my essay at Lit Hub: complications

my profane desk in the corner of my bedroom—at least there’s a window to look out of on the slant

I had an essay run at Lit Hub yesterday. Or more of a cri de coeur, really—this one poured out of the deepest well of me. The essay argues against the romanticization of the spaces and head-spaces we write in, and for doing your own work first. I’ve received so many nice notes from readers thanking me for portraying a life that doesn’t look like what the predominant narratives—of poet as conduit for the Muse; of woman as caregiver; of mother as selfless saint—say our lives should look like (and I am in the process of responding to those notes—thank you so much for sending them). You can read the essay here.

But, as with anything, there are complications. I didn’t address them all in the essay, and I want to recognize them here. I decided early, for example, that I would not address the fact that some men are primary caregivers and face similar challenges to carving out a writing life amid their obligations. This is absolutely the case, and just as mothers who work outside the home or pursue an artistic life face a stigma for that, men who are primary caregivers face a societal stigma for not working outside the home—on top of the challenges caregivers (regardless of gender identification) face in pursuing an artistic life. My decision not to address this was partly a constraint of space, but it was also because I wanted state my case without diluting it with “not all men.” Truth is, I am tired of hearing “not all men” when confronting issues of gender inequality and cultural misogyny. We know “not all men,” but research—not to mention our own lives—tells us what the predominant trends are. I wanted to speak of those trends without caveat or qualification. The trends matter.

Another complication: while the essay recognizes that women in general do more of the care-work in society, I mostly focused on the demands of motherhood—partly because that’s my lived experience, but also because that’s what the research I had access to spoke to. Women who are not mothers are also expected to take on caregiving roles by our culture, so women who are not mothers face many of the same obstacles that mothers face, depending on their caregiving duties. A lack of available research (I looked) also kept me from engaging with the complications of care-work and artistic pursuits for those who don’t identify as a woman or a man, and/or for LGTBQIA+ folks—for whom obstacles to a creative life, like those for people of color, are compounded due to bias. I am deeply aware of how easy my white, cishet, well-educated, English-speaking, securely-employed life is compared to many other lives; that there are fewer obstacles to a creative life for me than there are for many others just as, or more, talented and committed as I am.

In spite of these limitations, I hope the essay will give anyone who wants a creative life, a life of making, permission to carve that life out of whatever set of obstacles they face without apology. I hope we’ll someday discard our notions of the traditional trajectory of “the artist,” and slip past gatekeepers with our beautiful, made things. If you have a story to share about how you’ve made a creative life for yourself, I’d love to hear it. Thanks again for reading, and write on.

you’ll never need a writing prompt again: join me for Reading as a Generative Practice

“Magic Word” from Jennifer Richter’s Threshold (plus my reading notes).

On Sunday, May 31, from 2:00-4:30PM, I’ll be teaching an online course through The Writer’s Center on reading as a generative practice, and I invite you to join me.

“Love reading first,” writes Rita Dove, “& the poetry will find its place. Then write, & love the work of writing.” This has been very true in my writing life, and is even more true if I’m reading in a way that’s attentive to how the text in front of me might nudge me toward my own next poem.

This workshop explores the importance of reading for your writing practice, and the ways close reading of a poem can be a generative act. We’ll read poems by contemporary poets, discuss specific methods for finding entry points to our own poems through the work of others, and use one (or more) of the strategies to write something new. Once you’ve learned to read this way, you’ll never need another writing prompt!

It’s a class that’s appropriate for any poet at any level, and I’d love to “see” you there, or, on Zoom, rather. You can find details and registration information at this link.

worlds collide / pre-orders for If the House

When worlds collide on a bookshelf.

Last week was new student welcome week where I teach. During faculty introductions, I gave my usual spiel about having studied economics as an undergraduate, having pursued a Master’s degree in public policy, and having started my career in the policy world…. . But having always been a writer, too, … and eventually pursuing writing and writing instruction as my life’s work—then (SHAZAM!) finding my current job: teaching writing at a school of public policy. Worlds collide.

Years ago, when my kids were tiny and I was raising them while free-lancing and stealing (it felt like stealing, anyway) as much time as I could for reading and writing poetry, I’d read poet bios and despair. One was an attorney and a poet. Another a psychiatrist and a poet. Another a biologist and a poet. How? I wondered, How, how, how? Many days, I could barely get dinner on the table, let alone conduct a full professional life while publishing poetry collections every few years. I thought those poets had something I lacked—whether it was intelligence, talent, stamina, money for childcare, a supportive partner, or something else,… I didn’t know.

