Monday, January 24, 2011

Ruth Here

Not to beat a dead horse--you've seen this before because I workshopped it in October and I didn't get one piece of advice.  But they did say it was good.  I shared it with my poetry group Wednesday and then I got advice.  So I'm trying to clean this up to submit to "Lyrical Iowa" in February.  I'm posting a version that has a lot of things in parenthesis, italicized, words or phrases I may cut.  (Or in one case, alternatives about food for dinner.)   I'd like your opinion about cutting these and other changes I might make.  One suggestion I got is I should start the romantic encounter between husband and wife earlier in the poem--but I kind of like it this way.  Advice?


Remnants of Summer

The end of August is tinder dry. Your steps raise clouds
of golden dust that follow you to the house, hiding
your shadow. On the porch, sun-faded towels
are laid out, and kid's sandals are matched in pairs
of half-hearts, good luck charms for our marriage.

Inside, I watch from the window.  The oak table
is scattered with lined paper and yellow pencils.
I clear them for summer's final supper, fish and rice. (beef and bread, mash, chicken, grain, roots)
Children vanish to grieve the start of school, 
though sparks of excitement crackle in the air.

High pitched voices dissolve, and in the silence,
the day has melted to dusk. We carry glasses
of wine (out) to the thinning pale grass,
(to greet the last full moon before harvest,)
to breathe in the blue haze of Russian sage,
and we are alone, together.

The moon drops (lustrous) pearls in our blushing wine.
Insect wings stitch seams (of shelter)
in the descending fabric of fall. The force
of the evening pulls us toward each other.         
Your blood stirs, my breath catches.

Another version:

The end of August is tinder dry. His steps raise clouds
of golden dust that follow him to the house, hiding
his shadow. On the porch, sun-faded towels
are laid out, and kid's sandals are matched in pairs
of half-hearts, good luck charms for our marriage.

Inside, I watch from the window.  The oak table
is scattered with lined paper and yellow pencils.
I clear them for summer's final garden harvest.
Children vanish to grieve the start of school, 
though sparks of excitement crackle in the air.

High pitched voices dissolve, and in the silence,
the day has melted to dusk. We carry glasses
of wine out to the thinning pale grass,
to breathe in the blue haze of Russian sage,
and we are alone, together.

The moon casts (drops, reflects) pearls in our blushing wine.
Insect wings stitch seams of shelter
in the descending fabric of night. The force
of the evening pulls us toward each other.         
Your blood stirs, my breath catches.
 ......................................................................................................
 I changed "you" to "him."  I took out the specific kind of food; I'm not sure about that.  And made some other word changes...
 

4 comments:

  1. Ruth,
    First of all, I still really love this poem. Its never beating a dead horse to repost poems also. Whatever you want us to see is what you should put up. Ok, now to your questions. I really like the second poem and how you used the "he" instead of "you". It give us more information right away (we know the gender of the main character) and it avoids any assumption of direct address. I like "summers final garden harvest" better than mention of specific foods, only because it adds to the beautiful end of season imagery you set up here. It seems less mundane than the mention of specific items, like fish and rice. Personally, I like the "moon drops pearls" without the lustrous (which is a lot of syllables for that line). I like drops better than casts or reflects, because it is a more unusual action for the moon to do, if that makes sense. The moon casts (something usually light is cliche wording)."To meet the full moon before harvest" seems to conjure up that harvest moon, an over-used marker of the coming of fall also. "Insect wings stitch seams"--again what a marvelous image. I don't understand the "of shelter" part. What was the impetus behind that addition. It may be trying to add to the calm and safety these characters feel in their surroundings, but I think that is established without having to explicitly state "of shelter." If it were me, I would leave it off.

    The things that you marked that you were unsure of show that you have a good sense for what isn't quite right yet in the poem. The strengths here are many, and this feels mostly complete to me. Its formed and the feeling is there and authentic. Are the children in the poem, the families children, or children in the neighbor hood. This is the one place where the wording almost makes for a darker poem than the rest of the piece. They are "vanishing to grieve." I don't know if that is literal or if they are just going into neighboring houses, or into other rooms in this house. The line "though sparks of excitement crackle in the air" is compelling, and I took it literally, that there were sparks people could see. Can people in this poem actually see them? What if the children were interacting with these sparks somehow? I really like the idea that the end of summer is marked by sulking kids who don't want to go to school, but who might be excited by it anyway and somehow changing the atmosphere with that excitement. The stitching bugs and pearls in the wine are also very magical and make this poem really lovely and beautiful and fun. Thanks for sharing it again.

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  2. Ruth, I think I gave you my feedback on this last Tuesday.It is really a beautiful poem and must have great meaning to you to keep working on it as you have. Debbie

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  3. Me again, About the romantic encounter-having been a parent, I know that doesn't happen until the children are put to bed so I like how you have done it. Debbie

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  4. Debbie, the reason I'm working so hard on this is that I am going to submit it to Lyrical Iowa, the yearly Iowa Poetry Association publication. I think I mentioned this, but probably not on this blog yet. I'm also planning to submit four others which I'm not working on now--because everyone says to submit five.

    The deadline is the end of this month, so I'm submitting old poems that I'm trying to clean up. There is a limit of 20 lines per poem, so I have only chosen un-submitted short poems. These really aren't my best... but I thought I'd try to make the Remnants one as good as I can.

    I'm getting into a "too many cooks" situation with it though, and so have several versions depending upon various opinions. I will post two of them on here again.

    If you are interested, you can look up IPA online and get info about them.

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