See the violinist blocking, enchanting passing crowds with his bowing and watch some ragged child, the very thinnest, with held-out cap through those crowds coming and going.
Or the organ grinder haunting the emotions and memories of all, his songs life’s bittersweetness’s reminder…. but it’s his well-dressed monkey makes the coins fall.
And more: the child’s home work handed in though mostly done by mummy; and more: the wisecracks bandied in, seemingly by the ventriloquist’s dummy…
This is the poet’s story: somewhere some unseen Maker wrings from a wild wand magnificence, sadness, glory… while the mere poet capers, postures, and holds out a hand.
All of which is merely a complicated rumination on not knowing where poetry comes from. It feels like the initial impulse and the key words come from outside, from some muse or god of poetry… and the poet is merely a puppet: observed, apparently autonomous, but not the true artist.
This poem was published in The Road Not Taken: The Journal of Formal Poetry. It may not be as formal as you would expect, but it has a steady structure complete with rhymes. I make no apologies for its inadequacies – the poem itself allows me to blame the unknown puppeteer.
“…presence, if it has been real presence, does not ever leave.” –May Sarton
I’ll keep my ghosts. Each morning down we go Through the hallway, where they begin to show As grey reflections of themselves in frames That do not answer when I call their names But swirl and curve around me, to and fro. Sometimes, in this house that they used to know So well, their unseen numbers swell and grow Until I am overwhelmed. All the same, I’ll keep my ghosts– By choice–for what else would I have? Hollow Spaces between walls? Albums? And sorrow That has no feeling to it left? Who blames Me for my preference? I make no claims That they bring only joy, but even so I’ll keep my ghosts.
Juleigh Howard-Hobson writes: “It’s so hard to name a favorite poem of my own, (after all, they are all my favorite poetic children!) but this one, written a decade ago, is a little closer to my heart than the others. Over time, I’ve collected quite a few post-card sized Edwardian portrait photographs, with their original frames, so I can hang them on my walls. These stranger’s images mix with my own vintage family photographs and after a while, they stop being photographs of strangers, they become photographs of familiar faces. After a longer while, some join my family ghosts. Which I find inspiring, if slightly unsettling. This rondeau owes its existence to my collection, both related and adopted. The Rondeau, with its self-imposed restrictiveness that limits how far a poet may go before she or he must return to the refrain and readdress it, is one that I’ve always been fond of. When I was 16 I came across Dunbar’s “We Wear the Mask” and immediately sensed that the Rondeau was the perfect form for conveying the complicated simplicity of life (granted, I was a strange 16 year old). This one first appeared in Poets’ Touchstone 2010 having won 1st Prize in the 2010 Poetry Society of New Hampshire National Contest; later collected in my book The Cycle of Nine (RavensHalla Arts, 2012).”
Juleigh Howard-Hobson’s poetry has appeared in Valparaiso Poetry Review, Mobius, The Lyric, Dreams and Nightmares, 34 Orchard, Capsule Stories, Birds Fall Silent in the Mechanical Sea (Great Weather for Media), Lift Every Voice (Kissing Dynamite) and other places. Nominations include Best of the Net, the Rhysling, and the Pushcart. Her latest book is the Elgin nominated Our Otherworld (Red Salon). English born, US/Australian raised, she currently lives on an off-grid homestead in the middle of a dark woods in the Pacific Northwest USA, with her husband and her ghosts.
Contact: “I maintain an irregular Twitter presence as ForestPoet@PoetForest https://twitter.com/PoetForest where I follow every writer who follows me.”
A man-like god creates the universe? Two hundred billion galaxies? Each holding a hundred billion stars? And each star moulding its planets into life, teeming, diverse! All this from some bearded old angry face who says “Build me a temple, pray, and pay the priests who’ll guide you onto Heaven’s way, erase your sins . . . or you’ll go in disgrace to torment underground — eternally.” No way your life gains from such small belief, passed on by some royal or holy thief who says “God wants your money, send it me — my palace honours Him . . .” The human lurches fearful, confused, through wastes of wasteful churches.