Ends up it was just time. And I don’t even mean time to write—I just mean the simple passage of time, one year following another; strands of a life weaving themselves together or—often seemingly in my case—diverging and lying fallow; then picked back up again and re-converging: First policy. Then poetry. Now both.

Could I have imagined this 22 years ago, fresh out of policy school, reading a poem late, before leaving my office of the one intense yellow lamp-spot and the darkening window, in the lassitude of a building faded to quiet long after rush-hour? No.

Could I have imagined this 14 years ago, pacing beside the stove warming milk, a crying child on my shoulder, a book in my hand, a toddler and a 4yo running through the house, and a poetry lesson for 5th graders to plan? No.

Could I have imagined it 5 years ago, in a room where too much had happened for me to bear, where the bedclothes lay in stagnant coils on the bed and the open valise spoke of flight but I could not leave yet? Also no.

[Shout out to Adrienne Rich for knowing.]

A year ago, when I moved into my new house after leaving my marriage, my mom and my aunt shelved my books (they did this first, before unpacking anything else, because they knew I would not be at ease until my books were in place, I think). Months later, I noticed that, on one shelf, a bunch of my policy-life books met up with several of my poetry anthologies. It wasn’t until that moment that I realized: I am one of those poets who has a professional life in one field and publishes poetry collections, too. It took me longer than the poets I’d once despaired over—I turned 47 two weeks ago; they were in their 20s when they published their first collections—but here I am.

At the welcome week luncheon, more than one student approached me and said how relieved they were to hear the story of my professional trajectory. They found comfort in hearing about the unexpected turns a life can take. I’ve always been comforted by such stories, too, and I’m a little shocked and a lot delighted to have one of my own to tell.

All this to say: Fall Term starts this week, and my debut poetry collection, If the House (University of Wisconsin Press), is available for pre-order here (it may also be available for pre-order at your favorite independent bookseller—worth asking).

For the record—and although when people ask me what kind of work I do, I say that I’m a poet and I teach writing—I am still very interested in public policy, public and corporate finance, Gary Becker‘s theories of the economics of family organization, the history and mathematical theories of risk and how it affects the market and human behavior, constitutional law, and innovation in the public sector. I love it when I can surprise my students by being able to discuss the economic concepts they’re writing about, or Keynes, or John Rawls’s veil of ignorance, or the Nash Equilibrium. And I love it when they think I’m saying “sin tax” but I’m saying “syntax,” and when I think they’re saying “syntax” but they’re saying “sin tax.”

I love it, too, when they’re telling me something about their studies or work or life and I can say, “Hey, I know a poem you should read about that!” (Stanley Plumly’s “Early Meadow Rue”—which I can’t find online—for commuter corridor policy; Lena Khalaf Tuffaha’s Water & Salt for Middle East policy; Jamaal May’s “There Are Birds Here” for those studying urban renewal in Detroit, to name a few).

Mostly I want to tell them, and everyone, and to remind myself, that sometimes we can’t imagine the good things that await, and we don’t have to. I want to say listen I love you joy is coming. These are Kim Addonizio’s words, and and there’s a poem you should read about that. Here it is:

 

 

 

 

Who, if I cried out, would hear me among the angels’ / hierarchies?

Who, if I cried out, would hear me among the angels’ / hierarchies?—this is the first line of the first of Rilke’s Duino Elegies in Stephen Mitchell’s translation.

I had read the Duino Elegies many times over the years, but I don’t think I really encountered these poems for the first time until five or six years ago. I was on vacation with my family on the Oregon coast, one of my favorite places in the world. I brought Mitchell’s Selected Rilke down to the beach with me day after day and read, and read, and read. And puzzled (please note my decidedly not-incisive marginalia: “seems important”). And studied. And read some more. To this day, there is sand in the spine of my copy of Rilke’s Selected.

Sand from the Oregon coast—it clings. That first line of the Elegies—it also clings.

