Sketchbook Call for Poems; Mr. Davis, Mr. Roethke, & Mr. Gilbert

Miles Davis

A call for poems opens things up today from the online publication Sketchbook. Carefully read the guidelines and I would suggest you go to their website to get a feel for what they use and an idea of all the many things they do.


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Sketchbook
A Journal of Eastern & Western Writing Forms

Announcing May / June "Sunflower(s)" 2009 Kukai

The May / June 2009 Kukai theme is "sunflower(s)" . Use the exact
words "sunflower(s)" in the haiku. No more than a total of three
haiku may be submitted. Haiku submitted to the kukai should
not be workshopped, appear on-line in forums, or in print.


Haiku

Author, Country

To: kukaieditor@poetrywriting.org
Subject:sunflower(s) kukai

Submissions: Friday, May 01, 2009 – Saturday, June 20, 2009
Midnight.

Voting: Sunday, June 21 - Sunday, June 28, 2009, Midnight.

The results will be published in the Tuesday, June 30, 2009
Sketchbook.

Recent letters to the Sketchbook editors and discussions on
various forums indicate that some assumptions about a kukai
must be spelled out. From now on (April 1, 2008), Haiku
entered in the Sketchbook kukai must be previously unpublished;
they must not be workshopped; they must not appear on any
ist, forum, group, blog, or in print. In short, if the haiku has
appeared on the internet or in print we consider it to have been
published. The voting in a kukai is anonymous and publication
anywhere voids anonymity. Any haiku found to be previously
published will be disqualified.


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Celebrate Theodore Roethke's birthday reading his poems here

In addition, Garrison Keillor gives an overview of Roethke and reads a great poem from Jack Gilbert's Refusing Heaven, entitled "Happily Planting the Beans Too Early" in today's Writer's Almanac. I tried embedding it without any luck, so here's the poem:

Happily Planting the Beans too Early

I waited until the sun was going down
to plant the bean seedlings. I was
beginning on the peas when the phone rang.
It was a long conversation about what
living this way in the woods might
be doing to me. It was dark by the time
I finished. Made tuna fish sandwiches
and read the second half of a novel.
Found myself out in the April moonlight
putting the rest of the pea shoots into
the soft earth. It was after midnight.
There was a bird calling intermittently
and I could hear the stream down below.
She was probably right about me getting
strange. After all, Basho and Tolstoy
at the end were at least going somewhere.

Jack Gilbert

It's also Miles Davis day and I'm unabashed fan, of all periods. So here's something newer, live in Munich in 1987, with apologies to classic fans; my feet are, however, moving now.

spring breeze--
where my feet are pointed
I'm on my way

Issa
translated by David Lanoue

best,
Don

Sharon Olds

Here's a powerful poem by Sharon Olds, featured last week on The Writer's Almanac, in case you missed it.

My Father's Diary

When I sit on the bed, and spring the brass
scarab legs of its locks, inside
is the stacked, shy wealth of his print.
He could not write in script, so the pages
are sturdy with the beamwork of printedness,
WENT TO LOOK AT A CAR, DAD IN A
GOOD MOOD AT DINNER, LUNCH WITH MOM,
TRIED OUT SOME RACQUETS—a life of ease,
except when he spun his father's DeSoto on the
ice, and a young tree whirled up
to the hood, throwing up her arms—until
LOIS. PLAYED TENNIS WITH LOIS, LUNCH
WITH MOM AND LOIS, DRIVING WITH LOIS,
LONG DRIVE WITH LOIS. And then,
LOIS! I CAN'T BELIEVE IT! SHE IS SO
GOOD, SO SWEET, SO GENEROUS, I HAVE
NEVER, WHAT HAVE I EVER DONE
TO DESERVE SUCH A GIRL? Between the tines
of his W's, and liquid on the serifs, moonlight,
the self of the grown boy pouring
out, kneeling in pine-needle weave,
worshiping her. It was my father
good, it was my father grateful,
it was my father dead, who had left me
these small structures of his young brain—
he wanted me to know him, he wanted
someone to know him.

Sharon Olds

best,
Don

Anne Sexton on Writer's Almanac

For those unfamiliar with Anne Sexton, whose Selected Poems is on the "Near Perfect" list, there is this, from this morning's Writer's Almanac:

Locked Doors

For the angels who inhabit this town,
although their shape constantly changes,
each night we leave some cold potatoes
and a bowl of milk on the windowsill.
Usually they inhabit heaven where,
by the way, no tears are allowed.

