Feeds:
Posts
Comments

I am pleased and honored to have had four of my poems recorded by the good folks at Lewis and Clark College in Portland, as a part of their Oregon Poetic Voices Project:

“Recognizing the need for poetry in our lives, the Oregon Poetic Voices Project (OPV) has begun to create a comprehensive digital archive of poetry readings that will complement existing print collections of poetry across the state. This sound archive will be available online to Oregonians of all ages and geographic locations at libraries, in schools, at home, or visiting the State Library Poetry Room. OPV is funded by the Library Services and Technology Act FFY2010.”

Please listen at: http://oregonpoeticvoices.org/poet/380/, and check out the amazing wealth of poets in Oregon.

Little Red Caboose

We open our picnic on a table under a cherry tree aching to bloom, next to a red caboose perched on its track. Peanut butter and jam sandwiches, hummus and carrots, peeled apples, banana muffins with butter. Spread out, too, are the books just bought from the bookstore housed partially in the caboose – Hattie and the Wild Waves, Hush Little Baby – their covers are safely exposed. No rain today, only the threat of crumbs and sticky fingers. As I read and lunch vanishes, couples and families walk by, smiling our way. A mother reading to her children. I can’t help but feel like animals on display, a dying breed.

We have come to say goodbye to Looking Glass Bookstore, one of Portland’s independent booksellers, another casualty of the recession, e-book trends and Amazonian competition. My children know this will be the last time we’ll be able to browse, but are mostly oblivious as to why. They were disappointed to find an “off-limits” chain on the ladders going up to the caboose seats, where just last spring we had read Blueberries for Sal and watched the foot traffic under the parasolling cherry. Through the opposite window we could hear the book traffic below inside the sunken, tucked-away store. Classical music and muted conversations streamed between the aisles, the collar-shake of the resident black lab, Charlie.

Today we sat in the children’s section and search through books hand-picked by the owner, Karin Anna, books that will be requested over and over, bed-time after bed-time. We took a long time choosing. More and more people walked through the opened red door advertising 25% off everything – either lured by the sale sign, or, like us, paying our respects, sitting on the floor like devotees one last time.

And then, it was Mama’s turn. Down the steps to a cement floor, worn as marble. Poetry filled two sides of rolling shelves, titles not found elsewhere, books by friends and acquaintances waiting to be chosen. My children sat next to the sliding glass door that frames a secret, mossed garden. A little ways away the dog lay like a black rug, not minding people stepping over him. Time slowed to bookstore time, and the only thing on display was the luxury of choosing. From their periphery, my children watched me lift collections, mouth lines, stop, go back, tuck one finally under my arm – witnesses to books and readers choosing each other, the near-silent shuffle-slide-squat dance only seen really well at a child’s, or dog’s, eye level.

Once outside with our treasures, I want to linger. It’s not often you get to walk up, press a hand on a little red caboose’s thick paint job. Its clearstory windows are empty. Nobody waves from a blinking black box on the back of a freight train. I know that this trip down bookstore-lane will be more than a dog-eared memory in my children’s yet-to-be-filled volumes. And that calms me. My voice steadies as my heart cracks, not for the last time and I read each of their books a second time. The buds above have yet to open. Let someone sit down with us for a moment under its thinned canopy, and listen.

I am pleased to introduce SPROUT, Issue 2, a new online journal, which “strives to uplift and inspire by cultivating color, beauty and meaning in our daily lives.” Editor Amanda Fall has graciously included a poem of mine, “She Wants to Taste Everything.”

That baby, 8 years old now, still seeks out every new thing, is still willing.

I am humbled and pleased to have a new poem, “Inside-Out,” in the current online issue of Untitled Country Review, alongside poets Judith Barrington, Tobi Cogswell, David Chorlton, M.J. Iuppa, and photographer Paula Lietz (and more!). Also, check out a review of Ingrid Wendt’s new poetry collection, Evensong, by Brian Doose.

Good reading to take us into winter, keep us fed and curious.

How to fish the wind

 

You start by listening 40 years

so it can put you through enough

to see if you are worthy

of what it has to say.

 

Most people can’t listen that long

so they have to get the message

second hand from the trees.

 

 

Scott T. Starbuck

 

First published by Untitled Country Review, Issue 6, Fall/Winter 2011-2012.  Scott T. Starbuck Starbuck’s clay art is at The Spirit of the Salmon Fund, and he maintains a web site and 31-minute interview at Poets & Writers Directory.

 

“Sometimes I shed my skin. It sloughs

off in rainbows. Each color is a string

you must tune before you play me.”

– Penelope Scambly Schott

from In Which a Wife Tells Her Husband the Truth About Sex in Marriage

VoiceCatcher 6 is on the scene!! Filled with the work of 45 authors and 25 artists, this issue continues VoiceCatcher’s mission to showcase emerging and established women writers and artists from the Portland/Vancouver area. 

Visit www.voicecatcher.org to order your copy, or find other local retailers. Or come in person to one of VoiceCatcher’s 2011/2012 readings and get your own signed edition!

One Man Band

One Man Band

A blooming pink night light holds darkness at bay, crickets rubbing a convincing lullaby from the sound machine. Everyone is asleep, but he is writing a poem about Great Things: Rain. Puppy. Pond. Treats. Black ball-point letters appear, his 4-year old fingers forming whole words before they have been tested by his tongue, teeth and lips. Maps and sketches fill the margins.  He tells a story in one of the only ways he knows how.

At 30 months, my son, James, was assessed as having speech apraxia – in the areas of comprehension, he tested above average. But when trying to express the words flitting around his head like caged birds, his brain had trouble telling his mouth to open and let them fly out. We welcomed a speech therapist into our home, used sign language and games to supplement and augment his need to communicate, easing his daily frustrations. He knew exactly what he wanted – we simply didn’t have all the keys to his secret language, no matter that we were his translators out in the world. Our job was to be patient with the process, be playful and trusting.

James blended his own sound-words with a musicality and rhythm he was born with, was a one-man-band to experience. Every conversation became a game of Charades. Every new word was whispered once in our ears, then out loud with gusto. When he began putting two and three words together, wonders began spilling forth – “high water tool” was bridge, “man pants” were overalls, “treat man treat” was coveted ice cream. His words were vivid composites, like Chinese characters, requiring you to see from his perspective, and enter his awareness of how a thing works, its true purpose revealed. We fed him language, bowls of song, stories, poems and rhymes. He gifted us ideas sifted to their molecular level.

The week before James was born, I sent off my first poetry chapbook to a contest. Done with laboring over each poem, I was ready to let the collection live its life in the world, with all its incompleteness and imperfections – the poems would have to speak for themselves without a coach or interpreter. I spent the next 2 & ½ years mothering two children, not getting much writing done. But by witnessing the daily birth of undiluted language, I became a devotee again of the Word – of free verse, toddler slam and lullabies, of every rhyming pair under the sun. Affected by the joy of sound slipping between lips, of words hitting air like steam, we lived within their cloudy habitats. Losing the urge to form, direct or capture words, I simply let them play in my life, like my children, like the birds at the feeder.

James leans into the page, the pen now shaping a tree-house, smoke curling from the chimney. His tongue concentrates. I have no doubt that he will one day be able to express everything igniting in his mopsy head. What the next word will be that bursts from his brain’s snags is the night’s next surprise. Like a bird finding a safe portal, it will slip quietly and surely, be the exact one in mind.

– now appearing in Sage Cohen’s Writing the Life Poetic Zine’s  April issue.

Follow

Get every new post delivered to your Inbox.