And it has been especially on my mind for the last week or so, and so has the poem “I Find Myself Shelved Between Rich and Rilke” by Jennifer Richter. Can you imagine, Reader—finding yourself shelved between Rich and Rilke? I can’t. And for years, and after many—so many—manuscript rejections, I had a hard time imagining myself shelved between Anyone and Anyone. True story.

Luckily, I had friends and fellow writers who pledged themselves to imagining it for me when I couldn’t. We all need people who will imagine our dreams for us when we’ve lost energy / momentum / confidence / hope / imagination / presence of mind / what-have-you.

Nonetheless, over winter break I gave myself a stern talking-to. I said, You can’t keep throwing money down this rat hole. I said, You need to lower your sights, find a little press who will publish your work, and stop aiming so high. I said, You’re obviously more ambitious than your manuscripts are (Wow, that really sounds like Spiteful Gillian). And I meant it. My plan for 2019 was to stop submitting my manuscripts to contests and look for other, less ambitious options. Like maybe a ditto machine.

And now I’ve learned that, in fact, I will be shelved between Someone and Someone. I am stunned and grateful to have placed both of my manuscripts in separate contests this year. If the house, the second manuscript I wrote, was selected by Carl Phillips for the 2019 Brittingham Prize from University of Wisconsin Press and will be out in September of this year. Relic and the Plum, the first manuscript I wrote, was one of two winners of the 2019 Crab Orchard Open Competition selected by Allison Joseph, and is forthcoming from Southern Illinois University Press in September of 2020.

I think we all wonder sometimes who, if we cry out, will hear us. For years I sent my manuscripts out as if into the void. I know it’s easy for me to say now, but in poetry, and in life, I’m in favor of continuing to cry out until we’re heard.

 

 

 

The spider—why the spider?, or, a defense of recurring images

(art from Wikimedia)

A few days ago on Twitter, a poet tweeted about searching through her poems to make sure she hadn’t already used the image she wanted to use in a new poem. Another poet responded that she often does the same.

My response: I will fight you.

I mean: I haven’t slept since.

Well, okay, I have, but only restlessly.

Let it be said that these are poets whose work I admire deeply. And yet… And yet… My response: horror.

Horror, because what if Bonnard had only painted Marthe in the bath once?

What if Diebenkorn had worried about repeating himself, and only painted a handful of Ocean Parks, rather than painting 150 (correction: according to this source it was 145) Ocean Parks over the course of eighteen years?

What if Ruth Asawa had thought more than just a few of her sinuous and shapely wire sculptures would be repetitive?

What if Louise Bourgeois abandoned her obsession with spiders, which began appearing in her work in the 1940s, and which she was still using in her art early in the next century (i.e., this century)?

Reader, I would not want to live in that world.

Nor in a world without Charles Wright’s spiders. Nor without Ted Hughes’s crows, nor Larry Levis’s horses and wrens, nor Whitman’s body-as-land / land-as-body imagery, nor Emily Dickinson’s birds.

What if Mahmoud Darwish had stopped writing about his homeland, and Terrence Hayes had only written one American sonnet for his past and future assassin?

I mean—and now I’m getting really serious—what if Jack Gilbert had stopped writing about Gianna and Linda and Michiko and Pittsburgh for fear of being repetitive?

No thank you, my friends, no thank you.

There are images (and, I would add, subjects, and even colors, and probably other things, too) that belong to certain poets. They use, and reuse, and use again these images across and throughout the body of their work. Why? Because obsessions fuel art. Because images do more than simply describe or represent something in a novel way—they also haul up to the surface a particular emotional resonance. An image is a portal into a poet’s mind and interior world, and hopefully, into our own as well. And troubling a particular image over time, over time, over time, and more time—this is one of the things I love about reading and writing poetry.

Look: now Wright’s spider is “recit[ing] his one sin.” Now he’s “still there, invisible, short of breath, mending his net.”

Now Marthe is in the tub, practically Ophelia. Now she’s in the tub again. Now she’s—you guessed it—in the tub again. (I could go on).

So, no, we don’t want to close ourselves off to using new images. And we don’t want to read or write an image in the exact same wording and in the exact same situation every time across a body of work (although now that I think of it, I may not be entirely opposed to that either—I mean: think of the guts that would take). We don’t want to be lazy or unthinking. But yes, please, for all time to the obsessive return of a writer or artist to his/her/their foundational  images.

Especially because the best images, returned to, reveal more of themselves to us each time we read or write.

