Marjorie Manwaring

Charm
The botanist’s magnifying glass is youth recaptured. It gives him back the enlarging gaze of a child.
–Gaston Bachelard

 

Automatic doors seal shut, the air artificial and cool. Thick with the smell of a deep fat fryer, freshly butchered meat, bananas just out of cold storage. Mom gets a cart. You linger in the alcove of news racks and gumball machines, one filled with Chiclets, another with jawbreakers big as golf balls, and this one, the one that dazzles you, its display card alive with trinkets and plastic charms . . . You align your dime into its special slot. Crank the metal handle. The mound of treasure shifts, a small upheaval, and you hear the plastic capsule rattle down the chute. Will it be a tiny bird whistle—yellow, orange, or baby blue—that when filled halfway with water and blown will chirp and warble? Or the salmon-pink Cupid with his sideways glance, bow drawn back, one leg flexed behind him? These would please you, held tightly in your hand or strung on a chain, but the miniature magnifying glass—something small that lets you see things even smaller, this is what you want, what you need and you already see yourself sliding it in and out of its little red sheath.

 

 

Marjorie Manwaring lives in Seattle, where she is a freelance writer/editor, co-editor of the online poetry and art journal the DMQ Review, and member of the Floating Bridge Press editorial board. Her chapbook What to Make of a Diminished Thing is forthcoming from Dancing Girl Press in spring 2012, and a full-length poetry collection will be published by Mayapple Press in February 2013. “Charm” previously appeared in the 2010 Jack Straw Writers Anthology.

Michael Dylan Welch


ひさかたのひかりのどけき春の日にしづ心なく花の散るらん                                     紀友則

hisakata no hikari nodokeki harunohi ni shizugokoro naku hana no chiruran 

the light filling the air
is so mild this spring day
only the cherry blossoms
keep falling in haste—
why is that so?                                                                                                                                                   

Ki no Tomonori


Michael Dylan Welch is pleased to announce that he and Emiko Miyashita have a waka (tanka) translation appearing on the back of a U.S. postage stamp, in an edition of 100,000,000 copies, that will be released on March 24, 2012 to celebrate the 100th anniversary of the cherry trees in Washington, D.C. The translation is from their 2008 artbook, 100 Poets: Passions of the Imperial Court  (Tokyo: PIE Books). He lives in Sammamish, Washington.

You can read more about the stamp at Beyond the Perf and at the USPS.com website.

ADDENDUM APRIL 11:  The initial print run for this stamp was actually 100,000,000 copies. The stamp has been sellling more than a million copies a day since it was released on March 24, and the postal service has just announced a reprint of at least 50,000,000 more copies, making this one of the best-selling U.S. postage stamps in decades. And hopefully everyone who buys them will enjoy the tanka poem on the back. The Washington Post has a story about this stamp’s sales exceeding expectations.

 

Michael Daley

The Two Young Men From Japan

To be in possession of an absolute truth is to have a net of
familiarity spread over the whole of eternity.
—Eric Hoffer

“Orb Weavers have hooped a white gauze across sixty acres,”
a winter’s worth snag of less patient species, a community,
the historic web by dawn radiant in the east
snares the setting sun.
I read it in the paper someone left at the cafeteria.
The door wheezes behind me as I step back into Poland,
to see the name “Oswiecim” is liberating
for its pure municipal indifference.

The two young men from Japan are still laughing at the bus shelter.
They know me by my trudge, mud falling away,
head bowed under the ice of Auschwitz;
my boots announce to the gravel
a reverent tourist unlike them, giggling in a storm.
They await the bus to Krakow.
I always remember them,
have often wished I’d shrugged off
a silence my mind found
in the hours since losing my guide
when I wandered the death camp,
acres of chimneys in the cold.
“Oh, you’re from Seattle?”
Strange to hear home sound so foreign.
“Ichiro!” We laugh. We talk a little baseball.
How happy we are safe beyond history.
We laugh at anything—
old shoes suitcases spectacles dolls in mounds
indignant faces on our zlotys bus fare—that’s funny.
Embarrassed by the length of an English sentence:
“We… Are…Touring … Camps, All the Camps.”
Modest laughter
More camps than mine, my list only this.
“Dachau, Bergen-Belsen, Treblinka, Buchenau.” Wan smile.
They have traveled three months, both born in Nagasaki.

Parkas in cold Polish twilight,
we made our getaway from Auschwitz laughing.
My bus window black with February,
I scribbled in my notebook, grim and private.
They went on back there, they cackled all along the route,
their choppy map a line of stations on whose sleepers
they never slept, those intoxicated laughers
sprung from turf slabbed by monuments to the frisky dead.
I can’t forget them, how happy they were.
Perhaps it bothers me—why I write this now—
to hear them laugh again, to know
they never came to an end of camps,
I wasn’t the only pilgrim on the bus.

