. . . In which the poet recalls one term’s beginnings and proposes a rehabilitation.
What is understood as confessional poetry today does not have much in common with the particular triumphs of its original practitioners.
'primary mobile', 'menu_class' => 'nav-menu' ) )
. . . In which the poet recalls one term’s beginnings and proposes a rehabilitation.
What is understood as confessional poetry today does not have much in common with the particular triumphs of its original practitioners.
Dear Mary (if that is your name),
I bet you’ll be pretty surprised to hear from me. It really is me, by the way,
although I have to confess at the moment that not only can I not seem to keep
your name straight in my head, Laura? Susie? Odile? but I seem to have forgotten
my own name. I plan to keep trying different combinations, Joe loves Lola, Willy
loves Suki, Henry loves you, sweetie, Georgia?, honeypie, darling. Do any of these seem right to you?
In a town famous long ago
for its field of irises and its bridge
with seven sections (like a poem!),
and an annual horse market,
The bowl made from a tobacco-yellow skull
And the blood of a yearling ox
With seeds of quince floating in it.
Mama wants to see something else but you know how blood is, tra-la-la, Mama’s driving us to the country ’cause she thinks we need some staid time, tra-la-la, driving by the rural slaughterhouse, tra-la-la. I’m missing the concrete where I wrote: I love me some concrete; miss the teasing traffic lights: go ahead, stop; tight fit of houses, tessellated apartments, looking in Sra. Guzman’s rooms to tell time from her closer clock.
When I get time to play, it’s gonna be just you, me, and the Department of Beer.
Amend that: all of the above, all of the above and more beer, and all of the above and the State of Alaska.
Damn right I don’t rightly know what I’m capable of alone and left to my “devices.”