3 / Poems
Nine Mile Magazine both solicits work and accepts submissions. The poems here were accepted by the editors before Bob Herz passed away. The next reading period will commence in the new year. Submissions should be sent to Nine Mile through Submittable.
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— Steve Kuusisto and Andrea Scarpino
Susan Aizenberg
Ode
He-who-came-forth was
it turned out
a man —
— Denise Levertov
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In those days we hardly saw you.
Pressed to talk you frowned, suffered
our need in silence; but left alone,
you’d share sometimes a new taste
for Beowulf or quote Einstein’s views
on war. Everything about you
seemed newly born: your widening
shoulders, muscles sculpting your
once round arms, the deepening voice
I sometimes mistook for your father’s,
all traces of childhood hardening
into those unmistakably male angles
and planes I have loved all my life.
We watched as you drove down
a basketball court, leather ball sure
as gravity beneath one hand,
the tall opposing guards gone
heavy-footed, you a jerseyed flash
between them, threading the key
for a sly reverse lay-up. We watched
as you lifted your first shovel
of earth into a new grave, your aunt
gone too young. I don’t want ever to die,
you said, and we had no answer.
At seventeen you filled the house
with the echoes of your moving
on: slammed doors and long absences,
the insistent thrum of heavy metal
pulsing from the basement.
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This Morning My Friend Writes
to say the birds love her. And why not,
she says, I keep the feeders full.
The world is ugly. And the people are sad, I reply.
We know Stevens means to be ironic,
but I’m listening to the radio,
a BBC reporter recalling how, as the Taliban
rolled into Kabul, he’d watched as hundreds
clung to and fell from the enormous wheels
and nose of a US transport, as it inched
across the tarmac. And because she keeps
no chickens, my friend continues,
she can welcome the fox, a vixen, she thinks,
who comes to her daily, a ruddy shadow,
white brushstroke of belly, darting in and out
of the tall maples bordering her wildflower-
strewn meadow —
(the fox, I think, is not a metaphor, the plane
is not a symbol) —
She says the birds love her, and why not?
I keep the feeders full — Tiny bright aerialists,
the hummingbirds tread the air beside her deck,
songbirds chorus at her windows. She leaves,
she tells me, oranges each day for the orioles — no
sooner do I put one out than they begin to work it.
You’re Snow White, I say, trying to be funny —
(the birds are not a metaphor) —
But the bear, she says, is another story —
lately, she writes, he appears as the upended lid
of the barrel where she stores her birdseed
in the garage. As a five-fingered paw print
ashy on the backdoor screen. On the radio,
an Afghan writer’s voice like a cracked recording
as he reports on town square hangings, on hands
sliced off, girls sent home from school,
their mothers from work. In the photo my friend’s
attached, the bear’s head, a grainy shadow —
(immense behind the screen door,
a child’s night terror) —
Susan Aizenberg's newest collection, A Walk with Frank O'Hara and Other Poems, is forthcoming in University of New Mexico Press’s Mary Burritt Christiansen Poetry Series (fall 2024). She’s also the author of Quiet City (BkMk 2015) and Muse (SIUP 2002) and co-editor, with Erin Belieu, of The Extraordinary Tide: New Poetry by American Women (Columbia UP 2001). Recent poems appear or are forthcoming in Plume, SWWIM, On the Seawall, and elsewhere.
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About the Poems: “Ode” and “This Morning My Friend Writes” are both from my forthcoming collection, A Walk with Frank O’Hara and Other Poems (UNMP/Mary Burritt Christiansen Poetry Series, Fall 2024) and like most of my work, combine memory and imagination in much the same way I imagine most fiction does. I confess to a kind of amnesia when it comes to the actual writing, but my focus when composing is always on language, rather than content—at least consciously—my allegiance to the poem as a made thing, rather than to whatever may have sparked it.
Michael Waters
Table on the Edge of the World
Those days I would catch the ferry to Santorini
Just to sit at the table at Franco’s, the table
Closest to the edge of the cliff. Barely
Big enough to hold an ashtray & glass,
Tiled & tilted & square,
It perched above the sea like a prow.
If I looked straight ahead, not at the caldera
Biding time below, I’d see
Nothing but air merging with the Aegean,
The horizon invisible, water & sky
Swirled into a primal blue boutique cocktail.
Behind me the world unfurled its cloak
As I leaned forward, unzipping the ether,
The velocity of vision speeding me
Away from the languor of my body.
Soon enough I lowered my gaze.
Donkeys hauled luggage up from the harbor,
Flies befouling their rheumy eyes.
That afternoon I read again the tattered volume
Of Cavafy, then slid it onto the shelf
Chalked Take One Leave One
And thumbed a book with a shattered spine,
The Confessions of Zeno by Italo Svevo, which
I rucksacked back by evening ferry
To the stone cottage & my wife’s company.