They push the moon around like
a boiled yam.
The Milky Way is their hen
with her many children.
When it is night the cows lie down
but the moon, that big bull,
stands up.

However, there is a locked room up there
with an iron door that can't be opened.
It has all your bad dreams in it
It is hell.
Some say the devil locks the door
from the inside.
Some say the angels lock it from
the outside.
The people inside have no water
and are never allowed to touch.
They crack like macadam.
They are mute
They do not cry help
except inside
where their hearts are covered with grubs.

I would like to unlock that door,
turn the rusty key
and hold each fallen one in my arms
but I cannot, I cannot.
I can only sit here on earth
at my place at the table.

Anne Sexton

This encapsulates so much of her profound work, vacillating between child-like fable and hellish nightmare, all in modern vernacular, this time with a somewhat uncharacteristic wish for redemption.

As powerful as it gets ...


best,
Don

William Butler Yeats

As mentioned this morning on The Writer's Almanac, today is the birthday of William Butler Yeats. They have three excellent short poems by Yeats at the site. In addition to those, I'd like to add this one:


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The Coming of Wisdom with Time

Though leaves are many, the root is one;
Through all the lying days of my youth
I swayed my leaves and flowers in the sun;
Now I may wither into the truth.

William Butler Yeats

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In addition, here is an audio of Yeats reading "The Lake Isle of Innisfree."

best,

Don



Note: If you would like to receive the two current issues of Lilliput Review free (or have your current subscription extended two issues), just make a suggestion of a title or titles for the Near Perfect Books page.

Kooser's Valentines, Franz Wright, and Charles Simic

Had email from a local friend recommending some recent work by some of my current favorite poets. There is a new poem in the current New Yorker by the always interesting, deeply resonant Franz Wright, entitled The World of the Senses. The current Virginia Quarterly Review has 4 poems by Charles Simic featured, as well as an archive of things they have published by him, 3 of which grabbed me: An Address With Exclamation Points, Meditation in the Gutter, and House of Cards. All of them are well worth a look.

Someone I haven't connected with yet, until this month, is Ted Kooser. I'm not sure why; perhaps I had typecast him as a typical Midwestern poet, someone whose subjects and sensibilities are not things that often show up on my radar. In some recent reviews, I read about his latest collection, Valentines, and was intrigued. So when a copy came in for our "International Poetry Collection" at the library, I grabbed it. As he explains in his author's note, Kooser tells how he began sending out annual Valentine poems in 1986 to at first a select group of 50 women, the poems being printed on standard postcards. 21 years later, his list had burgeoned to 2600 and, he implies, all the printing and postage was getting to be a bit much. So the last card went out in 2007 and this book collects all the poems together, with one last one written especially for his wife.

The work in Valentines at once celebrates and transcends the genre of occasional verse. The poems are, of course, all relatively short since they were originally published on postcards and I have the feeling that different poems here will appeal to different people. I thought these two were quite good:



For You, Friend

this Valentine's Day, I intend to stand
for as long as I can on a kitchen stool
and hold back the hands of the clock,
so that wherever you are, you may walk
even more lightly in your loveliness;
so that the weak, mid-February sun
(whose chill I will feel from the face
of the clock) cannot in any way
lessen the lights in your hair, and the wind
(whose subtle insistence I will feel
in the minute hand) cannot tighten
the corners of your smiles. People
drearily walking the winter streets
will long remember this day:
how they glanced up to see you
there in a storefront window, glorious,
strolling along on the outside of time.




A Map Of The World

One of the ancient maps of the world
is heart-shaped, carefully drawn
and once washed with bright colors,
though the colors have faded
as you might expect feelings to fade
from a fragile old heart, the brown map
of a life. But feeling is indelible,
and longing infinite, a starburst compass
pointing in all the directions
two lovers might go, a fresh breeze
swelling their sails, the future uncharted,
still far from the edge
where the sea pours into the stars.



Needless to say, my sensibilities have been duly corrected and expanded. This delightful volume from the University of Nebraska Press is marvelously illustrated by Robert Hanna. If you are a Kooser fan, it is a must. If not, check it out and you might soon be.

