy & that we may meet again soon.

Tuesday, July 16, 1996

Amsterdam Journal: editing poems for Mother Earth Journal 7/16

16 July Tuesday

I marvel at Paul's brain, the way he's able to write verse on short notice. For the Winston Kingdom intro, which is a small book that I'm to be included in, we mentioned we met there last night, but a band was booked. So did we.

We wandered into the red light district looking for a broojie or roll, which I never did find. He said. Look, I could have gone home and made you a sandwich by now. We settled for bread and coffee at the hostel and edited poems.

I was having trouble with choosing Kathy Pemberton's poems because they're inverse. Interestingly, he chose poems similar to what I had chosen and neither of us could find a poem by Ann Gartland that worked.

Yesterday I typeset 26 poems and did 4 and a 1/2 rough translation of Anna Torres's poems. I'm beginning to suspect Charles is very uneven with his translations. I did compare some of his translations with my rough ones and approximately 80% of the translation holds up and then he goes and does something lazy, or screwy.

 When I get to Enrique's poems. however, there were a few that escaped my red pen. Editors pen. Sloppy, sloppy language. For every typeset poem, I rejected another. These poems have been culled by Charles and Herman already. And while I checled most of the typeset ones, the ones that got past my security aren't terribly strong. There are some good ones. But mostly it's just run-of-the-mill poetry.

Again. Charles's taste is to uneven and we haven't a common denominator as to what is good. He is too caught up in politics, and chooses the message over the poem. I choose th poem over the message. And I worry about some of his Dutch translations as well. Paul's never seen one to compare and says what are you seeing translated seems good. Okay if it works in English, we will take it.

Earlier I had called up Paul asking him if he would look at those two files and help me choose the better one. Both of us had put in a long day's work translating and typesetting the poems. Oh Maureen, hi, he answered, genuinely glad to hear from me, though he sounded a bit surprised. I don't know why we talk, we see each other every few days. I'd have it every day if I could, for he makes me feel good.

On Saturday there was a shifting away from lust on both our parts, because it was was getting too dangerous. We're still in the Platonic mode but just barely there is a deeper intimacy in the way we sit and talk. The problem is we are forced into rushing things and once it happens the other side the intangible friendships take a bruising or are squelched, only to resurface later to play a pivotal part in the universe. The uneasiness that too soon follows.

Yes, we are running out of time, soon I will need to go home, and maybe we will never become lovers, and that's okay too. I didn't think it's only me imagining this deeper connection but he is so much younger than I, with his life experience. So I tend to appreciate what is rare from the previous experience and disappointments.

Midnight's the Witching hour in Amsterdam if one depends upon public transportation. The last tram was in as we walked to the center central-station. I quickly hugged him and turned to run and he wasn't expecting it and so it was a bit of a tangle of arms and bikes and legs. Without thinking I kissed him on the neck and ran to get my trolley, and then I was mortified, thinking now he'll spook for sure. Though we have a date at the library this afternoon, we'll see.

All the way home I was grinning, feeling a bit silly and embarrassed, the beer made me impetuous. But I hug and kiss most of my friends goodbye: Jan, Vince, Charles even Bertaijn and Annabel Torres whom I hardly know so I know him so much better than any of them. Except Vins and Jan. Oh well, I'm not going to worry about it. It's his problem if there is one. He called and said we're to meet at 4 PM in the library, and sounded fine. All that worry for nothing.

Thursday, July 11, 1996

Amsterdam Journal: La Diaspora poets

La Diaspora poets and exiled expatriates.

Today I met with Colombian poet, Annabel Torres at the Café Français. I am collecting poems in translation for our Poets in Exile issue for Herman Berlandt.

I had trouble with waking up as Vins came over about 12 AM and didn't leave until 6 AM. Earlier I had fixed dinner for Paul Evans and had some wine. And he's on painkillers for an extracted wisdom teeth and can't drink. He did have one small glass however.

With Vins drinking coffee, I decided on some wine, but it wasn't until the last glass, that he joined me, and we got pretty snookered talking of philosophy and dialectical models. If a butterfly flapping its wings over Mexico causes a storm in China, you damn well better kill the butterfly, glibs Vins.