Kerosene lamp. Well water.
I wondered how long we might live so simply.
I loved the novel for its quirky humor,
For its narrator’s conflicted conscience
Which in its vanity mirrored my own.
Those days of the 80s have receded
Like wheel ruts below the silted seabed,
Stone roads leading nowhere
Once the volcano blackened pagan skies.
Wherever we live, some part of us dies.
Not long ago I returned to Franco’s,
The bar familiar yet not the same,
As I was not the same though once again
Reading Svevo, whose book I’d tossed
Into my backpack before leaving home.
At the whim of gods
Untroubled by conscience, I finished the novel
There at that table on the edge of the world
Before returning it, damaged but intact,
To its exact spot on the shelf, itself
Imperishable down the decades,
Like the sky, the sea, the intoxicant air.
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Author Photo
I notice first the hands: the elegant watch,
Its buttery band caressing a wrist,
The rings a glitz of fireworks—
Turquoise oval, opal circle,
Crescent of onyx.
I squint to read the titles of books
Buckling background shelves:
The fat horizontal biographies,
The slender vertical poetries.
Then the hair, upswept, brushed back,
Aura’d with sunlight
Flooding the unseen window
Where oaks must confer above eaves,
Their red leaves alive in wind.
I can almost see eggs in nests,
Webs of bagworms,
The ghostly gestures of the branches:
Forebears funneling down
The cellular debris of centuries,
Bearing histories of couplings
Until the flesh of ten thousand families
Assumes singular shape in the face.
I stare at the fixed lips, unapologetic
Nose, square chin & askew
Cheekbones, at amber eyes
Lanterned by the mind
Which composed lines
Only this poet could have written,
Then turn the book to flip it open,
Hungry for cadence, already smitten.
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Countdown
It’s not the tunes, though as I grow older
Oldies are what I growl & yammer,
Now to myself, though years ago
I crooned those relics to my daughter
In our woozy, casual
Bedtime ritual. In the Still of the Night.
Earth Angel.
It’s not the stories,
Though several seem original,
Perfectly formed fictions
In three-minute articulations.
It’s not their endless repetitions,
Or nonsense syllables sung
With the thrill of giving over
To Pentecostal tongues or
The fervor of sexual rapture,
Nor their poor grammar,
Lopped-off gs & unsaintly ain’ts,
Not even their wildly
Misbegotten similes:
You keep my heart jumpin’ like a kangaroo
Floatin’ like an onion in a bowl of stew.
It’s their unselfconsciousness:
Isn’t this how we’ve longed to speak
Our affections — in artless couplets
Flung from lips, with ardor
Spun from top forty hits
Whose rimshot beats still pulse our hearts?
Twilight Time. There’s a Moon Out Tonight.
I wail oldies as the countdown starts.
Michael Waters’ recent books of poetry include Sinnerman (Etruscan Press, 2023), Caw (BOA Editions, 2020), and The Dean of Discipline (University of Pittsburgh Press, 2018). Darling Vulgarity (BOA Editions, 2006) was a finalist for the Los Angeles Times Book Prize, and Parthenopi: New & Selected Poems (BOA Editions, 2001) was a finalist for the Paterson Poetry Prize. His coedited anthologies include Border Lines: Poems of Migration (Knopf, 2020), Reel Verse: Poems About the Movies (Knopf, 2019), Contemporary American Poetry (Houghton Mifflin, 2006), and Perfect in Their Art: Poems on Boxing from Homer to Ali (Southern Illinois University Press, 2003). His poems have appeared in numerous journals, including Poetry, American Poetry Review, Paris Review, Yale Review, Kenyon Review, Georgia Review, and Gettysburg Review. A 2017 Guggenheim Fellow, recipient of five Pushcart Prizes & fellowships from the National Endowment for the Arts, Fulbright Foundation, Maryland State Arts Council, & NJ State Council on the Arts, Michael Waters lives without a cell phone in Ocean, NJ.
About the Poems: My poems are always "hungry for cadence," written line by line, searching for sensual, musical phrasings to convey our helpless affections. Their influences include not only poems by John Logan, Isabella Gardner, and Gwendolyn Brooks, for example, poets who wrote by ear, as I like to think, but the hit records heard on transistor radios in the early '60s, with their insistent rhymes and emotional resonances. During the '80s I spent time in Greece, a few months each year, in a stone cottage on Ios, and the "pagan skies" of the Cyclades remain lodged within me, "imperishable down the decades."
Cynthia Hogue
The Reason of Age
& bryophytes rested on the soil //
as the soul might rest on the what ifs —
— Brenda Hillman, “In a Few Minutes Before Later”
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1
The soul’s tithe for the mind’s lucidity
is caring about what’s said and done.