 

 

Michael Daley was born in Boston and lives in Anacortes. He is a graduate of the University of Massachusetts and has an MFA from the University of Washington. In 1983 he published his first collection of poetry, The Straits. His chapbooks include Angels, Original Sin, Horace: Eleven Odes, The Corn Maiden, and Rosehip Plum Cherry. His poems have appeared in American Poetry Review, Hudson Review, Alaskan Quarterly Review, Raven Chronicles, Seattle Review, on the Writer’s Almanac and forthcoming in The North American Review. In 2007 he published Way Out There: Lyrical Essays. In 2008 To Curve came out and in early 2010 Moonlight in the Redemptive Forest with a CD of poems and music arranged and performed by Brad Killion. “The Two Young Men From Japan” is from Moonlight in the Redemptive Forest.

Matt Gano

 

Launching the Whale

 

My dad is a carpenter, sort of like Jesus,
but he doesn’t believe in God.

His holy space is drills and grinders,
roaring teeth spitting chips and dust.

When I was twelve we built a canoe
from strips of cedar, ripped boards for weeks.

The frame in the garage was scaled like an empty whale,
bones lurching from the shop floor.
We arced on its new skin with glue and heavy staples.

Dad wore a green down-vest like a tortoise shell,
he said it would comfort our shop-mammal
to be built by something familiar.

As the frame was full with hull and keel,
we plied out staples like final stitches
removed from a recovered experiment,
ran our hands down its sanded spine,
the work painting into our palms,
our pores absorbing the bonding.

When we rode the whale, we launched it from the shore
like pushing a dead cow back into the sea, boots in the shallows
filled with lake water.

It would take us to the middle where the big fish are,
where the casting rods bend like cottonwood over glass,
dance jigs, whippin’ back and forth. Dragon tongues.

This is how we sit, me, navigator bow-boy,
front paddle like the steam engine is tug boat, but little boat.
Dad is stern, rudder man, power in the deep dig,
he spanked the water good,
like it forgot to take the garbage out.

We pull the trash from the beaver dens
and replace them with good sticks,
he says they don’t know any better, the babies
will get the soda rings around their heads
like the Spanish inquisition and die slow.

We don’t want um to die slow.
“Keep rowing, hard on the left, watch out for the log!”

I see the log. The log looks like a floating dog.
Put my paddle in it, sank through like a fork in cat food.
It is/was a dog, belly stickin’ out like helium and rot.

See how the K9’s are chipped and peeled back?
Musta’ been eatin’ marmots.
Sometimes a stray dog will eat rocks
if it’s hungry enough.

My dad is a scientist. He doesn’t believe in god.
His holy space is lakes and bug guts,
they cell through him when we walk on the roots
and slipping path of the Yakima valley.

We Swiss-blade open the on pond, make ripples like loons,
hoot-hoot against the quarry for the echo.
Make campfire dance with pucker-mouth lip wind
and sizzle up the iron-pan washin’ in mountain water.

When the tent gots the squirts with dew
and the embers burn down crackin’
like mosquitoes on Dad’s neck
with his slappin’, and it’s dark as bears,
morning peeps over the ridge
and we are simple
heirloom pocketknives,
carving memory into the tree.

 

 

Matt Gano is an accomplished performance poet and creative writing instructor. In 2011, Matt Gano guest lectured at The Juilliard School in New York City, featured for “Page Meets Stage,” at the Bowery Poetry Club, and led writing workshops at the Esalen Institute in Big Sur, CA. Matt has traveled internationally teaching creative writing and performance in Seoul, Korea, and in 2009 earned a three-month artist residency at the Lee Shau Kee, School of Creativity in Hong Kong. Matt has worked as a national slam team coach and workshop instructor for Youth Speaks Seattle and is now a senior Artist in Residence with Seattle Arts and Lectures, Writers in the Schools.

Oliver de la Paz

 

The Boy With the Fiddle in a Crowded Square

 

The young are so talented, my father says to me
as he palms a bill to drop into the boy’s violin case.
Early, and the market is a riot with greens. Each stand
parades its wares while other parents cart by

with children in their strollers. My son is not listening
to the music—he’s off somewhere in his dreaming mind
where anything can be hidden and people are ghosts.
I drop a dollar at the musician’s feet and he gives a light nod,

the market traffic weaving around us like luminous boats.
In my head, I’m writing a letter to my father, explaining
how every mistake I’ve made is palpable now,
the way the clouds take on human flaws with the wind.

I’m telling him the long fly balls I missed in little league
are dropping, one by one, at my feet. I’m penning
the collapse of each of my coliseums because right now,
son-hood is a promise of ruination and this violin song,

the hymn of its republic. Tonight, I will write a real letter
to my son. It will reveal footprints on each proving ground
and halve every distance I’ve traveled. The earthen line
of my pen will hum as my son’s eyes read each line.