Once again congratulations, go out to Jay Leeming; this morning The Writer's Almanac featured a wonderful reading of one of Jay's poems, Man Writes Poem. As noted previously, Jay has had 3 poems published in past issues of Lilliput Review.

Seems there is lot of poetry info this week, so here's one last note. Well worth reading is Robert Pinsky's column in Slate entitled Why Don't Modern Poems Rhyme Etc., in which he tersely answers typical questions about poetry with poems by William Carlos Williams, Marianne Moore, Edgar Guest, Allen Ginsberg and more: no clunky exegesis for Robert! This will definitely strike a chord with (and perhaps provide a few ideas for) anyone who has taught a poetry appreciation class.

On to our tour of back issues of Lilliput. I've been struggling all morning with Blogger to get this post done and, at the moment, I can't seem to upload images so I'll eschew posting the cover right now (ah, finally got it: covers may be seen below) and go right to the featured issue, #95. #96 is a broadside by Albert Huffstickler entitled Pre-Dawn Cycle and, as such, not excerpt-able, hence the need to skip back to #95. This issue was originally published in April 1998, ten years ago this month. Here's a little taste of what was happening then:

from Poems to Eat and Say (from Octavio Paz)

Glowing butterflies:
one dreaming, one awake; all
of us tossed by wind.

Leonard Cirino

when the treetop sways
a thousand butterflies
stampede in me

William Hart

Quatrain

This moth fluttering against
the window screen. I could go on
killing 'til the end of time
and never be satisfied.

Greg Watson

And this final note from the incomparable Albert Huffstickler:

from Interim Notes

Those beautiful moments
I've sculpted from the past,
chiseling away the rubble
of conflict and sorrow.




best till next Thursday,
Don

Jean Cocteau, Harlan Ellison, & Cid Corman

This past weekend , I fell in love with Jean Cocteau.

I've always been infatuated with him, frankly. His film Orpheus (1949) is one of my all-time favorites; Beauty and the Beast, too, is a wondrous achievement. I had the opportunity to go back and take a look see at the other two films in the Orphic Trilogy (The Blood of a Poet (1930) and The Testament of Orpheus (1959)) and they are truly amazing and should be of great interest to poets as well as film buffs. The dvd versions I took out of the library had some first-class extras; in the case of The Blood of a Poet, the biographical documentary Autobiography of an Unknown, directed by Edgardo Cozarinsky, accompanying the main feature was every bit as entertaining, putting Cocteau's life and career in perspective with heavy doses of the lyric surrealism that infuses all his work. I actually enjoyed it more, it has a polished feel as a documentary that somehow Blood does not have as a film. In many ways, The Blood of a Poet is an early rehearsal for Orpheus; I would actually recommend watching the later first, though it comes "second" in the trilogy. This is not to detract from Blood: it is excellent.

Similarly, The Testament of Orpheus is something of an anomaly as a film. It might stand alone without Orpheus yet it is greatly enhanced by it. It is Cocteau's farewell to film and he gathers together his previous motifs, characters and even actors who played various roles to make his final artistic statement in the medium. There is much humor here; Cocteau himself becomes the main character in the film, a sort of time traveling Orpheus, stuck in modern times. It is nearly as good as Orpheus and a beautiful chronicle of the poet's journey. Another interesting extra is Villa Santo Sospir, which is a 16mm color film shot by Cocteau at the summer home of a friend. It has the feel of a combination home movie and travelogue and focuses almost entirely on the house, which Cocteau painted inside and out with his unique artistic creations, making it a work of art in and of itself. It must be seen to be believed. Here's a brief glimpse to get the flavor:






Sticking with the theme of the artist, a clip of the always provocative, incredibly original Harlan Ellison is making the rounds about the need for a writer to be paid for her/his work. Check it out:






There is, of course, no small irony that the circulation of this clip, an excerpt of the film Dreams With Sharp Teeth, is, perhaps, violating the very principle he so passionately (& profanely, bless him) espouses. So, that being said, the above is being passed along in the interest of the greater good, if there be such a thing.

And, yes, Lilliput being the micropress mag that it is, can only pay in the bane of the poet's existence, contributor copies. Sigh. The layers are thick.

Let the beatings begin.

Before getting to the Lilliput samples, one final bit of news. Longhouse Publishers of Vermont has issued a number of Cid Corman related items, including a new selected poems, The Next One Thousand Years, which I can't wait to see. Bob Arnold of Longhouse has sent along two of his delightful slip card productions of works by Cid: a Rumi translation ("What can I do - friends?) and a work entitled New Proverbs. Here are two from the master, resonating as his work always does:

Any moment
yields as much.