Nothing focuses thought so well as words
activating neurons to prod conscience.
Once, if confronted, you’d dance away
in trills over the surface rhetoric glossed.
However stable words seemed, they moved
and you were moved by them, to follow
2
or forget. Bewildered. Carefree.
Now’s no time to settle for anything less
than a quest, like the pilgrim
you’d imagined becoming. You seek
old souls leaving the city. Ask them:
Is age compatible with science? What if
you can’t understand what they say?
What if you don’t know what to do?
3
In the night sky, one star visible. Below,
floodlights for the performance.
You are safe from all cares
as you listen on a summer’s lawn,
sound calming mind,
the body at last at rest,
and before you, the monks
in their robes on the stage.
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On the Path, Flowering
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Rare though
no anomaly in the high desert.
No "out-of-placeness" I could transplant
with loam on the land or malodorous scent
warning of natural danger.
In the end I learn that the gift,
the toxic blue flowers of sacred datura,
so delicious to the immune pollinators —
the sphinx-moth, hummingbird and bee —
is for us deliriant, inspirant
to open to
a “deeper
impenetrability of spirit,”
its fragile boon.
Note: Phrases in quotations are from Martha Nussbaum's characterization of Sophocles, as referenced in Nikhil Krishnan's essay on Wittgenstein in The New Yorker, May 16, 2022.
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From Ultima Thule
1
Once a forest grew near the glacier.
After weather shifted over time, cold came.
The harvested trees couldn't re-seed.
Saplings withered, frozen. Lichen,
moss grew well on stones in rivers,
which, with the forests cleared, wavered
like dreams in the light from a mist of sun.
We learned to love all things barren
and bare, as you might surmise,
the surprise of what survived,
what crept off, curled up, dried.
We thought of the change at first
as a grave, so many had died.
We braced ourselves to wait.
2
Some were trapped far below
in tunnels of ice
where they languished.
We knew this,
who escaped above ground
breathing the privilege of cold air.
We'd thought to climb to safety,
but without trees we were targets,
huddling on the white tundra
of a devastation where forests
ghosted horizon.
3
We opened a box filled with the ashes
of dreams we thought we'd lost.
Ashes cannot be
like a phoenix
arisen from, nor dreams —
often forgotten — be resurrected
for they’d never lived.
Has anyone ever held hands in a dream
or felt them, stuck deep
in morning's pockets?
4
As if we inhabited a module
made of the stories of ghosts,
we planned our rendezvous with the elements,
the ones we could trust,
the tenderness of wind and our reverence
for water's fate, a tremor of vapor
become the abstract question of rain.
We sought answers beneath trees
fresh in their terrible absence, a certainty
rubbing doubt raw.
5
We wake disordered,
disoriented, gaze bearing down
on the single pebble, the one blade
before us as if the whole field
were rolled into words,
a landscape freed from sensation,
wrapped in its winding sheet
of ice, curtained off from breath,
the sense of days being endlessly ample.
Did I put that right?
Do you understand that we're not deprived of air's surfeit
but consumed by it, like trees
which in burning shed their seeds.
Cynthia Hogue’s new poetry collection is instead, it is dark (Red Hen Press, 2023). Her ekphrastic Covid chapbook is entitled Contain (Tram Editions 2022), and her new collaborative translation from the French of Nicole Brossard is Distantly (Omnidawn 2022). She served as Guest Editor for Poem-a-Day for September (2022), sponsored by the Academy of American Poets. Hogue was the inaugural Maxine and Jonathan Marshall Chair in Modern and Contemporary Poetry at Arizona State University. She lives in Tucson.
About the Poems: All these poems are in some loose sense part of a broader “pilgrimage” mindset, the poet as seeker, but also the poet prodding conscience into vision. “The Reason of Age” was commissioned by the University of Arizona’s Poetry Center, that I write a poem about aging and science. I am learning about the former, but knew little of the latter. I think of it both as quest and performance. I could say that I was performing a particular knowledge of the science of aging (although I was not). The final series is excerpted from a dystopian serial poem. The landscape is the Iceland I knew 35 years ago when I lived there, but the consciousness is very much an awareness of what Ukrainian – and now Gazan – civilians are going through. Everyone needs a “deeper impenetrability of spirit” to survive psychically. It haunts me.
Christopher Buckley
Long Time Ago Tomorrow
The important thing to remember is
that I’m probably going to forget . . .
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Now when I say, “just the other day,”
it might mean
last week, or 20 years ago . . .
After a month of abstinence,
I sit down with a glass of wine and
hardly a minute passes
before I’m just happy
to be here,
among bare liquidambars,
feeling some small satisfaction
to have not lost all my hair,
forgetting the time-lapse relation
of high-tech gizmos
and my hapless heart,
those bits keeping me vertical
on the planet.