Especially because we change and (we hope) grow and (we hope) become more capacious and complex beings—so that a spider to us in 1987 will be very different to us than a spider in 2021.

Even the same spider.

Here are some of the images I return and return to in my own writing: the roof, the fence, the rib, the stone. The birches. The hillside and its forever-willow. The ditch, the meadow, the snow. The wood thrush; the indigo bunting, it’s song about fire. The dune. The doorway and the window. Abandoning them would be like giving up my own, well, rib.

Here is Bourgeois: “The spider—why the spider? Because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and as useful as a spider.”

Why the rib? Because mine aches in times of grief or sorrow. Why the ditch, the hillside (which is also where the meadow was, ftr) and her willow? They were my best friends—places to see from without being seen. Good for watching storms blow in. Dappled, quiet, buggy, blown. Useful as a ditch / hillside / willow.

end-of-semester report

This is my favorite—as a Jane Austen character would say—prospect in my new house.

It’s part way down the stairs. This is and is not a metaphor.

The photos on the wall to the left are of my kiddos, at the First House, standing at the screen door, looking out. This is and is not a metaphor. These photos have adorned every entryway of every house since then (and if you’re just joining us, there have been many, too many).

The green light was my housewarming gift to myself. I call her Minerva and we have a quick conversation every morning when I go downstairs at 5AM to make my tea: Good morning. Good morning. Another day, another 70 cents on a man’s dollar. Yep. Let’s smash the Patriarchy. Yep.

Beyond that, the warmth of the living room, and my beloved books and bookshelves.

I am grateful for this view, for this house which I purchased ambivalently but with the intention of giving my kids a home for their last few years at home, for the relative peace it holds for me after some very difficult years. I am grateful for my kids and my books, for this lovely green light that makes magic when illuminated:

I’m grateful to be a poet and a writer, (though, lately, I have felt a long way off from poetry); for whatever kind attention my work has received in the world; mostly, for the quiet mornings at my desk, in lamplight, with the words of others:

______…something

is running across the field,
______can you see it coming
through the yellow grass, can you see it coming
______from the windowpane,
are you closing the shutters, do you think it’s rain? (—Dana Levin)

I’m grateful for the work I do at The Rumpus, for our reviewers and my fellow editors there (which reminds me: here you can read about staff favorites from 2018). I’m grateful for my kitty; wouldn’t you be?:

This year, I’m especially grateful for a teaching job I love, and for my colleagues, and my students, who, at this point in the semester, are stressed out and exhausted and coming to office hours with their final papers. Like them, I am going in early, skipping lunch, staying late (Unlike them, because I am older and wiser and, let’s face it, a mom, I am reminding everyone to eat and sleep; I am giving out chocolate and throat drops and Excedrin. I am saying, There’s a time to be perfect, and a time to be done.).

I never get through finals week without these words thrumming through me: In the evening we shall be examined on love. They are the words of St. John of the Cross, and the title of a poem by Thomas Centolella:

Life is hard, even easy lives. This semester, I have lived every day in the “blue of no more daily evasions.” It is not a gentle blue. I often feel like the student who doesn’t even recall signing up for the course who now must take her orals (See: single mother of three teenagers). And like the teacher wracking her brain to find “what unknown quantity / will balance the equation.”

I don’t know, and may never, but I hope it’s the small, heartfelt acts that balance things out after all: Waking early to read and (try to) write even just one word in my notebook. Making the kids a hot breakfast, packing their lunches, because I can, and here they are, hungry. Going in early, skipping lunch, staying late. Cherishing my family and friends. Calling my elected officials again. Writing about books I loved and learned from. Living my small, wingéd, provisional truths; saying them out loud regardless of whether anyone’s listening; abandoning them when they show themselves to have been faulty after all.

I guess this is not your typical end-of-semester report. I meant to come here and say: here’s where you can find a few of my recent poems; here’s a review I wrote; I still haven’t published a book.

Instead it’s this: I’m grateful, my grades are in, my kids are well-fed, I have a gorgeous new red lipstick, I’ve kept my house reasonably clean. This semester, I tried; let’s all keep trying; in the evening we shall be examined on love.

friday roundup (sort of) with a body and a rough net

fishing nets (wikimedia)

Hello, reader, it’s been a while.