We tease and punt, catching up on three years, a long absence. It's odd how we can't stop talking. Beneath it all, we are truly friends. I propose to him that we make a bilingual poetry book to use his translations.

Annabel Torres says that translators get paid 80 guilders an hour, and they're only allowed to work 40 minutes at a time. And she said the simultaneous translation with two other people is the hardest kind of translation to do. And I thought of my stint translating for Waldo and Robert, I thought my head was going to explode.

People say Vins' translations of my poems are very good and this pleases him. He gets little feedback from the world. Especially with these translations. Sometimes I think he would like to do more of it. We got in a good visit. Cause and effect equals synthesis. And something on dialectics.

Earlier I was floating on air, grinning away because of Waldo's postcard, running errands because Paul was going to be here at 6 PM. Paul brought a huge whipped cream cake with fruit. I don't think anyone's ever done that for me, brought me a cake. And we had dinner, salad, couscous and steak. Moving the table around until it suited us. I think we're looking more and more into each other's eyes, and I find his presence hard to shake after he leaves.

Unfortunately I have no control when I dream of him, and here I am trying to be like an older sister, because he's only 30, and I'm 43. I think nothing of being a man 13 years my senior. But the other way around is a whole 'nother paradigm. It's a bit more ticklish and we're such an ageist society. I keep telling myself there's nothing going on, like with Waldo. Yeah, right. Or, I'm just imagining things. A fertile, overactive imagination.

Come to find out it wasn't quite so. There's a bit of a titillation going on. I'm feeling torn, entertaining two men in rapid succession like that, but Waldo's married, and gone, so the letters and flirtation are for the long-term memory banks. We will see where it goes, if anywhere. We're mates, Paul calls me a good bloke, I call him dude.

And with Paul, ach! the model is similar. We see each other every two or three days. I'm to go to his place on Saturday. Nothing untoward happens, or will it. We went for a long walk after dinner to Ouderkirk aan de Amstel, a village tower on the Amstel River, near Amstelveen, talking about everything under the sun. Especially the Celtic stuff.

Paul tells me how to pronounce Welsh words, and reads me his poem in a low voice, lounging on the bed. We are frozen in time. I just wanted to lie down with him, so easily seduced by love poems.

I typed up one poem on the computer for the upcoming exile issue. And he had to go to Jacek Nichs's birthday party at 10, but stayed until 11 PM anyway. I suppose I could've gone with him, but I really wasn't up for it, and didn't know if that would be pushing my luck. Sleep is not overrated.

Wednesday, November 8, 1995

Letter to Carol Cullar, Editor, Maverick Press/Terrapin

Maverick Press/Terrapin
Carol Cullar, Editor,
Rt. 2, Box 4915
Eagle Pass, TX 78852
Nov. 8, 1995

Dear Carol,

I’m deeply honored to be included in another issue of Maverick/Terrapin. On the latest flyer, a stamped note, “need bio for upcoming issue”   had me scrambling through my notes as to what poem, “Feeding the Minotaur”; during the interim, I’ve made some small word changes which I’ve highlighted, but I suspect you’ve already gone to press, since it’s already November. No matter. !No te preocupes!

I’m slowly crawling out of the morass of two year’s worth of significant deaths—my parents & an uncle—all within a year’s span (not to mention a bad relationship), has left me virtually speechless/wordless. . . so this publication means more to me than you can imagine. It reminds me of my duty: I am still  writer despite all my stripped down illusions.

The Mother Earth Journal: Latin American issue came out in a slightly different format—I was too busy grieving to do layout, so Herman Berlandt finished it (to the best of his abilities). I’m very attached to good layout, etc., so I’m not happy with it visually. He used several of your woodcarvings. They look great. Did he send you a copy?

I loved the poems you sent me, I’d love to see more. . . are you a sister voice in the dark? I often feel my personal obsession as materia prima isn’t currently popular or acceptable in the publishing world, but it’s the angst/grist for my mill/who I am. If I’d a listened tae my teachers, my vision/voice wouldn’t exist. If only I could get a book published. . . I keep sending my MS out to contests, often placing as a runner up, to no avail. Still no book in sight. It makes me doubt my work. Your continued support of my writing (and a “Pushcart” nomination!) gives me reason/courage to submit/publish.