He will know each disappointment is a note like the wind
passing through the cable of a bridge. Each song
will rise, and hold the people in this market above
ragged waters. They will know how to listen. To parse

each other’s hearts by bending forward as my father does now,
smiling at the fiddle player, then at my son. Slowly,
the soloist’s notes thin into sliced apples—the crowd’s
polite applause surging, then gone.

 

Oliver de la Paz is the author of three books of poetry: Names Above Houses, Furious Lullaby, and Requiem for the Orchard. He is the co-editor along with Stacey Lynn Brown of A Face to Meet the Faces: An Anthology of Contemporary Persona Poetry. A recipient of grants from the Artist’s Trust and NYFA, he co-chairs the Kundiman.org advisory board. He teaches at Western Washington University and lives in Deming, WA.

Tina Schumann

Autumn

 

You know how the world comes at you like that?
You’re driving down some tree-lined street
with Vivaldi or Corelli
lilting their way from the radio.
The sun casting prisms on the leaves,
the leaves easy in their fall.
All questions have quieted.
You are convinced that even the asphalt is happy
to be what it is: solid, stoic, the backbone of a day.
Up ahead the next three lights are green,
you are passing the school yard at St. Paul’s
and all the kids in their blue and green uniforms
are bright angels, bearers of light.
There goes Stone Way Cleaners where they are steaming and pressing,
steaming and pressing just for you. The world is stuck
on go, proceed, avanti. No one could imagine
how enlightened you’ve become
in the cabin of your car, on the rim of tears
with your velocity of awe, your clarity at the wheel,
your rapid rolling toward some small truth, on and on like that.

 

 

Tina Schumann’s poem “Autumn” originally appeared in Harpur Palate. Her manuscript As If (Parlor City Press) was awarded the Stephen Dunn Poetry Prize for 2010. Her work was a finalist in the 2011 National Poetry Series. She received the 2009 American Poet Prize from The American Poetry Journal and honorable mentions in The Atlantic Monthly 2008 Poetry Contest as well as the 2010 Crab Creek Review contest. She is a Pushcart nominee and holds an MFA from Pacific Lutheran University. Her poems have appeared in various publication including The American Poetry Journal, Ascent, Cimarron Review, PALABRA, PARABOLA, Poemeleon, Raven Chronicles and San Pedro River Review. She lives in Seattle.

Announcements

Sue Boynton Poetry Contest. This contest is annual, Whatcom County only, all-ages, non-profit and currently (March 1-31) open for submissions. We have a DAILY blog on all-things-poetic, including extensive links and a page with a 12-month literary-events calendar for Washington state.

Esther Altshul Helfgott is teaching an ongoing class called “Poeming the Silence: A Women’s Writing Group.” Beginning & experienced writers welcome. The class uses poems to trigger writing in any form. Prior knowledge isn’t necessary. Tuesdays, 7 – 9 pm.

Poetry is Everything posted by Chris Jarmick lists a wide variety of Seattle Metro poetry events.

The 2012 Crab Creek Review’s Poetry Prize is currently underway! Winning Prize: $200 and publication in our journal. Finalists will also be published in Crab Creek Review and all poems submitted to the contest are considered for publication as well.


On Friday March 30, the Lit. Crawl is underway.  Doug Nufer will be with the Pageboy posse, 7:30 at the Bluebird, 1205 E. Pike.

Nico Vassilakis is curating a night of Sound Poetry, Friday, March 23, 2012 7-9P at Vermillion, 1508 11th Av, as a prelude to the Cascadia Poetry Festival.
Sound poetry is a primarily early 20th century invention merging new typographic potentials with performative oral expression in the form of poetic phonemes and letter sounds. This ultimately gave way to the creation of visual and concrete poetry. The evening will promote both historical scores as well as exploring new possibilities. This event intends to support and present sound poetry from current practitioners living in the northwest.
puget SOUND POETRY at Vermillion’s art bar, March 23rd 7-9pm, including: Cristin Miller, Molly Mac Fedyk, Ezra Mark, Crag Hill, Nico Vassilakis, Joe Milutis
Four Hoarse Men:   Greg Bem, Jason Conger, Paul Nelson
Interrupture:             Doug Nufer, Bryant Mason, Curtis Bonney, Kreg Hasegawa

Sage Hill Press is accepting manuscripts for the 2012 Powder Horn Prize, a first book award. Entrants should not previously have published a full-length manuscript.
Entry fee: $20; Entry deadline: June 1, 2012.

Rhymes with Everett:  Everett Public Library celebrates National Poetry Month on April 11, 2012 at 7:00 pm.  Come read your favorite poem.

