Tag Archives: Jean L. Kreiling

Using form: Rondeau: Jean L. Kreiling, ‘At the Realtor’s Office’

dream home sign

They’re selling dreams, they like to say;
their storefront photographs display
the pricey, well-staged fantasies
they call rare opportunities
and gems. They hope you’ll overpay

for your townhouse, ranch, or chalet,
your great investment, your doorway
to debt. You’re lured in by degrees:
they’re selling dreams

of closet space, kitchens (gourmet!),
and pride. Why shouldn’t wants outweigh
misgivings and realities?
The realtors ply their expertise,
and you’re an easy mark to sway—
they’re selling dreams.

*****

Jean L. Kreiling writes: “The rondeau form seemed appropriate for suggesting a realtor’s technique—that insistent commitment to your purchase, both nerve-wrackingly relentless and, somehow, appealing.”

‘At the Realtor’s Office’ was first published in the Crab Orchard Review, and collected in her new book, Home and Away  (Kelsay Books, 2025)

Jean L. Kreiling is the author of three collections of poems, with another forthcoming soon from Able Muse Press. Her work has been awarded the Kim Bridgford Memorial Sonnet Prize, the Rhina Espaillat Poetry Prize, and the Frost Farm Prize, among other honors. An Associate Poetry Editor for Able Muse: A Review of Poetry, Prose & Art, she lives on the coast of Massachusetts.

Photo: “Dream home” by futureatlas.com is licensed under CC BY 2.0.

Sonnet series: Jean L. Kreiling, ‘My Brother’s Last Year’

  1. What My Brother Says

He says I’m not myself, but in my eyes
and in my arms, he is. I hug him, feeling
that he’s lost weight, but brother-warmth defies
that deficit. Disease and “cure” both stealing
small pieces of him, he has had to quit
his role as family cook, and he can’t drive.
But he retains his reason and his wit,
so much so that it seems clear he’ll survive;
they say he won’t. He says his life’s been great,
though certainly too short. He still stands tall
and truthful: he unblinkingly looks straight
ahead, says what he sees, and leads us all.
He looks thin, but he always has been slim.
He says I’m okay, mostly. He’s still him.

  1. What Looms

It’s always there: a cloud—no, more than that,
a monstrous weight, insistent, ugly—no,
invisible, but foul. Its habitat
is everywhere; there’s no place he can go
to break away from its unfailing grip
and find a self not poisoned by his own
insidious insight, where he can strip
his days of its unnerving undertone.
His daughter’s funny story makes him chuckle,
he briefly cares about a football game,
but you can almost see his psyche buckle
again as deathless facts and fears reclaim
their sure dominion, making him aware
again of all that looms. It’s always there.

  1. Walking with My Brother and His Wife

They’re holding hands, as they so often do,
as we three walk a path in woods behind
their house, our sneakers swishing through
mid-fall’s crisp russet leaves. This path will wind
predictably through acres of old trees
and end at their backyard. Along the way,
we talk of plans, the weather, memories;
most of their plans are now in disarray,
like scattered leaves in autumn’s chill. They stroll
as easily as if they could predict
more than this path, own more than land, control
the odds that he’ll grow old. What fears afflict
them, they defer; they face the chill unbowed.
They’ll hold hands for as long as they’re allowed.

  1. Therapy

I write these sonnets as if that might ease
my mind; it doesn’t, and these lines can’t do
a thing for him. Like stopgap therapies
that promise him another month, a few
neat poems only shuffle deck chairs, shaping
elaborations on the theme that dulls
his days with brain fog. He won’t be escaping;
he knows he’s sinking. As my brother mulls
his measureless calamity, I count
out syllables, choose metaphors, debate
rhyme schemes, and watch the icy water mount
in seas that he cannot long navigate.
I write as if I’d find breath in a word,
as if safe passage might yet be secured.

  1. Progress

It’s not the kind of progress we would hope
for; it’s the damned disease that’s making strides.
My brother’s gaining only ways to cope
with each new deficit as it divides
him further from the life that he once led—
a life he’d thoughtfully constructed, made
of love, ideas, and work. Inside his head,
the enemy destroys the cells that weighed
the sense of printed words, and so he learns
to listen to the Post; when his synapses
don’t fire at numbers anymore, he turns
the checkbook over to his wife. The lapses
disturb but don’t defeat him; he finesses
each injury as the assault progresses.