Sincerely,

Maureen Hurley

BIO: Maureen Hurley lives in Forestville, near the redwoods along the Russian River, in northern California. Her poems have appeared in Maverick Press’s Paisano, Culebra! and numerous journals and anthologies including Atomic Ghost, & Hermit Kingdom. Poetry awards include Negative Capability, Chester H. Jones, Kalliopea, National Writers’ Union, National Federation of State Poetry Societies, and two regional NEA fellowships. “Feeding the Minotaur” grapples with the unconscious dendritic history buried within her personal mythopoetics.

Thursday, December 1, 1994

Uniting the World Through Poetry:The feast of words consumed: intro for the African poetry edition, vol. 2, no. 4




THE FEAST OF WORDS CONSUMED vol. 2, #4, 1993
The universe is made of stories, not atoms.
        —Muriel Rukeyser

It is no longer news that Africa suffers from go-political, ecological, and cultural neglect. Or that of UNESCO's 15 top endangered World Heritage sites with "outstanding universal value to mankind," six are located in Africa. This continent whose writers are imprisoned for acts of terrorism, in South African poet Breyten Breytenbach's terms, is a country "doomed to extinction…gobbled up by the sands of silence—and for the second time. The first time there was the black silence of shame about slavery, now it is the indifferent silence of an unavowed real-politik." He writes: "The feast of words has been consumed/ No one is guilty of innocence." But the poems offered here embody hope & a steadfast faith in Africa's future.

It is said that exiles live in one country while dreaming of another. Africa, a country of families, ironically, is also a borderless continent of exiles where those of the Diaspora write longingly of home. Breytenbach suffers from "an incurable nostalgia..." where "ancient flames infest the unconscious... images scald the eyelids." Like Breytenbach who was nine-years imprisoned, poets whose work is featured here were/are also political prisoners: Abellatif Laâbi of Morocco, Jack Mapanje of Malawi, and Muhammed Afifi Matar of Egypt, to name a few.

Mapanje asks us, "Is it worth assembling another voice?" Paul Dakeyo of Cameroon replies, "Let my breath/ rise from the deepest of dark carth/ upright words/ with only clear vocals/ of my rebellious voice." Here, the griots, the poets are calling us to action—for political commitment towards alleviating Africa's suffering. The Bantu saying, "the strength of the crocodile is water," reverberates in the depth and breadth of the voices presented here.

The noted Nigerian poct Niyi Osundare, who received the 1986 Commonwealth Poetry Prize, wrote in a recent issue of West Africa magazine: " ... there is something essentially universal about the genius of human creativity, no matter what its provenance. No part of the world has a right to lay a monopolistic claim to that genius... Africa needs to discover her own name without making other continents anonymous; she needs to find her center." Kofi Anyidoho of Ghana writes that the legacy of literature is the ability to move the human mind and spirit; a visionary world in which human creativity can overcome the persistent despair blocked by the savageries of life. Tayu Olafioye of Nigeria said, "A mother gives conscience to her child; poetry is the air with which we eat ideas." 

One can ask the age-old questions; for whom do we write, and where is the poem directed? The poet is the eye of time, the historian, the teacher, Olafioye asserts: "African poetry today... is socially conscious, using the pen as a hoe that exhumes..: and exposes... Poetry is the custodian of justice and social conscience in the face of this decadence." He asks, "What is it occupied with now? What new visions, if any, and ideologies might it have experienced lately? Each age occupies its poctry with particular regional or universal interests germane to its thinking but such a preoccupation is not exclusive..." 

Publishing is another problem: after receiving the 1990 Commonwealth Prize, Syl Cheney-Coker bemoaned the fact that in Sierra Leone, “There is no writing industry…manuscripts gather dust in cupboards." He stated Africa's governients "don't give a damn about literature or any aspects of culture.... We live in a country where a capital city hasn't a single decent bookshop or publishing house…We've joined the league of the most despicable countries because of the politics we've had in this country."

