Dorianne Laux

Augusta

Dorianne Laux was born in Augusta, Maine, in 1952. She worked as a sanatorium cook, gas station manager, maid, and donut holer before receiving a B.A. in English from Mills College in 1988. Laux is the author of three collections of poetry: Smoke (BOA Editions, 2000), What We Carry (1994), and Awake (1990). With Kim Addonizio , she edited The Poet's Companion: A Guide to the Pleasures of Writing Poetry (1997). Among her awards are a Pushcart Prize, an Editor's Choice III Award, and a fellowship from the National Endowment for the Arts. She is an Associate Professor at the University of Oregon's Program in Creative Writing.


Even Music
Drive toward the Juan de Fuca Strait.
Listen to "Moondog Matinee."
No song ever written gets close to it:

how it feels to go on after the body
you love has been put into the ground
for eternity. Cross bridge after bridge,

through ten kinds of rain, past
abandoned fireworks booths,
their closed flaps streaked with soot.

Gash on the flank of a red barn:
Jesus loves you. 5 $ a Fish.
He's dead. Where's your miracle?

Load a tape into the deck so a woman
can wear out a love song. Keep moving,
keep listening to the awful noise.

the living make.
Even the saxophone, its blind,
unearthly moan.

©Copyright 2000 Dorianne Laux





Colin Sargent

Portland

Colin Sargent is a winner of the Academy of American Poets Prize at the U.S. Naval Academy and author of four books of poetry, Luftwaffe Snowshoes, and Blush, (published with grants from the National Endowment for the Arts both winning “Pick of the Month" honors at Small Press Review); Undertow and now, Fresh Hell. Colin is founding editor and publisher of the prizewinning Portland Magazine. His play 100% American Girl was a winner at the 2002 Maine Playwrights' Festival.



Money

There was a cod in the fish store
Following me the way eyes
Of great paintings follow you through museums.
They wrapped him up for me.

I got lost on the way home
Whispering through the paper to my loaded cod.
Strangers I passed were convinced
He was a loaf of bread.

Where are we?
He talked quite naturally given
His condition. Where are we?
You were saying just now.

The dark souls
Of all the fish I've eaten
Are European, black as wallets.
Their street goes on forever, shiny with oil.

©Copyright 2004 Colin Sargent





William Carpenter

Bar Harbor

William Carpenter is a senior faculty member of the College of the Atlantic teaching English literature. He received a BA from Dartmouth College and PhD in English from the University of Minnesota. He is the author of three books of poetry and two novels.


California

I think of the California poets,
how easy it is for them.
They have vast open spaces,
they drive jeeps and live nowhere,
they drift from cabin to cabin
on mountains with beautiful Spanish names
and there are girls in the cabins
who love poetry and sleep with the poets freely,
for in California there is no guilt nor shame
nor hunger, life is as a dream,
lobsters crawl up on the shore to be caught,
they shoot seabirds and fry them in butter on the beach.

There are no seasons in California.
You make your own, you move from
places where the sun shines all the time
to places where it rains or snows forever.
If you want June or October or some cross-country skiing,
you go to that place in your jeep
and the season is there always.

It is a good climate for poetry, since it is full
of images. You pluck them from the trees like breadfruit
with your feet or knock them down like coconuts.
It is good also for religion, as the Three Winds
bring secret doctrines from the East,
sesnsual and voluptuous names for the emotions,
creeds that make holy your underground desires,
your daily habits and the parts of your body.

In New England we scratch in the soil with sticks,
find scarce turnips among the rocks,
have no religion at all, fence out our neighbors,
wear clothes, work hard, abstain from sex
and write poems, when we do, on the way to the madhouse.

I spent some time in Midwest, where they
were neither wholly free nor wholly tragic.
They lived, screwed, married, divorced and died
like regular folk. They grew corn and fed it to
their pigs, then shipped them east and west
for slaughter. It made sense.
When I am finished with this rocky ground,
wet weather and neurotic ocean,
I will become a Baptist in Des Moines,
rise early and drive out to the river
to watch the fall migrations.
I will take photographs and keep
a family album, with no poems, for poems,
Maine or California, drive you crazy.

©Copyright 2000, William Carpenter





Abbie Huston Evans

Bristol

Wild Apples

Bright in September, bright against the sky,
Bright against mountains, bright against the sea,
Oh acid fruit and worthless! Pass it by.
Oh beautiful and worthless! Let it be.  

Yet the birds take these branches for a house,
Wild grape festoons it, binding tart with tart,
And to the end of time unshaken boughs
Are not for us to laugh at, O my heart!  

Unshaken boughs and fruit ungathered yearly
Save by the wind that brings it scattering down
To bruise on rocks, smash open, juicing clearly,
And rot beneath the tree till it is brown.  

Out in back pastures known to sheep and cows,
Blind foot-note to a page, they stand apart;
But to the end of time unshaken boughs
Are not for us to laugh at, O my heart!  

©Copyright 2003 Abbie Huston Evans





Farnham Blair

Blue Hill

Farnham Blair, born in Washington, D.C., graduate of Yale University in English Literature and Art History, was a Research Assistant at the Smithsonian Institution, received a Master of Arts degree in English from Georgetown University. He has published The Blue Line: Essays on Landscape and Narrative; Immanent Green and The Movie Queen, poems; and Art Notes: Essays and Observations, and Peripheral Visions: Memoirs of a Washington Childhood, through Puckerbrush Press, and fiction, reviews and poetry in the Puckerbrush Review


Marsden Hartley: Finnish-Yankee Wrestler
1938-39

The angel bear
has hibernated long,
a strapping secret cub with golden fur,
suckled on thick dark milk
of abundant subconscious.

