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OK, writers. Here’s a stimulating exercise for you.

The next time you go on a trip, write down interesting street names and community names that you discover. Take those names and create a story or poem using them.

Below are street names I found on a recent trip. Feel free to plunder them. I think they would be good used in a child’s poem or story.

· Goose Market
· Fairystone
· Rock Castle
· Indigo Mountain
· Lemon Tree
· Cloud Break
· Goblintown
· Ironbelt

(Tolkien would have liked the proximity of those last two to each other. Very fitting.)

Ready. Set. Write!!!
 
 
 
 
 
 

“Blacksnake.” Jimson Weed, vol. XXIV, new series vol. 8, no. 2 (Fall 2005).

Blacksnake

Coiled in my path like an ampersand.

My heart beats an ellipsis . . .
Punctuates the sentence of my original sin.

Serpent conjunction links me to my base nature.

What was beautiful about you before you came between
Adam & Eve?

 
 
 
 
 
 

Mara mentioned villanelles at Spoken Word last weekend. Here's a form I like: the pantoum.

It is a series of quatrains; the second and fourth lines of each stanza are repeated as the first and third lines of the next. This pattern continues until the final stanza, which differs in the repeating pattern.


AUTUMN SACRIFICE


Holy ghost mist
Walks on water
In morning’s sacred hour.
Autumn hovers above,


Walks on water
In reflections of the sky.
Autumn hovers above,
Mild, then meek, in wind.


In reflections of the sky
Leaves deny death.
Mild, then meek, in wind,
Branches scratch testaments.


Leaves deny death,
But frosty breath withers.
Branches scratch testaments.
Sun draws blood,


But frosty breath withers
Holy ghost mist.
Sun draws blood
In morning’s sacred hour.



“Autumn Sacrifice.” Poetry. 2006 Explorations, MECC, Third Place.

 
 
 
 
 
 
Cinquains are five-line poems popularized by Adelaide Crapsey. She did not invent the five-line poem, but instead re-invented it based on the simplicity of the haiku. One of the most common Crapsey cinquains follows this pattern: The first line has 1 word, the second 3, the third 5, the fourth 4, and the fifth 2.

Because it is so restrictive -- limiting the poet to few words -- the cinquain can be challenging. While the form is not a favorite in American poetry, it is lovely when mastered.

I wrote this cinquain a few years ago. It utilizes the word pattern 1, 3, 5, 4, 2 and the syllable pattern 2, 4, 6, 8, 2.

“Sumac.” Clinch Mountain Review (2006). Author: Neva Bryan. Editor: Warren Harris.


SUMAC

Sumac,
Fuzzy head bent,
Reminds me where I am:
Appalachia, backbone worn down
With grief.
 
 
 
 
 
 
Listen to the recording of Frank X. Walker's interview on Accents http://www.katerinaklemer.com/audio/accents_051509.mp3. Also listen for my poem, Anoint Me, to be read. It starts at about 1 min 26 seconds into the recording. This is WRFL Lexington.
 
 
 
 
 
 

Listen to Accents every Friday @ 2pm EST on WRFL 88.1 FM Lexington or stream live from wrfl.fm.

This Friday, May 15, they’ll be reading a poem of mine, “Anoint Me.”

Also, the guest that day will be poet Frank X. Walker.

Katerina Stoykova-Klemer is the host.

Let me know what you think!

 
 
 
 
 
 
OLD LOGGING ROAD
 
 
Leaving behind lawyers and you,
I go home.
 
An old logging road sidles
around the mountain
behind our desolate house.
I trudge through mud to the top
and eye the rapescape
of amputated limbs,
knotty torsos,
exposed hearts -- ringed to count the years.
 
Here scars are deep gashes
in abandoned land.
Poison ivy and wild vines
fill empty spaces.
 
Stumbling, I reach out to steady myself
and clutch a blackberry switch.
Thorns pierce my palm,
draw red beads to the surface.
 
Cursing,
I rub blood across my barren belly
and weep for this wasteland.
 
 
 
 
 
"Old Logging Road." Bluestone Review (Spring 2008).
 
 
 
 
 
 
SEVEN YEAR ITCH
 
 
Husband, I’ve worn you for so long
you’re a little ragged around the edges,
but soft and comfortable as a T-shirt.
So Carolina’s a surprise.
 
You walk on the shore while I sleep.
Steeped in salty mist, skin cold,
you hold me when you return, but
I don’t know this grey-eyed selchie
who’s slipped between my sheets.
Sleek, hair slicked against your skull,
you seduce me, reduce me to blood and muscle.
You take my affection in a new direction.
 
I think I understand now why
seven represents perfection.
 
"Seven Year Itch." Jimson Weed, vol. XXV, new series vol. 9, no. 2 (Fall 2006).
 
 
 
 
 
 
 

PARTYPOOPER

 

Cousin Steph's birthday party:

She was five; I was four.

 

Dark dining room, oak table crammed with kids:

My elbows, polarized points, protected me from strangers.

 

Bingo cards, piles of pinto beans.

I hung my head and ignored the drone:

B29 . . . N32 . . . G13 . . . .

 

The boy beside me placed a bean on one of my squares, O9.

Fat teardrops rolled down my face, landed on the bean, magnified its spots.

 

"I'll give you something to cry about," Mom said.

She dragged me to the kitchen.

 

Light streamed through windows.

Its yellow diagonals slashed white walls.

 

Resting my cheek against the cool table,

I rubbed smooth Formica and counted its golden specks.

Picked petals from my icing, ate ice cream,

And smiled at my solitary confinement.

 

 

"Partypooper." Poetry. 2005 Lonesome Pine Poetry Contest, Third Place.
 
 
 
 
 
 
STRAWBERRY SEASON
 
 
I visit farms
Where you strut through fields
You’ll never own.
 
Your wife and kids look like you:
Jeans, plaid shirts, long black hair.
Quick-fingered, they pick strawberries.
 
At home, I hull fat berries,
Shock them with ice water,
Add sugar and cream
To cut the tart zing.
 
I gorge myself,
Run my thumb across my stained lips,
My mouth as red as your fingertips.
 
There is dirt on your hands,
And no matter where you stand,
Sun sears your skin.
 
Do you entertain bitter thoughts
As you plop sweet, red drops
Into your bucket?
 
Or is it this simple?
 
After strawberry season,
Peaches come . . .
Then tomatoes.
 
 
 
 
 
 
 
“Strawberry Season.” Jimson Weed, vol. XXV, new series vol. 9, no. 1 (Spring 2006).

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