Posts Tagged ‘Kelsey Hagarman’

This magazine restores my faith in poetry (actually, several magazines do, but this one especially today). Here are powerful poems that do not intend to slip and dodge their own challenges like some aging boxer against younger competition. These are poems that say, ‘here I am, this is what I am doing,’ with nowhere to hide. And of course it helps that they are good!

The issue starts with Joseph A. Chelius poem, “Stockboy.” “sent like a shepherd / after a herd of carts…strayed / from the pasture of the parking lot.” Now I’ve been a stockboy, and corralling carts is exactly what that part of the job feels like. Unsung cowboy, and all that. But what I really like about this poem is its wry humor. “To have the honor of going out again in his zippered fleece…” I love humor in poetry, when well-done with a deeper meaning, beyond simple verse, and I want to cheer it on here. “…empty boxes of Contadina tomato paste…So lucky for him.” Fun, and a little bit wistful.

The delivery of emotion matters to these poets. Heather Finnegan gives us, “When I Run An Art Museum I  Will Feature / Every Artist I’ve Ever Slept With.” It’s bawdy, it’s funny, and there’s an underlying toughness, an underlying tear or two. “When I run an art museum, whoever calls me slut / will not be standing by the nightstand.” “I know the woman in the red / sweater will probably say, I just don’t understand…” Well, the enlightenment is a bit shocking and disconcerting, that’s for sure.

These are poems we can relate to, they speak to our shared experiences. In “Rambler,” Donna Hilbert meditates on a first car. “the color of dirt / and stick-shift to boot, / but cheap.” And a great tone. “‘It’s transportation,’ said / the husband.”

Michael Sears, on the other hand, gives us a very sad poem, “My Mother And I Beat A Dog.” “There was something my mother and I hated in that dog.” The power of this poem comes from its irony, juxtaposing comments like that with the story of the narrator’s babysitter, Maggie, who is murdered. A sort of we-are-our-own-enemy reflection. Something deeply disturbing hides here, a helplessness in the face of evil. The narrator’s family go to see Maggie’s family after the funeral. “Eventually, during one of those silences, Maggie’s father began to speak about her.” Grief flows through this poem, for the dog, for the girl, for us all, but it is partnered with fear.

There is a section of Rust Belt poets in this issue. I love the grittiness of the poems. They show a world where things matter. People are fighting to improve, though often it’s more of a rear-guard action.

In “This Should Be A Good Poem,” Steve Abbott’s narrator is a poet who never quite fits in. “I’d never heard of a fire tornado until a late summer newscast…My wife looked up. Said, ‘That would make a good poem.'” But it’s everyone around the narrator who lives on a different wavelength; over and over, they catch a bit of news and tell the narrator that would make a good poem. “Most…are normal people, largely immune to poetry / except as a courtesy to me.” Such a wonderful idea, deftly handled. In the poet not fitting in his world, somehow, it helps us fit better into ours.

Let me mention “New Fruit Humming,” by Cameron Barnett. This is a relationship poem, and again, the poet’s ear for subtleties is what makes it so good. “I’m here to say sorry. / Because you definitely said splotchy.” Now, is the narrator really thinking their partner said something else, and is saying this to make peace? Is this perhaps admitting wrongdoing, or is there a passive-aggressive element underneath? The ambiguity of tone whirls us along. “Because I was wrong to believe you were afraid / of anything.” Then in unwrapping that statement, the depth of the poem staggers us. They have broken up? Lies ruined their life? There is a final revelation, that opens up a world of grief.

I don’t have enough room to mention all the good poems. But George Bilgere gives us a wry “Pancake Dilemma,” Eric Chiles does a wonderful villanelle about registering for Medicare in “Medi-Maze,” Todd Davis nails the carelessness of teenagers in “Cracks,” (How many meanings can that title have?) and Kelsey Hagarman documents an awkward parental moment in “The Visit.” Every poem has an irony, or a sadness, or some other sharp point-of-view. There are no poems that confuse the heck out of us hoping we’ll be impressed by the muddle. I’m going to be glad to read more of this magazine.

Peace in poetry,

P M F Johnson

My eBook of poems, Against The Night, a sweet, rueful look at love in a long marriage, is available on Amazon, and at other fine e-retailers.

Related blog posts:

Blue Collar Review – Spring 17

The New Yorker – Aug 21 17

Sticking With Styx


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