The task of gathering the poems for this anthology of African poetry was like reaching for the moon in order to plough the reflections of stars. We are grateful to all the poets who scattered their words through the universe to alight here in the temporary abode of these pages. Tanure Ojaide who single-handedly contacted many of the poets whose work appears in the Mother Earth & African Poetry issues, writes "I have tried to reach the women poets I know. The women writers tend to complain that they are overlooked or neglected." According to Chency-Coker, "The problem of female representation in African poetry is one that feminists would find interesting." In the 1990 Heinemann Book of African Poetry, (ed., Adewale Maja Pearce), out of a total of 22 poets, only three were women!

"I don't think the editor was biased in having so few women in a major anthology. Except for South Africa, few women poets are being published. Unfortunately this situation hasn't changed in the last 30 years." We delayed publication for late-arriving poems in order to include a wider representation of African women poets.

We are especially indebted to Frank Chipasula of Malawi who is the editor of the fine anthology, When My Brothers Come Home: Poems from Central and South Africa. Frank and Stella Chipasula, who are currently editing the first ever anthology of African women poets, and their publisher Heinemann, have graciously agreed to share some of the new poems with us. Mother Tongues: the Heinemann Book of African Women Poets, will be released May 1995. Andrée Chelid writes: "Stir up that word Which does not turn away from men/ But shapes itself towards them." 

Decades ahcad of schedule, the world's population has surpassed the 50-billion mark—a line of people stacked head-over-heels to the moon and back nine times. If the words of these poems were people, would there be enough to reach to the moon? Or beyond! Poems, the moon's children, calling us to arns. Once I dreamed I walked barefoot on African earth. Geographically and culturally diverse Africa, the cradle of civilization, torn and plundered by colonialism, war, and strife, still manages to kep the oral tradition of poetry central to every private and public function of life. May this feast of words consume us.

Maureen Hurley, Co-Editor
Uniting the World Through Poetry

BIBLIOGRAPHY

L' Are Musiol, Tchikaya U Tam'si, Congo Republic Al-Ahran Weekley, Egypt 1991
Al-Kamel, Union of Palestine Writers, 1984
Bird Black South African Poetry
Black & White in Love, Mbella Sonne Dipoko, Heinemann 1982
Of Chameleons & Gods, Jock Mopanje, Helnemann
Dreamseeker on a Divining Chain, Okinba Launko, Kraft Books, Nigeria 1992
The Eye of the Earth, Niyi Osundare, Heinemann, Nigeria 1986
Familiar Ground, I. de Cox, Raven Press, South Africa
The Graveyard also has Teeth, Syl Cheney-Coker, Sierra Leone

Sunday, July 25, 1993

Uniting the World through Poetry journal, writing to all the poets


25 July, 1993: another Uniting the World through Poetry editing, and paste-up marathon in Bolinas, preparing letters to the poets for the two upcoming UWP issues, Middle East and Eastern Europe.

I’m sending out a raft of letters to world-famous poets, we are now on first name terms with most of them.

And on the homefront, I can’t seem to get any recognition for my own work. This is why I am putting my life’s blood into this poetry venture. Nature abhors a vacuum. This discouragement I have faced is becoming chronic. I know my work strong, but it seems no one else thinks so.

Another rejection letter from the California Arts Council. I did not get the writers fellowship for a mere $2000. Only 20 out of 182 entries were funded and I’ve got to wait another four years for the next round? This is the shits.

The Korean War poems anthology will be delayed again as there is not enough work. Green Fuse is holding hostage three of my poems hostage for final round. Someone gave them poems to give to me from Yugoslavia. Word is out, and poems arrive from all over the world. 

I was just writing to Tomaž Šalamun, whom I had met at Poetry International, lamenting that I wasn’t even sure if my letter would reach him, wondering if there was even mail delivery as he’s living in war-torn Serbia. What of the other poets—are they even still alive? So many poets living in exile these days.

I read some poems from David Charlton, wondering where he was living when he was there, in Dubrovnik? I remember the first time I was in Belgrade, it was a sultry August night, and we ate ice cream with dark cherries in syrup. The best I have ever tasted. On my return trip, my luggage liked Belgrade so much it stayed a couple of months before returning home to me.

