March 2016 Poetry Challenge
Flower Still Life
by Ambrosius
Bosschaert the Elder
at the J. Paul Getty Museum
Poet
Jamie Ross lives in a cabin on a mesa west of Taos half the year, looking over
some ranch land. When the season of ice and snow arrives, he heads south, to
central Mexico. A significant portion of his poems are set against one of these
two backdrops, though he has also lived Iran and Italy, and participated in National Geographic's first Yukon expedition..
Still Life.
With Bird
Perhaps
I’m leaving tomorrow. Perhaps
the
hotel’s creaking gates
will
open and shut one more time
beyond
this afternoon. Beyond
this
fountain still cascading
over
the three-tiered pools, the bundle
of
yellow roses—long-stemmed, wrapped
in
plastic—left here at the edge
of
a wedding; guests and mariachis
gone.
Now it’s mostly
empty,
this restaurant, sliding
into
shade. The gleaming
cars
and trumpets, the flash-white
smiles
of the bridesmaids,
departed.
The gaping aunts and
sisters,
bags of confetti, raucous
strings
of cans; the laughter
of
the uncles, lacquered with tequila:
elsewhere.
The courage of the parents
beyond
the trip, the bill, their wobbling
year’s-wait
legs; the bearded
ex-boyfriend,
at the vows
bursting
through the church
on
a flame-red Kawasaki, taking
out
a wall, the bride, the sixteenth-
century
altar—all of this,
behind.
Now, just burbling
water,
the waiters pacing
slow
around the tables, and, in a cage
outside
the kitchen, a canary—who,
with
your glance, faintly warbles, jumps
through
two blue loops, spins
a
woven silver ball—until
you
turn away
from
the roses, the cresting
tropical
trees, the re-announcing spill
of
your singular life.
~
Jamie Ross
From
Vineland by Jamie Ross (New York:
Four Way Books, 2010), pp. 54-55. This book won the Four Way Books Intro Prize.
I
like the sounds of the words in this poem. It has quite a bit of assonance and
alliteration, but not enough to call attention to itself. The language at the
beginning is still, quiet, as fits the tittle. That effect is achieved in part
by the selection of words with softer sounds: perhaps, shut, beyond, “sliding
into shade.” The sounds get more “raucous” later, when raucous is appropriate.
Then there are quite a few “b,” “g” and “q” sounds, arriving at that Kawasaki,
with two “k” sounds. The poem ends with those quiet “s” sounds again.
I
also like the poet's take on “still life,” which can be interpreted in a variety of
ways. Maybe the narrator is thinking his own life is quite “still” in
comparison to the bride and groom, and the wedding guests (including the
ex-boyfriend on the flame-red Kawasaki. Maybe the “singular life” of the “you”
addressed in the poem has its own kind of stillness. Jamie Ross is a painter as
well as a poet, so I suspect he was thinking, as well, of the poem as a still
life. It is one, but in an interesting way. It is as if the artist has painted
the wedding in all its ceremony and chaos, and then stripped away the guests,
painted out the bride and groom and their attendants and parents, leaving only
“the bundle / of yellow roses—long-stemmed, wrapped / in plastic” at the edge
of the cascading fountain. You expect fruit or flowers in a traditional still
life, not a Kawasaki “taking out a wall.” And maybe a single canary, though
this one is definitely not still once it begins to warble and jump. The title
does a lot of work for this poem, and causes the reader to ponder its multiple
meanings.
The
reader has access into this poem because of the plethora of details. We can
hear the hotel gate creak, water cascading in the fountain (which is tiered,
like a wedding cake), the mariachis. We can see the confetti, the “flash-white
/ smiles of the bridesmaids,” the canary cage. Yet there is something mysterious
about the poem. What connects the possibility of the narrator leaving tomorrow
with the “you” who emerges toward the end of the poem? On
a second reading, the word "beyond," repeated in the opening echoes in
my mind. I wonder what is "beyond" for the narrator and the "you" who is
addressed. The “re-announcing spill
of your singular life” makes the reader want to peek behind the curtain hiding secrets. And of course, we can only guess why the yellow roses were left
behind.
The
March Poetry Challenge:
Let
“Still Life. With Bird” inspire you to write. You may respond in one of the
following ways:
1-Think
about the opening of the poem, “Perhaps I’m leaving tomorrow.” You may start
with that sentence, or with something else you might “perhaps” do tomorrow. Let
that thought take you into your poem.
2-Write
about a “still life” scene. Strip away what was there a short time before, as
Ross did with the elements of the wedding.
3-Write
about the aftermath of a wedding.
4-Think
about that lone bird and its role in this poem. Write your own poem, "_______.
With Bird."
Your
poem may be formal or free verse. If you use a form, please specify the form.
Unless your poem is haiku or senryu, it should be titled.
Poems already
published in books, or published on the Internet (including Facebook and other
on-line social networks) are not eligible. If your poem has been published in a
print periodical, you may submit it if you retain copyright, but please include
publication data. Only one poem per poet, please.
The
deadline is March 16. Poems submitted after the February 16
deadline will not be considered. There is no charge to enter, so there are no
monetary rewards; however winners are published on this blog. Please don’t
stray too far from “family-friendly” language. No simultaneous submissions,
please. You will know by the end of the month whether or not your poem will be
published on this blog. Your poem may be free or formal verse. If you use a
form, please specify the form when you submit. Decision of the judge or judges
is final.
Copyright
on each poem is retained by the poet. If a winning poem is published elsewhere
later, please give credit to this blog.
How to
Submit Your Poem:
Send one poem only to wildamorris[at]ameritech[dot]net (substitute the @ sign for “at” and a . for “dot”) . Include a brief bio which can be printed with your poem, if you are a winner this month.
Send one poem only to wildamorris[at]ameritech[dot]net (substitute the @ sign for “at” and a . for “dot”) . Include a brief bio which can be printed with your poem, if you are a winner this month.
Submission
of a poem gives permission for the poem to be posted on the blog if it is a
winner, so be sure that you put your name (exactly as you would like it to
appear if you do win) at the end of the poem. Poems may be pasted into an email
or sent as an attachment (no pdf files, please). Please do not indent the poem or center it on the page. It helps if
you submit the poem in the format used on the blog (Title and poem
left-justified; title in bold (not all in capital letters); your name at the
bottom of the poem). Also, please do not use spaces instead of commas in the
middle of lines. I have no problem with poets using that technique; I sometimes
do it myself. However I have difficulty getting the blog to accept and maintain
extra spaces.
Poems
shorter than 40 lines are generally preferred. Also, if lines are too long,
they don’t fit in the blog format and have to be split, so you might be wise to
use shorter lines.
NOTE THAT THE JANUARY
CHALLENGE IS STILL OPEN. YOU MAY ENTER BOTH CHALLENGES, BUT PLEASE DO SO IN
SEPARATE EMAILS.
©
Wilda Morris