Summer has come and gone, the kids are in school, and—now that I’ve finished my MFA—some days I have time to do nothing for a while.

A short while.

The other day, I put up corn and tomatoes with my aunt. We blanched them, then cooled them in a cold water bath, cleaned (corn) and diced (tomatoes), then put them in containers for freezing. It reminded me of the importance of sometimes doing things that allow me to be just in my body, to take a break from what’s caught in the rough net of my mind.

I love the phrase “cold water bath.”

Most days I’m busy reading, writing, editing book reviews for The Rumpus, sending out poems and manuscripts of poems, looking for work, taking people to the orthodontist, making dinner, dropping off and picking up from ballet, etc.

I’ve been writing only small things. A list of words, a phrase, a grammatical construction: “The (n.) is what the (n.) (v.).” “Where (n.) (v.) you can find a way to (v.).” “I say (x) so as not to say (y).”

I’ve been casting about for something to read that will (get ready to laugh with me) Finally Make Sense of Everything Once and For All, that will (as I think of it) save me: a book of poems, just one poem, a couplet, a line, one word, rafter, loiter, femur, blanch.

Did you know the technical term for a joint (the kind in our bodies) is articulation? We say that one bone “articulates” with another where they join. Did you know that, amongst other things, articulate means “to divide into distinct parts”? Isn’t it odd that we use a word that means “to divide” to indicate a joining? From the Latin articulare, “to separate into joints,” from articulus, “a part, a member, a joint,” also, “a knuckle, the article in grammar.” A knuckle(!). Did you know that, amongst the many architectural (as opposed to corporeal) joints, there is one called birdsmouth. BIRDSMOUTH(!!!).

[This, by the way, is how one word can Finally Make Sense of Everything Once and For All, can save someone, at least for a while. A short while.].

I’ve been listening to the Commonplace Podcast while folding laundry, chopping onions, sewing ribbons on pointe shoes, ripping out ribbons from pointe shoes because they need to be repositioned, sewing ribbons on pointe shoes again (true story). If you’ve never listened, I recommend it enthusiastically. Rachel Zucker has interviewed poets (and some other people) and recorded their conversations. There are many gems for poetry, the writing life, and for all of life, really, in these interviews, and I’m grateful for the way they catch in my mind’s net and pass the time while I am in my body, folding, chopping, sewing on, ripping out, and sewing on again.

I’ve been reading women poets along with other poets and readers of poetry on Twitter. If you’re looking for books by women poets, search the hashtag #SeptWomenPoets and you will find treasure. This project is the brainchild of Shara Lessley. It’s been fun to read and tweet along.

Here’s a poem from one of the books I’ve read this month, which also happens to be by someone from my old writing group (during my California days): Even Years by Christine Gosnay (Kent State University Press, 2017). There is a particular joy in reading the poems of a friend and colleague, poems that you read when they were just born and solitary things, poems that you’ve watched grow up and begin to join together in constellations of theme and thought, poems that are now bound in a book.

*

AKADEMOS by Christine Gosnay

I give my daughter the name Hypatia, tell her
the monks pulled Hypatia through the streets
and sewed her back together. I give my daughter

an astrolabe and tell her ships baste slit-
seams in the ocean to snag falling bodies.

Earlier, white stones fell from my hands
and landed on the road
until I could not see one stone.

I give my daughter a body and a rough net,
tell her to straighten her back and be ready
to weave the welkin sphere that bleeds

skeleton-blue and gray. I give my daughter
eyes and a sky.
I give my daughter a long, bright day.

My daughter carries a harpoon. She drifts
the sea with her barb the size of a needle.

Sea full of bodies, she sings, stalling. Then bends
her back, out she climbs. Oyster shells
bunched in her net.

*

Happy weekend, thanks for reading.

And so does my life tremble, or, the poem I can’t stop reading

Paul Klee, “Signs in the Sky,” wikimedia

I had not known the poems of Denis Johnson before he died last week. This is the fate of the mostly-self-taught: holes in the tapestry. The Internet came to my rescue when someone posted this poem, and I fell hard. Bought his books. Am amazed.