Today, just now, he comes awake
in his creator’s mind,
which, at once,
brings him wholly forward
that he may stretch his burly limbs
in the fullness of late winter sun.

Heavenly adult whelp,
small eyes still a clouded blue,
he rises on firm hind legs
and recognizes,
yearning towards him from the cold,
the stooped and bulky shadow of his father.

Now, the artist,
aging heart swollen with rejection,
himself stands up,
to celebrate this last love child,
so pink and uncompromised,
and whose sweet outsized paws
portend a life of celestial joy,
whose only press shall be
to play-fight, wrestle, and embrace.



©Copyright 2003, Farnham Blair





Sylvester Pollet

Orono


As You've Heard

As you've heard
this is National Poetry Month  

National ational ational
Poetry oetry oetry
Month onth onth  

National Poetry
oxy oxy moron  

Poetry Month
oxy oxy moron  

National Month
oxy oxy moron  

National Poe Month

National Poe Month  

National Tree Month
National Tree Month  

National Try Month
National Try Month  

Oh, O.K.,
maybe  

Intergalactic Poetry
Space/Timelessness Month  

mmm,
maybe  

Intergalactic Poetry Space/Timelessness?
better  

National Try Month
National Try Month  

Oh, O.K.
maybe  

Natural Poetry Mouth
Ah!  

Natural Poetry Mouth
Ah!  

So, kiss me
yes!  

So, kiss me
yes!  

So, kiss me
kiss me
yes!

©Copyright 2003, Sylvester Pollet





Elizabeth Hobbs

Raymond

Elizabeth Hobbs graduated from Bates College, University of Washington, has served as a poet-in-residence for Manzanita Oregan Fione Arts Council, the Creative Arts Program at Camp Hawthorne in Maine, and the Fine Arts Camp in South Carolina, has appeared in the Cactus Poets television series and is a freequetn reader in the Castalia series at the University of Washington.


Botany in the Rain Forest

First, the nurse tree must die.
It must fall,
no matter slow or fast,
it must let go of sky,
lie forever lengthwise
in deadly moist embrace.
It must rot,
beautifully, pungently,
opening pores to seed.

Its staightline nurselings
will confound the innocent:
"What planted such a row
in these chaotic woodlands?"
There will be no trace.

After the final consummation,
the line of new trees will remain.

But first, and long before, the nurse must die.


©Copyright 2003, Elizabeth Hobbs




David Adams

Brunswick


In a Parking Lot at Rockland Harbor

Navigare necesse est vivere non necesse - Pompey



The perfect sunlight is an accident.
You might see him any day at noon.
An old lobsterman, a new Ford.
He needs little of his eyes to follow
as you walk beside, and then behind.
His face like a brown, stained bag
from decades in the open air he leans to still,
his chin almost at rest upon the steering wheel,
his purpled ears precisely sealed against
some ailment by cotton, gauze and tape.

It is mid-day; it is summer,
and pleasure craft traverse the harbor.
A dozen guillemots bob like blossoms
underneath the ceaseless cackle of gulls.

What dances in that pure light gathered
in his lenses as his dark hands pull upon the wheel:
the diamond chop, the islands, a life
as singular as granite broken free?

His denim shirt is buttoned at the collar.
And though the wind blows hard offshore,
in his mind, perhaps, he feels its shift —
a sudden whip of spray, a subtle loss
of balance in the swells beyond Matinicus.

One finger slides to tap the dash,
and his mouth moves like a turtle’s,
chanting something to himself, to himself alone.


©Copyright 2003, David Adams




Nancy Henry

Gray

Nancy Henry is an Associate Editor of The Café Review and teach English composition and literature at Southern Maine Community College. She co-editored the Maine poetry anthology, A Sense of Place. Her chapbooks "Anything Can Happen" and "Hard" were published by MuscleHead Press. She's received a Pushcart Prize nomination and an Atlanta Review International Merit Award. Prior to teaching English, she was an attorney in the field of child protection. Henry is co-editor with Alice Persons of the Moon Pie Press.


A Proposition

Be my Chagall lover,
float with me above a small chaotic town
our silks and fingers tangled up together
in a storm of crabapple blossoms,
stars circling over us
on silent white wings.
I will bring you moonsnails,
bluegills caught with silver nets
beneath the cypress shadows
to show you their delicate jade skins
their opal scales shining
for your eyes alone and we will walk
barefoot, hand in hand, to the soft water
to let them go, to watch them
spread their spiny feather-fins
and sweep away.
I’ll spell out your name in marigolds
on the sand,
paint a yellow sunflower on my forehead,
and when we lie down together
on our pillows of soft moss--
cows and wooden spoons
and crocks of fresh cream spinning
in the violet sky--
you may start awake, towards dawn,
at some sweet jarring sound
and by some miracle, find my sleeping face
so calm and lovely
it will make you weep.


©Copyright 2003, Nancy Henry





Edward Rielly

Westbrook


An Orderly Life


There is something very orderly about a hay
bale. It has definite measurements, length,
width, height. It has two strong strings
binding the hay together, with enough play
to avoid breaking when handled, and knots
to make a sailor envious. Bales are certain,
never different from the one before, at ease
with the one after, serene in being bales.


©Copyright 2003,Edward Rielly



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