The last time I was in Belgrade I bought an upcycled dress made from linen hand towels and the cuffs of fancy embroidered bedsheets (or what I planned to use as a wedding dress). Once I was hopeful about Oleg… Where did the love disappear to? Now burial shrouds are considered a luxury item in a war-ravaged country. My Croatian dictionary is buried under a pile of now obsolete books on Russia. Sigh.

I should keep track of my myriad correspondences with these world-famous poets: Tomaž Šalamun, Dr. Miroslav Holub, Breyten Breytenbach, Ana Blandiana, Boris Xristov, Bella Akhmadulina—How old is she now? Blaga Dimitrova, Sylvia Fischerová, Gulya Kodalini (sp?), Chenjerai Hove, Niyi Osundare, Hawad, and the contributing American poets: Maya Angelou, Gary Snyder, Robert Bly, Lawrence Ferlinghetti, Diane Wakowski, Diane diPrima, Maxine Kumin—to just name a few. 

I am keeping the dour, stone-faced postmaster at the Bolinas post office busy, if not entertained. Such exotic addresses. You’d think he’d at least crack a smile once and a while. I walk back the long way to Herman’s place on the Mesa just to clear my aching head.

So far, we have 218 poems in both issues. Plus we also sent letters to every PEN organization in Africa and letters to all our Rotterdam contacts. There are so many unfinished bits and pieces to do before I do a mass mailing.

I’ve got working addresses for a third of the poets, and we still have to send copies out to the translators (many of the poems need additional polishing from English to English). If I can get their addresses that is, and then, send out thank you letters by the bushel. Sometimes I dream I am writing letters in my sleep.

Saturday, July 10, 1993

UWP journal: Bolinas, Ana Baranova, Blaga Dimitrová


10 July: I awoke repeating the image: lakes and pools are the tongues of the river. I am dreaming of rivers, seeing my homeland from the air. I never finished writing about my flight home, flying over Shasta‘s cone, along the Trinity Alps and Longridge, over Snow Mountain and the Mendocino range, flying along the length of the Russian river, I could see places where I’ve swum in the river—the pool below, Healdsburg and Fitch Mountain. 

Then I actually recognizing the bend of river where home was located, then the mouth of the river. Jenner. Bodega. The Bodega Head hole where a nuclear plant was planned. Dear Rose Gaffney stopped PG&E. Now that’s power. We flew parallel to the San Andreas Fault, and it was a glorious site to see the land of home unfold. I recited the litany of the names of home: Olema, Bolinas, Point Reyes.

I spent July 5-9 at Bolinas, going through Herman’s chaos in order to make electronic the poetry files. It took me a full day of cleaning his house and another day of sorting through drawers to find all the UWP files and put them back in order. He misplaces everything. For how long this order will last, is anyone’s guess.

I answered poet letters, etc. I am a poetry secretary. If I am to do this job right, I’ve got to brace myself for Herman’s perpetual chaos. It may be more than I can take. We’ll see how long this arrangement lasts. As long as I’m paid as well. No way can I get paid for all my work. It’s the principle of the matter.

Making these regional poetry anthologies in tabloid format is utterly grueling work, but I am bitten by the power of editorship, an extraordinary way to make powerful contacts the world over. I’m hooked also, because I like the work, hearing all the voices. Ana Baranova, a poet I met at Poetry International in Rotterdam sent me some superb work. It left me breathless.

We’re constantly upgrading our files and contacts. So far, the anthologies we’ve published were all very well received; people seem to love what we are doing, saying, most of this is really good poetry. How did you get the work of so many famous writers? Luck of the draw, being at the right place at the right time. 

I showed our UWP newspapers to the refugee poets from Serbo-Croatia, and then found out that Blaga Dimitrová is the vice president of Bulgaria! Holy shit! I was in shock. Because as poets we were all equal in vision and passion.