Here is the poem I can’t stop reading this week:

*

NOW by Denis Johnson

Whatever the foghorns are
the voices of feels terrible
tonight, just terrible, and here
by the window that looks out
on the waters but is blind, I
have been sleeping,
but I am awake now.
In the night I watch
how the little lights
of boats come out
to us and are lost again
in the fog wallowing on the sea:
it is as if in that absence not many
but a single light gestures
and diminishes like meaning
through speech, negligently
adance to the calling
of the foghorns like the one
note they lend from voice
to voice. And so does my life tremble,
and when I turn from the window
and from the sea’s grief, the room
fills with a dark
lushness and foliage nobody
will ever be plucked from,
and the feelings I have
must never be given speech.
Darkness, my name is Denis Johnson,
and I am almost ready to
confess it is not some awful
misunderstanding that has carried
me here, my arms full of the ghosts
of flowers, to kneel at your feet;
almost ready to see
how at each turning I chose
this way, this place and this verging
of the ocean on earth with the horns claiming
I can keep on if only I step
where I cannot breathe. My coat
is leprosy and my dagger
is a lie; must I
shed them? Do I have
to end my life in order
to begin? Music, you are light.
Agony, you are only what tips
me from moment to moment, light
to light and word to word,
and I am here at the waters
because in this space between spaces
where nothing speaks,
I am what it says.

*

I rest my case.

(From his collection The Incognito Lounge).

friday with another screen door and balance juggle

photo credit: wikimedia

The screen doors pursue me.

I went 44 years without reading a screen door poem, and here in the last two weeks I’ve come across two that will fold into the Important Poems file of my mind.

*

But first a word on balance. Earlier this week, I shared a Gwendolyn Brooks quote about “poeting” (her word) being just one element of a lived, human life.

I went on to say: Yes, but. Yes, but creative people must sometimes say no in order to make their art. I said: It’s all in the balance, I suppose.

A reader wrote asking if I think the balance is really possible. My answer is no. I used the wrong word. I’ve never balanced my life, I’ve only juggled the various elements of it. So, if the balance (whatever that is) seems to you impossible to achieve, you’re not alone. Also, the non-art-making world may wish for us to balance rather than juggle. The non-art-making world may not understand why simply parceling out a certain number of hours per week for our creative work, for example, does not work for the art-makers. [*Returning now to say: Yes, but. Yes, but setting aside regular time is also important]. That the art-makers must respond to the art when it’s ripe for making. Or sometimes, let’s be honest, when the deadline approaches.

Making art is Other. Let us juggle avidly.

*

Bachelard:

Shall we repeat with the logicians that a door must be open or closed?

*

Here’s a little ars poetica from Franz Wright that makes use of the screen door’s liminal equivocality:

BEFORE THE STORM

The poem seeks not
to depict a place
but to become one—

synonymous
_____________summer
and loneliness…

Mute child-ghost
of yourself
at the screen door.

*

The poet Kaveh Akbar recently organized a tribute to Franz Wright to coincide with the first anniversary of Wright’s death. It’s here and in the latest issue of Pleiades if you’re interested.

*

Also Bachelard:

But is he who opens a door and he who closes it the same being?

“human being being human”

This POETRY tribute issue (June) devoted to Gwendolyn Brooks is fantastic—poems of homage, notes and photos from her archives, essays on her work and her life and their bearing on our poetry and our times.

One of my favorite bits is the following quote “written on a slip of paper in her archives”:

Who “does life” as a “poet”? One lives as a human being. In that activity, life “as a poet” is included, I guess, along with life as a black-eye pea boiler, life as a baby-maker, life as a lecturer, life as a Listener, life as a typist-for-five-lawyers. I never gave up love, lunch, book-reading, movies, restaurant-romping, strolling, friend-visiting, for “life-as-a-poet”-ing. Poeting has been, always, part of this life, my life as a warm-hearted resilient, open eyed human being being human. —Gwendolyn Brooks

This  may hold a little something back—creative people must sometimes say no to things in order to have time, space, and solitude to make their art. But the idea of art as one element of a very human life seems just right to me. The trick is in the balance, I suppose.

Also not to missed in this issue: Patricia Smith’s poem, “A Street in Lawndale.” Its third section begins,

Murders will not let you forget.
You remember the children you had—suddenly quarry, target—
the daughters with gunfire smoldering circles in their napped hair,
the absent sons whose screams still ride the air.

—Patricia Smith, from “A Street in Lawndale”

Here’s the POETRY Magazine website if you want to get your hands on this issue.