Friday, April 27, 2018

#16 Backstory of the Poem "Reliquary" by Beth Copeland



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**Some of the links will have to be copied and then posted in your search engine in order to pull up properly

***This is the sixteenth in a never-ending series called BACKSTORY OF THE POEM where the Chris Rice Cooper Blog (CRC) focuses on one specific poem and how the poet wrote that specific poem.  All BACKSTORY OF THE POEM links are at the end of this piece. 


Backstory of the Poem
“Reliquary”
by Beth Copeland  
poetreeline@gmail.com

Can you go through the step-by-step process of writing this poem from the moment the idea was first conceived in your brain until final form?   When my mother died five years ago, I inherited a cedar chest my grandfather made for her. At the time, women were supposed to fill a “hope chest” with linens and other household things they would need when they married and set up housekeeping. I wanted to write a poem about the cedar chest because it was a familiar object that I associated with my mother’s life. This may sound morbid, but its shape reminded me of a coffin, and I thought about how it contained—not her physical body—but a body of memories.




As I was pondering all that, I recalled reading Fred Chappell’s poetry book  Shadowbox. (Left)The book includes poems that are nested within poems. The reliquary poems contain quotations from other poets; Chappell creates poems that are shrines to honor the poets he quotes. I wanted to write a reliquary poem to honor my mother.

  

My mother’s favorite poet was Emily Dickinson, (Right) so I looked for passages from Dickinson's poems and found this one: “Hope is the thing with feathers that perches in the soul and sings the tune without the words and never stops at all.” That passage is embedded within my poem. You can find it if you read vertically beginning with the word “hope” in the middle of the first line. The second line has “the,” the third has “thing,” and so forth. Each line of my poem includes a word from Dickinson’s poem. 

Originally, I italicized Dickinson’s words to highlight the passage that's enclosed within my poem. Jamie Brown, (Left) my editor at The Broadkill River Press, suggested that I remove the italics because the poem stands on its own without drawing attention to the embedded portion. Without the italics, the Dickinson passage is still there, but it’s hidden in the poem as a secret. 

The poem is written as one long stanza. Usually, I write in couplets or tercets, but I wanted the shape of the poem to resemble its subject, the cedar chest. 


Where were you when you started to actually write the poem?  And please describe the place in great detail.

  I started writing the poem at my home, a log cabin in rural North Carolina. I draft poems slowly, and this poem took longer than most because of its challenging structure. I had to put it aside for a while to take care of teaching demands. In the summer, I spent a week as writer in residence at Weymouth Center for the Arts and Humanities, a beautiful mansion in Southern Pines, North Carolina, surrounded by gardens, a koi pond, and long leaf pines. I stayed in a cozy blue room where I sat at an antique desk and finished the poem.  


What month and year did you start writing this poem?   I don’t remember. I’m often working on several different poems simultaneously.  (Right Beth Copeland at Weymouth Gardens.  Copyright granted by Beth Copeland)

How many drafts of this poem did you write before going to the final? (And can you share a photograph of your rough drafts with pen markings on it?)   I don’t keep records of how many drafts I write. First, I write on paper, sometimes on the backs of envelopes and other scraps of paper if I’m on the run. Once I have a working draft on paper, I type it on my laptop and continue making revisions. I throw away my drafts. If I didn’t, I’d be buried in paper! (Above Left:  Beth Copeland's writing desk at Weymouth Center.  Copyright granted by Beth Copeland).

Were there any lines in any of your rough drafts of this poem that were not in the final version?  And can you share them with us?   I’m sure there were, but I don’t recall them. 

What do you want readers of this poem to take from this poem?

I want people to know that love remains even after our loved ones die. (Right: Beth Copeland in March of 2016.  Copyright granted by Beth Copeland.)

Which part of the poem was the most emotional of you to write and why?   At the beginning of the poem, I describe the cedar chest and its contents and imagine my mother daydreaming about the man she will eventually marry, my father. The most emotional lines are when I list what I’ve lost: I will live without her scent, her / lips on my cheek, the hesitant catch of her voice….” (Left:  Beth Copeland's parents on their wedding day.  Copyright granted by Beth Copeland.)

Has this poem been published before?  And if so where?

Yes, it was first published in Kakalak 2017, an annual publication featuring the work of poets from North and South Carolina. It’s also included in my new book Blue Honey, which received the 2017 Dogfish Head Poetry Prize and was published by the Broadkill River Press.

Anything you would like to add?   Thank you for inviting me to participate! 