Tuesday, June 15, 1993

Poetry International journal, CPITS networking


15 Tuesday. I am making more CPITS contacts (Poetry International Director Maartin Mooij invited me because I work with children.) Bert and Thea Schierbeek, Horacio Ferrar, Marjan Meijer (who is working on a kite project), and also Dimitri Prigov (I showed him a poem of his we published in Soviet Poetry Since Glasnost—he was so full of himself, I didn’t want to give him a copy). 

Roberto Juarroz and Bert took the CPITS flyers as did Marjan, so the news is getting out that way. Apparently those of us who teach children how to write poems are a rare breed. I gave Bert one of my Dutch chapbooks, he said he would introduce me to someone who also works in the schools tomorrow. I talked with my photographer friend Jan Bogaerts tonight and he said the Mongol poem was beautiful. I asked him how did he get a copy of that? And he said, a spy.
(PI archives.)

Monday, June 14, 1993

Poetry International journal, a spontaneous combustion of translation


14. June. The Monday evening Reading schedule included Roberto Juarroz, Anne Vetger, Gonzalo Mitlán, Leo Vroman… I missed Yehuda Amichai and Homero Aradjis, two poets I actually wanted to meet, but I wound up doing some spontaneous translations with two poets I met in the hospitality café. Sometimes you just have to go with the flow.

Since I wasn’t feeling up to snuff, I missed two events today, plus the beginning of the evening show. I’m not networking the way I should. I just don’t feel like chasing the stars for photos, to give them my poems, etc. it’s exhausting work, and I’m not up for it. (Not that I have anything to give—but poetry, in myriad tomgues, is the only true currency).

My poetry partner in crime, editor Herman Berlandt also never showed up for the evening event. So I was a little worried about him, but they assured me he was OK, and he was seen earlier today with a young man who must be Ton. 

A Dutch-Argentinian couple sitting at the table next to me and I spontaneously translated a Dutch poem someone left at the table. First he translated it into English and then Andrea helped with the Spanish, because his Spanish was about on par with mine. Still, it was fun to do. This is why I missed the Amichai and Aradjis reading. They won’t read again. I am bummed.  Somehow the process of translation helped to restore my nascent social skills. 

Roberto Juarroz’s work seems fine, but my mind took its own time shifting into Spanish. So I understood the words, but not the poetic sensibilities. I didn’t go to the Bal de Festival because I was feeling funky and that antisocial streak still prevails. Oh well. When it descends like a wet blanket, there’s not much I can do. Pre-party panic syndrome. Sign of a true introvert.

I met a woman from England who bought copy of Soviet Poetry Since Glasnost from me, a Helena Hinn. from England. I took down her address and she said she would send some poems nlater. It seems I am madly collecting poets addresses that the front and the back of my journal is beginning to read like a who’s who in poetry.

As it turns out, a poet I met, Victor Manuel Mendola not only knew John Oliver Simon in Mexico, but he has a copy of our chapbook, Falling to Sea Level. He asked if I was the woman of John. And I answered, no longer. We were not sure if we met at Elsa Crosses’ house in Mexico City. It certainly is possible. 

He’s done many translations of poets that I like including Valerio Magrelli, and Tomaž Reizwicž. I gave him one of our poetry tabloids on Saturday and he said that he’ll give me a book on Wednesday. Poetic reciprocity in action. God, how I love the insane babble of many audacious tongues.

(Revised for clarity—added some connective tissue, but mostly swapped paragraphs)
(PI archives.)

Tuesday, September 1, 1992

CHRISTMAS IN YAMMOUSSOUKRO, 1991


CHRISTMAS IN YAMMOUSSOUKRO, 1991
       —from photographs by Jan Bogaerts
                      —for Jan

Imagine the basilica of St. Peter
rising from the African jungle
devouring the light of the Ivory Coast
in the village of Yammoussoukro:
this monument, a president's desire
cast in European stone.

Insignificant as an apostrophe against bright marble pillasters

a tall woman crosses the piazza
burning into the retina—
not like the temporary flash
from looking too long at the sun,
but with the dark endurance of counter-suns.

A black child on a white boulder
lays down his small bundle of rags
to observe the camera lens.
Christmas on the Ivory Coast:
the infant who will never sit at the right hand
of Santa Claus, nor learn of the savior's birth in a manger—
The Wasting Disease, an articulate hunger.