As social animals, we find our place by walling others out, putting them down: these walls, my family; those walls, my town. Even more walls: tribe, country, faith or race. This atavism’s bad for mental health, supports no sense of personal strengths or meaning, allows no purpose, individual leaning, denies achievement to your inner self. Identity’s reduced to football fan, or something uniformed, or some group prayer; without those — alcohol, drugs or despair, not knowing how to move past Nowhere Man. Know yourself, human, to confront the Void: your proper study’s all that’s anthropoid.
You can think of these two sonnets as the result of ten years of Church of England boarding school–five years in Jamaica, five in England–where Scripture lessons and daily church services were complemented by solid science and rigourous literature. And of course the Church of England recognises no Pope except the man who wrote “Know then thyself, presume not God to scan; the proper study of Mankind is Man.” So here you see the fruits of a well-rounded education.
This poem has just been published in Better Than Starbucks, a remarkably extensive poetry journal (and with some fiction too). The bulk of my BTS-published poems are in the Formal Poetry section, but there are many other sections–it’s a 100-page magazine. The online version is free, and well worth exploring.
I just came from The Seagull, and it’s still the tour de force it was when it was written. The jaded past, a tragic Russian vaudeville, ushers in the star-struck and the smitten, the ingénue, the predator, hard-bitten, artists in a trance-like state and sordid, bewitched by when and how they’ll be rewarded.
Success too young is said to be a curse for writers—yours was neither smug nor rude. By twenty-one, your stories filled a purse to pay your famished family’s rent and food. Your father’s violence had finally been subdued. Doctor, writer, you could dress a wound or stage a scene of pettiness lampooned.
Though philistines have claimed your plays lack action there are secret histrionics of the mind where characters break through the stupefaction and character unfolds when it’s confined. Whether tight, oblivious or blind, the diva crippled by her little fame reveals herself in fear of change, or shame.
Your plays still plumb the interplay between words and silence, plotlessness and plot in which you show an uneventful scene composed entirely of what was not to be—the spent emotion scattershot around the stage in wraiths of lost pretension, and meaning haunted by the fourth dimension.
How women loved Antosha! You could be flippant, daring, timid, or a charmer. Biographers today are on a spree: computers link to lovers and their armor, unsigned stories, letters to a farmer, notes on pets. But did your gentle crane mean more to you than Masha or demesne?
And Lydia Avilova! Tantamount to love affair or game of cat-and-mouse, no one could say by reading her account of unrequited love, the empty house once lent by friends, your hunch her child and spouse (Karenina, or Lady with a Dog?) would haunt her like a countermarch, a fog.
Or worse. Perhaps it was her child for whom you stopped. Could she have let him go? It might have meant despondency and doom, and why should history have the need to know? Eventually Avilova’s book would show the years you spent inventing cryptic ruses, the stifled passion, the letters bearing bruises.
Four years before you died, you took a wife, the theater’s Olga Knipper—Like a colt, you said—who thrived on acting, laughter, life, and you. Your own Teutonic thunderbolt. Masha would be the sister in revolt. She’d broken her engagement years before at your insistence. Masha was keeping score.
Juggling marriage, jealousy, TB, and writing plays, in Yalta you missed Moscow, Olga, the theater—in Moscow you craved the sea, the ease, the heat. You dreaded every flow of springtime melt, the break of ice and snow. With spring came spitting blood, and you were weak. Writing was a trial. You couldn’t speak.
In youth, you wrote: Of all the doctors in town, I am the sorriest case. My carriage is broken, my horses mangy, I don’t know the roads, I frown at night and still can’t see, and I’m awoken by pleas for cash, of which I’ve none. Unspoken disease is rampant. I tire very quickly, practice medicine gratis, and am sickly.