Don't ask more of yourself
than the mirror does.

Cover by Wayne Hogan

Continuing with the theme of the artist's plight and segueing from Wayne Hogan's beautiful cover above, here is the man himself, this time wielding the written word to speak, as always, directly to the point. From #97:



How To Be An Artist

Save all your
string. Save all your
empty paper cups.
Save all your missing socks.
Save all your wasted
words. Save all your Indianhead
nickels. Yes, especially
your Indianhead nickels.

Wayne Hogan

Regarding This Poem

The idea was to put
together as one compelling
composite all those parts you
said you particularly liked from
poems of mine you rejected over
the years but on second thought
would the conglomeration work as a
whole and besides you have a ten
line limit but don't think
that I haven't noticed
the exceptions.

Kenneth Leonhardt

Returning home

after long work
two corbies
and a dove
cut a pale sky.

A second dove
nowhere in sight,
the world is still
too dark. We must

begin again.

Jim Tolan

Obituary

cigar box
(shaken like a rattle):
shoehorn, stubby pencil,
cuff-link.

James Magorian

Till next Thursday,

Don

PS Don't miss Alicia Ostriker's devastating poetic observation of the American psyche, Fix, on today's The Writer's Almanac.

Good News: Jay Leeming

This morning, congratulations go out to Jay Leeming, whose poem, "The Light Above Cities," was read this morning by Garrison Keillor on The Writer's Almanac. Jay's work has been featured twice previously on The Writer's Almanac : on April 10th and April 24th, 2006.

Seems there is just something about April besides National Poetry Month, eh, Jay?

Jay has also appeared a number of times in Lilliput, most recently with two haikus about his father in #149. His most current book Dynamite on a China Plate is published by The Backwaters Press.


Back again on Thursday,
Don

Keith Reid and Cid Corman

Perhaps the single most neglected writer of rock lyrics is Keith Reid, the non-playing sixth member of Procol Harum. Among other non-playing lyricists, there is Robert Hunter of the Grateful Dead and Peter Brown of, among others, Cream. In a post from last year at the old Beneath Cherry Blossoms blog, I placed the Reid penned "Conquistador" side by side with Shelley's "Ozymandias" for comparison and resonance.

Currently, I have the first four Procol albums on my mp3 player and have for the last month or so. It might seem odd to call them timeless; perhaps the more apt description would be out of time. Here are the lyrics from "Pilgrim's Progress," the cut that closes their masterwork, A Salty Dog:

Pilgrim’s Progress

I sat me down to write a simple story
which maybe in the end became a song
In trying to find the words that might begin it
I found these were the thoughts I brought along

At first I took my weight to be an anchor
and gathered up my fears to guide me round
but then I clearly saw my own delusion
and found my struggles further bogged me down

In starting out I thought to go exploring
and set my foot upon the nearest road
In vain I looked to find the promised turning
but only saw how far I was from home

In searching I forsook the paths of learning
and sought instead to find some pirate’s gold
In fighting I did hurt those dearest to me
and still no hidden truths could I unfold

I sat me down to write a simple story
which maybe in the end became a song
The words have all been writ by one before me
We’re taking turns in trying to pass them on
Oh, we’re taking turns in trying to pass them on

In the history of rock, there has been many a concept album; most of them have been noble, if pretentious, failures. The reason A Salty Dog is, in my opinion, the very best is simple; the concept is metaphoric, not literal. To sustain an entire story over a whole album strains believability, mostly because the medium cannot bear the weight (if truth be told, herein lies where many an opera fails, but, of course, that's not the point: so, too, rock fans might argue with, perhaps, less credulity). But the subtle art of suggestion, one of the writer's most powerful tools, within a loose conceptual framework is what gives this album its incredible power, a staying power that only grows over the passing years. Because A Salty Dog, magnificently executed by a fine band at the top of its game, is quite simply one man's story: the story of one particular writer.

Keith Reid.

The enigmatic quality of "A Whiter Shade of Pale," with its allusion to Chaucer's Canterbury Tales, has often stumped the casual listener of popular music. The allusion in "Pilgrim's Progress" is even more overt. The words "anchor" and "pirate's gold" tie the song to the overall concept, but no one would mistake this for a song about anything other than a metaphoric salty dog. This album smokes; if you can listen to "Crucifiction Lane" without a wince of recognition, you're a better person than I.