Reliquary

Her father made a cedar hope chest for her trousseau.
Battered, scarred, now it is mine, a box to hold crazy
quilts, doilies, duvets,  the tablecloth Great-Aunt
Gertrude crocheted—a thing too fancy for everyday:
pillowcases dotted with French knots, lazy
daisies, appliqués, and  featherstitching on white
cotton, linen hand towels that  say HIS or HERS.  
A removable shelf perches on the rim, a tray
where she kept buttons in brown paper bags, pins,
needles, & thread to fix the fraying satin borders of
blankets. Do her soul and girlish dreams of
that tall man she’d meet and marry still float
on wind as a waxwing sings from the cedar’s
branch? When I open the lid, fragrance of old
wood is like a lost tune I can’t remember the
words to. I will live without her scent, her
lips on my cheek, the hesitant catch of her voice
when she can’t recall words and I fill them in as if 
we’re identical twins and I’m finishing her sentences.
A mother’s love never vanishes, fixed as
the North Star with no stops in a midnight sky.
Long ago, she gazed at the burled, aromatic
grain and vowed to keep all that survived its flames.

Beth Copeland (Right:  Beth Copeland in December of 2017) is the author of three full-length poetry books: Blue Honey, recipient of the 2017 Dogfish Head Poetry Prize (The Broadkill River Press 2017); Transcendental Telemarketer (BlazeVOX books 2012); and Traveling through Glass, recipient of the 1999 Bright Hill Press Poetry Book Award (Bright Hill Press 2000). Her poems have been published in numerous literary magazines and anthologies and have been featured on international poetry websites. She has been profiled as poet of the week on the PBS NewsHour website. Beth teaches creative writing at St. Andrews University. 


BACKSTORY OF THE POEM LINKS

001  December 29, 2017
Margo Berdeshevksy’s “12-24”

002  January 08, 2018
Alexis Rhone Fancher’s “82 Miles From the Beach, We Order The Lobster At Clear Lake Café”

003 January 12, 2018
Barbara Crooker’s “Orange”

004 January 22, 2018
Sonia Saikaley’s “Modern Matsushima”

005 January 29, 2018
Ellen Foos’s “Side Yard”

006 February 03, 2018
Susan Sundwall’s “The Ringmaster”


007 February 09, 2018
Leslea Newman’s “That Night”

008 February 17, 2018
Alexis Rhone Fancher “June Fairchild Isn’t Dead”

009 February 24, 2018
Charles Clifford Brooks III “The Gift of the Year With Granny”

010 March 03, 2018
Scott Thomas Outlar’s “The Natural Reflection of Your Palms”

011 March 10, 2018
Anya Francesca Jenkins’s “After Diane Beatty’s Photograph “History Abandoned”

012  March 17, 2018
Angela Narciso Torres’s “What I Learned This Week”

013 March 24, 2018
Jan Steckel’s “Holiday On ICE”

014 March 31, 2018
Ibrahim Honjo’s “Colors”

015 April 14, 2018
Marilyn Kallet’s “Ode to Disappointment”


016  April 27, 2018
Beth Copeland’s “Reliquary”
https://chrisricecooper.blogspot.com/2018/04/16-backstory-of-poem-reliquary-by-beth.html

017  May 12, 2018
Marlon L Fick’s “The Swallows of Barcelona”


018  May 25, 2018
Juliet Cook’s “ARTERIAL DISCOMBOBULATION”
https://chrisricecooper.blogspot.com/2018/05/18-backstory-of-poem-arterial.html

019  June 09, 2018
Alexis Rhone Fancher’s “Stiletto Killer. . . A Surmise”

https://chrisricecooper.blogspot.com/2018/06/19-backstory-of-poem-stiletto-killer.html


020 June 16, 2018
Charles Rammelkamp’s “At Last I Can Start Suffering”

https://chrisricecooper.blogspot.com/2018/06/20-backstory-of-poem-at-least-i-can.html

021  July 05, 2018
Marla Shaw O’Neill’s “Wind Chimes”





022 July 13, 2018
Julia Gordon-Bramer’s “Studying Ariel”


023 July 20, 2018
Bill Yarrow’s “Jesus Zombie”


025  August 01, 2018
Seth Berg’s (It is only Yourself that Bends – so Wake up!”
https://chrisricecooper.blogspot.com/2018/08/25-backstory-of-poem-it-is-only.html

026  August 07, 2018
David Herrle’s “Devil In the Details”




Saturday, April 21, 2018

Guest Blogger - Australian Poet Michael Fitzgerald-Clarke


*The images in this specific piece are granted copyright privilege by:  Public Domain, CCSAL, GNU Free Documentation Licenses, Fair Use Under The United States Copyright Law, or given copyright privilege by the copyright holder which is identified beneath the individual photo.