My paraphrase, and fraught with emendations. The tragedy is clear. The truth is that you struggled with the people’s deprivations and gave yourself away sans caveat. En route to France’s kinder habitat, you died a “doctor’s death”—TB, champagne, the German spa, and morphine for the pain.
Terese Coe writes: “The letter-poem speaks for me.”
Terese Coe’s poems and translations have appeared in Agenda, Alaska Quarterly Review, The Cincinnati Review, The Moth, New American Writing, New Writing Scotland, Ploughshares, Poetry, Poetry Review, Potcake Chapbooks, The Stinging Fly, Threepenny Review, and the TLS, among many other journals. Her collection Shot Silk was listed for the 2017 Poets Prize. https://en.wikipedia.org/wiki/Terese_Coe
When so many poetry magazines are one-or two-person operations, it is hard to know of all of them, harder still to sort through and find the ones that you would enjoy reading and, as a poet, would like to submit work to. How wonderful, then, when someone like Trish Hopkinson comes long to inform us of magazine openings and closings, of different editorial requests and requirements, and of calls for submission!
As a formal poet living in our current wasteland of unstructured material, I am especially grateful that she has put together a list of Where to Submit Formal Verse. Her list of 53 magazines is extremely useful, but it does have some drawbacks:
First, it (understandably) focuses on the Anglo-Canadian-American market. In today’s online world, such restrictions should not necessarily apply. I have had English-language verse published in Australia, India, Netherlands, Nigeria and Turkey. English is very much a global language, and not just in the areas of business and Hollywood.
Second, some of the more difficult prospects, but the most desirable, are not mentioned–for example Poetry Magazine and the New Yorker. Yet they publish just as large a proportion of formal verse as some of the others in her list. (For example, Marilyn Taylor is sometimes the only formal one of over 50 poets published in an issue of Verse-Virtual.)
And lastly, the list is unfortunately four years old. In the world of poetry magazines, this means many will have disappeared, many others will have arisen. The Rotary Dial, Sliptongue, Unsplendid… each unique, excellent in its way, but disappeared along with several others in her list.
But as, obviously, you start by looking at a magazine and its website and its samples and requirements before you submit, little time is lost in identifying the defunct. The list remains invaluable for finding well-established magazines that will publish formal verse.
That was my first job, he said, as we gazed at the insignificant window. Down the slate steps, and looking from the raised salt-pitted pavement, where this end of town gets hammered by the sea, it looked so small. But sturdy, strongly-made enough to prove that here his father fitted him with all the craftsmanship he’d need. It wouldn’t move or crumble. Each year he’d return, to see his work enduring. Then brought me, to know a detail of our family history and let this shabby mullioned window show something inherited – that stone and wood, well-built, can last a lifetime and go on drawing the clean light in and doing good. I think about it often now he’s gone.
D A Prince writes: “Sometimes a poem travels far further than expected. When I wrote ‘The Window’ I felt it was a quiet and, for me, unusually personal poem which would have a limited readership. It was published in South, and the editors subsequently submitted it to the Forward 2020 Anthology. I was pleased they had chosen it but given the cutting-edge nature of the Forward anthologies I never thought it would be selected. After all, it’s formal; that’s not how twenty-first century poetry is. To my astonishment it was selected and included — perhaps a reminder that rhyme and metre are still part of our landscape.”
D A Prince lives in Leicestershire and London. Her first appearances in print were in the weekly competitions in The Spectator and New Statesman (which ceased its competitions in 2016) along with other outlets that hosted light verse. Something closer to ‘proper’ poetry followed, with three pamphlets, followed by a full-length collection, Nearly the Happy Hour, from HappenStance Press in 2008. A second collection, Common Ground, (from the same publisher) followed in 2014 and this won the East Midlands Book Award in 2015. HappenStance published her pamphlet Bookmarks in 2018. Light verse continues to be an essential part of her writing as a way of honing technical skills while having fun.
Yes, I know it seems unlikely
but I simply can’t help feeling
there’s an urgency to writing:
and in verse, and fluently.