What were the odds I’d last this long?
I raise my glass to
clinical researches, cardiological wizards,
titanium miners everywhere,
and of course the makers of
fine pinot noir!
I float back to days when ligaments and bones,
(not to say synapses) were limber,
well-oiled and working
like nobody’s business
as I raced around the schoolyard
or sat in my desk raising
an exuberant hand to proclaim
the invisible
“You understood” as subject for the blank
in the diagram on the chalkboard.
Not long thereafter,
working 2 jobs at once,
50 still looked like a land far beyond
the sea
until one day I washed up on that defeated shore . . .
which was, by most accounts, middle-age?
* * *
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These days, no one tells me
I’m an “old soul” as we used to say
in the ‘60s to ingratiate ourselves, to sound mystical and hip.
But if someone did,
they wouldn’t be far off
the mark now —
no reincarnation or mysterious agencies required.
Any secrets
back there linger in a boy’s sea-grey uniform shirt,
and each time
I catch myself daydreaming
I find I have less to bring to the table
insofar as hope obtains, given the sea water
in my veins, and
the dead making their way back in dreams—
my compadre reading
from pages yellowed as the moon,
not so much warning or advice
in his voice
as an old-world relic of affection,
insofar as anyone
can hold on to any part of that
wrestling the spindrift of time . . .
in which I never find myself
in a white dinner jacket
meeting Ilsa Lund in the shadows
of the casino
after counting up the take . . .
though I do recall a world of
black & white, an orchestra playing “Perfidia”
in the dancefloor
flashback to Paris
before I drift to an afternoon in fall
at a table in my pal’s back yard,
or a small café on Olive Street
with coffee . . .
I drop a cube of sugar into each of our cups,
a small cloud of cream
where memory might hold when I wake,
an emblem, road sign, some refuge
to ascribe meaning to
this side of the sky—
though now, sitting in the dusk,
it comes
to little more than light dissolving in a scrum of clouds,
sauntering off to who-knows-where . . .
a last drift of affection,
as I think I said . . . .
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At the Bus Station in Fresno
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Deep into fall,
and I’ve done little
more than sit here
all morning among
the wet leaves
plastered on the sidewalk,
some smoke going up
in the west.
An hour ago,
someone I almost recognized,
stepped out of the gray
air and into a taxi headed
up to the Tower District,
and left me thinking
of my compadre
of youth and middle age,
gone 5 years now
from these streets, and
who, despite the fierce
mercies of his poems,
has not returned
in the burnished
October light
spiking through dreams
and the Chinese elms
of East Brown.
No up-dates or information
is available beyond
the rust of civic lawns,
the dying radiance
of roses—a line of clouds
drifting by without one clause
in the conditional tense
that has me thinking
of the afterlife for a while,
but seeing nothing
that even approximates
a basket of sweet by-and-bys
left by the cat’s dish
on the porch . . .
Nothing for it
but to be grateful
for 40-some years,
for bus fare and
a paper cup of tea
in my hands,
the time to waste
sitting here with the dust
on Tulare Street
where bus drivers
are as taken with
an ice-white, midday
moon as mystics—
both staring out to
the same end . . .
Pushing and lifting,
hand-over-hand
all those years,
I’m at a loss
to say what’s left
to do, where
I’m headed now?
Houses I knew
are empty as fields
in Firebaugh, Fowler,
or Madera, and
I almost feel I know
these workers,
these pobrecitos who,
though not nearly my age
are not all that young,
who are also waiting
quietly with a suitcase
or sun-rotted gym bag,
one with a sandwich
in a paper sack —
its grease stain the only spot
of hope for miles . . . .
Christopher Buckley has recently edited The Long Embrace: Contemporary Poets on the Long Poems of Philip Levine, Lynx House Press, and NAMING THE LOST: THE FRESNO POETS—Interviews & Essays, Stephen F. Austin State Univ. Press, 2021. His work was selected for Best American Poetry 2021 and his most recent book of poetry is One Sky to the Next, winner of the Longleaf Press Book Prize, 2023.
About the Poems: This one, “Long Time Ago Tomorrow,” got going with a phrase I heard, intended for some “senior” humor, re “just the other day” relating to recently or long ago. That resonated for me in a more serious way of course as everything has gone by so quickly, and I go back to childhood often now trying to make sense of what I didn’t know but had some vague notion of. Tying a lot then from “just the other day” images and events together here, some of my favorite bits from Casablanca, and going back to my days in Fresno and my best poet pal there Jon Veinberg who we lost way too soon. So that movement through time, the little dust of remembrance and meaning I can glean from it.
Thank you for reading Nine Mile Magazine.