I was very happy to see this week that Garrison Keillor is doing his bit to keep the memory of Cid Corman alive. Check out his rendition of "Someone I cared for" by Cid from Monday's The Writer's Almanac.

Long live Cid.

Cover art by Keddy Ann Outlaw

The ongoing tour of past issues of Lilliput Review brings us to #145. For those following along, #144 is a broadside by Christien Gholson entitled Spiral, that does not lend itself to excerpting so has been skipped.

Enjoy.

The Arrival
We have arrived without luggage
in a country we don’t recognize
among people who distrust us
where the walls have no windows
and the doors open only
for the chosen. We are home at last.

David Chorlton

moist petals open,
the tumor blooms

Karen R. Porter

cutting glass
the guy in the neat suit
picked his way into a part
of the mirror & began
to see everything backwards.

Guy R. Beining

The short space
between the joints
growing along the Naniwa shore
- may the time before
your next visit be as brief

Princess Ise
translated by Dennis Maloney & Hide Oshiro

Till next week,

Don

Brautigan Drives on Deep into Psyche

I was all set to put up a post about Gerald Stern (it would begin “I’m in love with Gerald Stern”) when, thanks to The Writer’s Almanac, I realized yesterday was the anniversary of Richard Brautigan’s birth.

I can’t think of anything more momentous for the small press than Richard Brautigan’s birth. In fact, I can’t think of anything more lyrically momentous than Richard Brautigan’s birth when it comes to the legacy of that flower generation. You know who you are out there: bankers, lawyers, cheats, lovers, cowards, colleagues, lechers, thieves, poets, screamers, corpses, parents, betrayers. There was a moment in your lives, all your lives, when, briefly, in your field of vision, in the middle distance, everything coalesced; it all made perfect sense, there, there it is: and like a wisp of scent, it wafted off.

Gone.

Richard Brautigan, gone. What he left behind has been praised, ridiculed, despised, laughed at, admired, wept over, and, most tragically, forgotten. Among others, he was the reason that an entire generation of men let down their guard. What a thought! How many took up the pen when they realized they could say, with varying degrees of proficiency, what they felt rather than what they knew. Imagine that!

Imagine.

So, I scurried off to my bookshelf to leaf through my collection of Brautigan poesy for something momentous to post and, lo and behold, it’s almost nowhere to be found. Just two copies of Rommel Drives on Deep into Egypt and a copy of Loading Mercury with a Pitchfork. This is what happens when you decide to patch some plaster and the next thing you know, you are painting two rooms and moving everything around, including the floor to ceiling books that were stuffed into said rooms. In a panic, I head off on the net only to discover, at brautigan.net, that his poetry collections, annotated at that, are all up and online. The presentation isn’t very appealing but it is what it is: the work. I highly recommend you knock yourself out. For some it will be nostalgia, for others, truth.

I believe, for me, the word is love.

Well, I can hardly continue without at least one Brautigan gem, to entice you toward the others. From Rommel …

Feasting and Drinking Went on Far into the Night

Feasting and drinking went on far into the night

but in the end we went home alone to console ourselves

which seems to be what so many things are all about

like the branches of a tree just after the wind

stops blowing.

This week’s featured back issue of Lilliput Review is #142, published in January 2005:

Artwork by Wayne Hogan

between

breathing

in

&

breathing

out

everything

else

Ed Baker

Pacifist

Another good day.

No one wanted my life

and I returned the favor.

Carl Mayfield

Pencil Sharpener: Hand-Held

Dunce cap with a razor crease

Thin plastic on the outside,

but the cone recedes

to infinity. Perhaps there is

a tree of knowledge. You

get wood shavings, lead dust.

Mark Cunnigham

fronds, their dog, balm of gilead

stories unfold in the ferns

if you know how to find them

and pick with respect

you can live on what you hear

and never go hungry

and never get full

Patricia Ranzoni

I’d like to think that Richard would have liked these poems. Very much.