**Some of the links will have to be copied and then posted in your search engine in order to pull up properly


Guest Blogger Michael Fitzgerald-Clarke:
“The Underground Stream, Thomas Merton, and Spiritual Prayer as Poetry.”

The Underground Stream was initially conceived as a response to poetry I wrote during Contemplative Living with Thomas Merton sessions at the House of Prayer and Spirituality in Townsville, Australia.

I have several books by Thomas Merton amongst my bookshelf, but it was only when I began attending the sessions at the House of Prayer (as it is known) (Below) that he registered with me, both as a religious thinker, and as a poet.


It has been said that Thomas Merton is one of the most important religious thinkers of the twentieth century.  I’m not qualified to make that call.  All I can say is that these past years studying his writings has illumined my faith journey.


My stay at the House of Prayer in September 2016 was central to the book’s completion.  Years ago, in Canberra, I completed my collection Ultramundane Shadows by laying the about one hundred sheets of poems in a large space at the
back of St Philip’s Anglican Church.  I then moved the sheets around until I was happy that the order of the poems was a subtext.

I did a similar thing at the main meeting room at the House of Prayer. (Above Right)  Over three days of creative silence, living in the House, The Underground Stream coalesced similarly.

Yes, these days I’m happy to be called a Christian.  Following several decades of fairly regular church attendance in Canberra – at the North Canberra Baptist Church and then in the 2000s St Philip’s Anglican Church in O’Connor – my move to Townsville in 2009 has seen me attending the Contemplative Living with Thomas Merton sessions.  I have been attending since about 2012, and month in month out it is a cornerstone of my faith observance.


It’s worth saying that I remain close friends with the pastor of the North Canberra Baptist Church, from those late millennium times, Ian Minto.(Below Left)  His family remain much loved.  Similarly, a former rector of St Philip’s, Rebecca Newland, (Below Right) is a cherished friend still.

The Underground Stream is dedicated to Connie Cairns (Right).  For years, she ran the Thomas Merton sessions, giving me a lift there each time.  I was privileged to repay her kindnesses to me, with the dedication.  Connie is one of the planet’s loving souls.  We still catch up every now and again for a cuppa.

My ordering the poems saw me wishing to bookend the book.  “The Joy” was written in the mid-1980s, and “At Eagles Nest” is also of that time.  They are the two oldest poems in the book.  Most of the poems were penned in the past couple of years. (Left:  The Underground Stream in the mail out process.)

The Joy

Why stop?  Why more silence?
An ocean brushes past:
we are, don’t look, we are
songs, flaking beyond continuance.



At Eagles Nest

On this windswept headland
I am close to the clouds.
I fill my lungs with the tart air,
smell the sea
and contemplate the future of the world.

For me, the most emotionally fraught poem in The Underground Stream is “Paralytic Mountain”.  It was penned in the mid-1980s, and in some ways it documents a friendship that quickly went wrong.  Elaine Hill and I parted acrimoniously.  As a part of processing that time, “Paralytic Mountain” helped me to deal with anguish.  I did not feel I could make it public until now. (Right:  Thomas Merton)

1.

On the first day two vomited.
On the third day they asked why.

On the sixth day nobody knew.

A week had gone.
The fire still threw waves.
I dreamt of a mountain.
A paralytic mountain.
Rising from the open first of sleep.

Excerpt, “Paralytic Mountain”

I spell GOD in capitals, these days.  Last year, I read The Practice of the Presence of God and The Spiritual Maxims ~ Brother Lawrence, this book has GOD in caps, and it sits well with me as a contemplative text to learn from.  In the Holy Bible, GOD is often addressed as LORD.  Somehow, this deepens the mystery for me.

Yes, there are poems dedicated to various people.  No elegies, one of my credos as a poet is to try to honour some of my friends’ birthdays.  I sent Angela Merkel (Left) a gift copy, as a poem for her birthday, “Poem for Angela’s Birthday, 2016” is included [page 15].  Bless her, I received a reply.


I wish to finish with words from my long-time friend Thom The World Poet (Right) [he Googles]:  Michael Fitzgerald-Clarke may be known to you largely through his poetics-several tomes of original works and more Anthologies he has curated.  His luminaries include Keats and those Romantics-but his spirit belongs to Thomas Merton.  What is special about Michael is his spirit-based wordworks.  His faith and trust animates his immense creative spark. Not since Gerard Manley Hopkins has such a brave and necessary alignment taken place
His continuing creativity is to be supported, encouraged and applauded.

With much respect
Thom(poet)

Michael Fitzgerald-Clarke email

The House of Prayer and Spirituality Webpage

Thomas Merton Center

The Practice of the Presence of God and the Spiritual Maxims

Thom The World Poet Web Page

The Underground Stream order via Lulu