Shin Yu Pai and Port Townsend poet Mike O’Connor will be reading at Open Books on March 22, 7:30 PM.

The Cascadia Poetry Festival seeks to examine the culture of this region (see map) by gathering poets from the California, Oregon, Idaho, Washington, British Columbia, the Alaska panhandle and Western Montana at SPLAB, in the most diverse zip code in the U.S., to learn, share ideas and techniques, begin to discover the qualities of this bioregion and the possibilities for deeper connection between the inhabitants from all parts of the region. All access Gold Pass $50. March 23 – 25. 
SPLAB Location: 3651 S. Edmunds, Seattle, WA 98118

 

Student Poem

 

Hide and Seek
after a painting by William Merritt Chase

by Xuan Tran

 

Inside the dark
the girl is running
She passes the chair
She passes the door
Toward the curtain
Unknown to her
a pair of eyes
keep staring at her

The dark running chair
The door passes the girl
Inside the curtain
The unknown eyes
staring toward the room

A dark girl
stares at the door
Unknown to the curtain
The room passes the eyes
Towards the chair

The running curtain
Keeps passing the chair
The girl stares
at the unknown eyes
A pair of darkness

Passing the door
A pair of eyes
The room stares
toward the dark
The girl inside the chair

 

Xuan Tran is a student at Seattle World School, formerly the Secondary Bilingual Orientation Center.  Xuan wrote “Hide and Seek” during an after-school poetry class offered by the Vietnamese Friendship Association and the Jack Straw Foundation.

Samuel Green

 

My Mother, Fetching a Switch

 
By now she knows that just because it’s thin
doesn’t mean it won’t hurt, that green is better
than dead & dried. She needs to choose
between the hot sting of a wasp, or a dull
deep ache that lasts for days, bruises the color
of certain pears when they ripen. There are the canes
of big leaf maple, willow, alder, the straight suckers
from apple or plum in the orchard. She knows to peel
bark from the wand & shave the nodes flush
to the stem with whatever knife she’s given
from pocket or kitchen drawer. Her first switch
left her bloody, left a web of tiny white scars fine
as lace in the doilies her sisters sometimes helped her
make. Once she brought her father a long whip
of pussy willow with the soft toes of catkins
left on. He laughed so hard he let her off. A second try
made him madder. Once she split a thin strip of cedar
from a shake bolt, lighter than lath; her mother used the edge
like a dull blade. She knows to lift her dress waisthigh,
overalls unsnapped & dropped
to her ankles. Her father likes her
folded across a single knee & only strikes
the cheeks of her fanny. Her mother takes her
standing, feet apart, & whales at any skin
she sees: calves, her inner thighs. She knows
if she cries or squirms the blows come faster, last
longer, how anger travels into rage. She knows
exactly how long she has to find & shape
& fetch a switch to its waiting hand.
My grandparents think she’s learning
the wages of backsass, what happens
when you ride the stubborn donkey of disobedience,
but she is learning how short the pleasure is
when she flushes a rabbit from the brush,
that there isn’t quite time to wholly peel
& eat an apple before someone will come
looking for her, that no joy lasts long,
that—father, mother, lover—it is painful
to be alive. All she can do is choose
between one hurt or another.

 

Samuel Green was born in Sedro-Woolley, Washington, and raised in the nearby
fishing and mill town of Anacortes. After four years in the military, including service in
Antarctica and South Vietnam, he attended college under the Veterans Vocational
Rehabilitation Program, earning degrees from Highline Community College and
Western Washington University (B.A. & M.A.). A 36-year veteran as a Poet-in-the-
Schools, he has taught in literally hundreds of classrooms around Washington State. He
has also been a Visiting Professor at Southern Utah University, Western Wyoming
Community College, Colorado College, and served nine winter terms as Distinguished
Visiting Northwest Writer at Seattle University, as well as nine summers in Ireland.
Poems have appeared in hundreds of journals, including Poetry, Poetry Northwest, Poet &
Critic, Poetry East, Southern Poetry Review, Prairie Schooner, and Puerto del Sol. Among his ten collections of poems are Vertebrae: Poems 1972-1994 (Eastern Washington University Press) and The Grace of Necessity (Carnegie-Mellon University Press), which won the 2008 Washington State Book Award for Poetry. He has lived for 29 years off the grid on remote Waldron Island off the Washington coast in a log house he built himself after living in a tent for three years. He is, with his wife, Sally, Co-Editor of the award-winning Brooding Heron Press, which produces fine, letterpressed volumes. In December, 2007, he was named by Governor Christine Gregoire to a two-year term as the Inaugural Poet Laureate for the State of Washington. In January of 2009, he was awarded a National
Endowment for the Arts Fellowship in Poetry, and was a member of the NEA’s poetry
panel for the 2011 fellowships.