Till next week,

Don

Robert Service, Jean Shepherd, & Gary Hotham

Artwork by Guy Beining

As inevitably happens from week to week, I think of something to share and, in the press of getting other things done, forget some detail or other. One thing I really wanted to post last week relates to the recent anniversary of the birth of Robert Service (January 16^th). Though I’m not much for narrative poetry, the uniqueness and power of the work of Service is something it would be foolish to ignore. As with all great poets, Service had an insight and overwhelming empathy with the human condition; yes, empathy, because, I believe he wasn’t particularly happy about it but he knew it to the core, not unlike Bukowski, the subject of last weeks musings.

In any case, what rescues Service from morose oblivion is humor; an overriding, abundant, dark, deep sense of humor. So, for his birthday, here is a real treat: a dramatic reading by another student of the human condition, radio monologist and raconteur of many an obscure topic, Jean Shepherd. Admittedly someone who is little known outside the New York metropolitan area (aside from the adaptation of his work in the holiday perennial A Christmas Story), Shep was something of a rite of passage for the young in the late 50’s and early 60’s, one of the last threads to old school radio. He had a soft spot for poetry in general (he once did a whole show reading haiku translations of the masters, deadpan, with “Oriental” music wafting in the background, to somewhat limited success) and Service in particular and, on odd nights when in a certain mood, he would break out the Service and regale the WOR airwaves with tales of the Yukon. So, in celebration of Service’s birthday and in concert with the recent cold snap that has much of the country longing for a little heat not unlike ol' Sam McGee, here is The Cremation of Sam McGee. For more Shepherd, unexcerpted from his natural environment, see the archive of shows Mass Backwards, by Max Schmidt of WBAI, which has a permanent link at the bottom of the sidebar on this page.

I’ve received news that Gary Hotham’s Missed Appointment has been reviewed in the British magazine Presence. Here is a copy of that review by Matthew Paul:

Missed Appointment, Gary Hotham

22pp, $4 inc. postage ($3 within USA).

Cheques payable to Don Wentworth, from:

Lilliput Review, 282 Main Street, Pittsburgh, PA 15201, USA

Gary Hotham has been writing haiku for four decades and his economical style is one of the most distinctive within the homogeneity that comprises much of the English-language haiku published today.

In a brief introduction, Hotham approvingly quotes the belief of Billy Collins, the American 'mainstream' and haiku poet, that haiku contains "a very deep strain of existential gratitude" and that "[a]lmost every haiku says the same thing: 'It's amazing to be alive here.'" This 'Modest Proposal Chapbook' of just 15 haiku exemplifies Hotham's ability to be absolutely in tune with what it means, at any given time, to exist. Quite simply, and in plain language adorned only by mundane adjectives, Hotham writes about things that most haiku poets would overlook:

no where else

but the next flower---

afternoon butterflies

over the parade---

a window no one

looks out of

Whether other writers would ignore such subject matter deliberately or merely by not paying enough attention to the world around them is open to debate. Hotham certainly attunes himself and his readers to moments which, rather than being vitally significant, could be considered trivial, perhaps to the point of banality; but, for my money, the humble and persistently downbeat nature of these poems is admirable in a small dose such as Missed Appointment provides. In longer collections of Hotham's work, though, I'd need a dollop or two of verbosity to offset and lighten the minimalism.

Whatever the merits of his style, one fact about Hotham surely cannot be disputed: that he writes excellent, poignant senryu, two of which I'll end with:

farewell party---

the sweetness of the cake

hard to swallow

Dad's funeral---

the same knot

in my tie

Review by Matthew Paul

This week, the following poems are from LR #141, from January 2007. If anyone is following along, you might notice I’ve skipped #140. #140 is a broadside by Alan Catlin in honor of Cid Corman, entitled “For Cid.” It is a 7 poem collection of short, delicate work which would not be served well by excerpting, though many of the poems stand well alone.

Roethke wrote:

It will come again.

Be still. Wait

How to embrace the stillness.

How to wait with grace.

Pamela Miller Ness

pollen-heavy

a bee easily clears

the headstone

LeRoy Gorman

What is there

before or after

experience?

Everything waits in the dark

for you to say,

Come in.

David Lindley

My heart is torn

since I’ve seen you.

Like the watermark in Osaka Bay

I measure my life

waiting to meet you again.

Princess Motoyoshi

translated by Dennis Maloney & Hide Oshiro

Finally, let me recommend this morning’s poem on The Writer’s Almanac: “How to Kill” by Keith Douglas, who died in the Normandy invasion. It puts a human face and sensibility on the deaths that continue today as war rages on.

best,

Don