We’ve our cultural traditions
that have coevolved with language
and each language has its verse forms
that are aids to memory.
It’s all fine that we are moving
to post-literate existence
where the things all talk and tell you
everything you need, you must –
when the neon signs and fridges
can discuss with you their content,
you don’t need to read or count, if
their integrity you trust.
But embedded in our braincells
are the patterns of our language
and our need to think in patterns
drives our songs, makes us a folk,
it gives dub and rap and hip hop,
it drives rhetoric in speeches,
and the false anticipation
of the punchline of a joke.
With our cultures integrating
with AI and with each other,
we risk losing all our history,
all our culture and, what’s worse,
Our minds! So sing to babies,
have kids memorise long poems,
learn the maths of songs and music –
learn and read and write in verse!
This poem, recently published in Bewildering Stories, speaks to the heart of the matters that this blog deals with. Songs and music, rhyme and rhythm, dance, melodies, alliteration and assonance, structures and patterns and verses and choruses, are all part of something that is deeply human. It starts for us with the heartbeat in the womb, is nurtured with lullabyes and rocking, carries on through the songs and music and dance that are important to every generation of teenagers. It is such a fundamental part of our humanity that educational systems that ignore it are ignoring a powerful natural teaching tool.
The issue is larger than the fact that learning verse by heart is easier than learning prose by heart. Larger than the benefits of developing the ability to remember and memorise accurately. It is about recognising and nurturing those inner forces that make us human. It is about not letting our humanity be eroded by a culture that doesn’t acknowledge the rhythms that permeate our lives.
This blog is about the value of formal verse. Part of that value is poetry’s contribution to the sanity that comes from being a complete human being.
Technically this poem’s lines could be described as iambic tetrameter, which each fourth line being truncated and rhymed. But I prefer to read it almost as a patter song with each line composed of two tertius paeons, (each fourth line still being truncated and rhymed). In other words, it is designed to have the third and seventh syllables in each line be the ones with the greatest stress or emphasis. And that includes the rhymes, naturally.
Potcake Chapbook 5, “Strip Down – poems of modern life” is now up and out, the post office is delivering the first copies in some countries, and others like myself will have to wait a couple of months before the post office gets its act together. So it goes.
With a mixture of lighthearted and flippant poems and others that are more meditative and bittersweet, all illustrated by the amazing Alban Low, “Strip Down” follows the formula of the earlier chapbooks. Returning Potcake Poets are Brian Allgar, Marcus Bales, Susan De Sola, Robin Helweg-Larsen, Vera Ignatowitsch, George Simmers, A.E. Stallings, Tom Vaughan and Gail White; newcomers to the series are Antonia Clark, David Galef, Claudia Gary, Paula Mahon and D.A. Prince.
Why does the potcake on the back cover wear a bow tie? Because he, like the poems, is in favour of the formal.
Why does the man on the front cover wear neither a bow tie nor anything else? Well, you’ll just have to read Marcus Bales’ little gem inside.
But having given you the links to those, I return to my own poor contributions:
Beach and Mountain
Oh! I said, Look at that Beach! What! said the Mountain, So go live down there. See if I care.
Oh Mountain, I said, don’t be so silly,
I choose to live here,
complex and craggy, rich in forests and streams,
here where you rise up, taller than the clouds,
up where the air itself is rarefied
with views over all the world below.
But still… look at that pretty little beach
with its soft white sand,
its smooth clear water…
Now I Know Death
I know how I will die – sadly, slowly,
Regretting all I leave behind
In the spirit of taking a train to school,
Of seeing the holidays pass without a girl,
Of moving out of a good house, leaving the keys
On the table, carefully locking myself out.
Watching the first leaves fall, warning that
The summer comes to an end.
Going to bed only because I am so tired.
Hearing the wind in the pines, hinting at loss.
Feeling without my children, grown,
The sadness that comes from depths of happiness
And knowing I’m too frail to hold it.