Tag Archives: Midge Goldberg

Midge Goldberg, ‘Words My Mother Didn’t Know’

Starting with the obvious:
iPad, cell phone, cannabis,

Mitochondrial DNA—
but science changes every day—

sushi, pad thai, jasmine rice,
almost any kind of spice,

zipline, snowboard, kayaking,
tongue or belly-button ring.

Then, things she’d heard of, so she knew,
but not imagined one could do:

Go to Iceland, make French bread,
care what anybody said,

watch a sunrise, touch a bug,
want to give your child a hug.

*****

Midge Goldberg writes: “Often I’ll find myself in situations or places that my parents never would have encountered or dreamed of. That got me thinking of even words that they would not have known. I started writing the funnier couplets, then all of a sudden the poem took a darker turn that I hadn’t expected. Writing in rhyme and meter does that for me sometimes, leads me to a more complicated poem than I had originally imagined.”

‘Words My Mother Didn’t Know’ was originally published in Light, and nominated by them for a Pushcart Prize.

Midge Goldberg has published three books of her own poetry, including To Be Opened After My Death, a children’s book, and was the editor of Outer Space: 100 Poems, published by Cambridge University Press. She lives in New Hampshire, where her newly expanded tomato garden is now under two feet of snow. She still has the same approximate number of chickens.

Photo: “Untitled” by Leon Fishman is licensed under CC BY 2.0.

Review: ‘Snowman’s Code’ by Midge Goldberg

‘Snowman’s Code’ won the 2015 Richard Wilbur Award. And the first poems are all right, most of them being competent sonnets with a strong final line or couplet – ‘On Getting a Record Player for Christmas’ strongly evoked that era when a high point of childhood was having a couple of albums that you could replay when you wanted, ending with
I memorized not only every word,
But all the scratchy silences I heard.

But gradually the collection goes downhill, into villanelles (a verse form that is exceptionally difficult to make interesting, needing the oratorical power of a Dylan Thomas), and short insights arranged on the page as though they were verse – as in the title poem, with its
Be proud of lumpy hereness,
made by hands that carry
you, scoopful by scoopful,
to this place, at this moment,
patting you into existence.

In short, though there are poems I like in this book, I didn’t find enough to justify it as a prize-winning collection.