Searching for Mecca,
the men of Yammoussoukro
turn their backs on the sun.
It is said: When two elephants fight, the grass loses.

There are no more elephants on the Ivory Coast,
only obscure fetishes of the crocodile—
Africa is a country of families:
here, where the president is God,
a basilica inexorably rises from the jungle;
the massive arms of the portico—
comprehensible as the moon—
embrace only the air.

9/92
Liessel, The Netherlands

Sunday, January 1, 1989

LETTER TO MERIDEL

LETTER TO MERIDEL LESUEUER

In the sacred circle of Pachamama
time itself is transparent.
Temporary islands of whales
rise and fall like tectonic plates
or reed houses on Lake Titicaca.
At Machu Picchu the wind says
we're connected on a deeper level
than this earthly plane.
You say one doesn't recover from old age
but we are on that great cosmic curve the double helix.
The intihuacana is thirsty for chicha and flowers.
I dream of one rubber boot to cross the water,
and eyes painted on the bedroom of the sky.
Out of the debris, transformation.
Basements of the dead
turned into statements of the living.
Something is brewing in the five corners of the world.
Pachamama is crying but we are listening
for translations of wind in the ceiba trees.
The Cold War is ending with the children
reaching across borders and singing.
A golden eagle keens in the wind.
How quickly the night comes.

1989? 

1990 Green Fuse
1993 Mother Earth Journal

LETTER TO MERIDEL, l
this is a completely different poem

Lately, I’ve been touching the spines of your books
something speaking to me from afar
The wind says, the night sighs
we’re connected on a deeper level
than this earthly plane.
This thing called love
we never said in my family.
That the man killing me with his blue eyes
the way the glacier pulverizes stone
in its undertow of blue light called it love.
I am a mover of small rocks. 
I prefer the way of sky.
Is there nothing but emptiness ahead?

Outside of this grammar I write patriarchal nouns, verbs.
I don’t know how to pull the circle around me.
You say one doesn’t recover from old age.
It’s nymph cancer we all have
but we are on that great cosmic curve the double helix.
Invisible worms eat the rose at noon.
I don’t know how to crawl inside the structure of language.
The phallus I write with. 
On this earth we are the goddesses.
Man will destroy even himself for an idea.
Men lose their dreaming and forget why they’re live.

I dreamed that eyes were painted 
on the blue wall of the bedroom of the sky 
and the earth dam burst. The only way out was down.
I fill my house with food I don’t eat
and he hands me chocolate in a a broken bowl.
One rubber boot to cross the water.
Iguanas purring like cats.
Out of the debris, transformation.
The basements of the dead
are turned into into statements of the living.

I have been to Machu Picchu and left white stones.
On an island in Lake Titicaca
I lay in the sacred circle of Pacahmama
and understood time itself is transparent
Something is brewing in the five corners of the world.
Pachamama is crying but we are here listening
for translations of the wind.

I am on the brink, going back to Russia
to find something that was lost.
The Cold war is ending with the children
reaching across borders singing
We Are the World
We are the children on this coast.
Temporary islands of whales at Fort Ross
rise and fall like the tectonic plates.
No more otter. Just abalone and the salmon.
A golden eagle keens in the wind.
The coyotes howled.
How quickly the night comes.

Friday, January 1, 1988

LIKE SO MANY BOARD FEET

LIKE SO MANY BOARD FEET


My Irish grandmother said every house
needs a front duir and felling the oaks
brought bad luck because under golden boughs
was how ancient knowledge was passed on.
From beneath stones, the cycle
of small green claws grasp the sky,
taproot heartline—
sweet red sap, a coursing river
dying in a sea of shadows.
Felled patriarchs in a forced march
across fields in spring,
meteors in the burning night,
the final star gasp of diamond before carbon
returns to base minerals and ash—
how can they regenerate
when we've furrowed the earth
with houses, utility poles and roads?
I remember dreaming the lions
were coming, and the front door, too small
for the doorjam, swung free in the breeze.



89
88


1993 Mother Earth Journal
1990 Green Fuse



Ascii jumble. Must've revised it in 89got the line breaks right by guessing