  1. Nothing

I visit him again, this time by train.
(The ten-hour drive gets tougher as I age,
but then, what right do I have to complain?
To grow old is a gift.) This may assuage
my sense there’s nothing I can do, although
a visit’s nearly nothing. Yes, I care;
that’s what my presence demonstrates, I know,
but it will make him strain for things now rare
or difficult: the teasing repartee,
a walk outdoors, shared meals and memories.
He reassures me that he feels okay,
though I watch him declining, by degrees.
I bring his favorite chocolates, as if sweets
could mask the bitter taste nothing defeats.

  1. Want

Not long before the end, he made it clear:
there was so little that he wanted—just
to stay with those he loved, not disappear
into the latter part of dust to dust.
So many of us want so much: we crave
the shiny toy, the extra buck, and more
when less would do—stuff that will never save
our souls or bodies. I knew that before
my brother’s diagnosis, and today
I can’t claim to have unlearned pointless greed.
I find, though, that it’s easier to weigh
the worth of things desired, to measure need,
to understand there isn’t much I lack.
He wanted only time. I want him back.

*****

Jean L. Kreiling writes: “My brother Bill was wise and witty and loving, and deserved a far longer life; I miss him every day. He was teased and adored by his three older sisters, he made our parents proud, and he created a beautiful family of his own.  His magnificent wife and his three devoted grown children took good care of him in the year between his brain cancer diagnosis and his death, but it was a very difficult year for Bill and all who loved him.”

This tribute to him as a series of shakespearean sonnets was originally published in Pulsebeat Poetry 11.

Jean L. Kreiling is the author of four collections of poetry; her work has been awarded the Frost Farm Prize, the Rhina Espaillat Poetry Prize, the Kim Bridgford Memorial Sonnet Prize, and three New England Poetry Club prizes, among other honors.  A Professor Emeritus of Music at Bridgewater State University, she has published articles on the intersections between music and literature in numerous academic journals.  She lives on the coast of Massachusetts.

Photo: “Holding Hands on the Hornby Separated Bike Lane” by Paul Krueger is licensed under CC BY 2.0.

Potcake Poet’s Choice: Jean L. Kreiling, ‘The Waves’

Sprawled on a pew of sand, you meditate
on miracles of tide and time. Without
a prayer but apparently devout,
and humbled by the water’s shifting weight,
you watch with wonder, even venerate
this higher power rolling in and out:
omnipotence too obvious to doubt,
authority too awful to debate.
Like salty spray, some blue-green grace may cling
and seep unsanctified into your soul,
without a psalm or sermon—for the sea
makes its own joyful noise: the breakers ring
uncounted changes, and no church bells toll
more faithfully or irresistibly.

Previously published in 14 by 14. 

Jean L. Kreiling writes: “Growing up on the beach, and living on another coast in adulthood, I have never lost the sense of awe and humility that the sea inspires.  And of course I have never succeeded in capturing its magic in words, but I hope I’ve made a start in this poem.  Its form, my favorite, imposes the sonnet’s graceful structure onto what might otherwise have been an amorphous rhapsody; in addition, its meter and rhyme might suggest a bit of the ocean’s own rhythms and harmonies.”

Jean L. Kreiling is the author of two collections of poetry: Arts & Letters & Love (2018) and The Truth in Dissonance (2014). Her work appears widely in print and online journals, and has been awarded the Able Muse Write Prize, three New England Poetry Club prizes, the Plymouth Poetry Contest prize, and several other honors.  She is Professor Emeritus of Music at Bridgewater State University, and an Associate Poetry Editor for Able Muse: A Review of Poetry, Prose & Art.   

Her poem ‘The Salisbury Crags’ which first appeared in the Orchards Poetry Journal, is included in the ‘Travels and Travails’ Potcake Chapbook.

Launch: Potcake Chapbook 10, ‘Travels and Travails’

Maybe it’s just wishful thinking, but surely we’re going to get back to casual international travel again some day soon? The 10th chapbook in the Potcake series is now being mailed out from London, and I trust it augurs well for the happily peripatetic. As usual, the chapbook contains an assortment of the bright (D.A. Prince), the dark (Tom Vaughan) and the flippant (Max Gutmann), with everything in between, and all in rhythm and rhyme–and illustrated of course by Alban Low!

Returning poets are A.E. Stallings, John Beaton, Julia Griffin, Anthony Lombardy, Marilyn L. Taylor, D.A. Prince and Tom Vaughan; joining them are Amit Majmudar, Mike Cooper, Jean L. Kreiling, Ed Shacklee and Max Gutmann. (The links in the names are a mixture of websites, bios, and places to buy their books.) Most, but not all, of the poets are listed on Sampson Low’s webpage of Potcake Poets.

Let’s get everyone vaccinated so we can all start travelling again!