“You are the light
of the world.
A city
set upon a hill
cannot be hidden” (Matthew 5:14).
Not to mention something you’ve put up online. What’s posted online can’t be deleted or hidden. That is the poet’s dilemma, who craves publication but still has changes, or will have. But that is only a matter or problem of print. Oral poetry, or song, allows, invites, indeed wants variations. Covers. Over time, cities get covered up. The earth rises, and falls.
I assumed the Queen Mob’s Teahouse poetry editor position back in April, taking over from Erik Kennedy, Queen Mob’s second poetry editor, from May, 2015, who followed Laura A. Warman. The gig is volunteer work, of course, as befits any true poetic enterprise.
I first put up, on April 19, three poems by Jax NTP. It was then the idea came to me to use my own paintings as the header images over the poet’s work. I was struck by Jax NTP’s atmospheric, impressionistic poetry. The poems are packed with energetic images changing with the speed of “Highway 61 Revisited”:
“there’s a giant temple on hazard and new hope street
from “how to pivot when you’re paralyzed,” by Jax NTP
blue reptile and green mazing skeletons, keepers of time
how long can you sit there with the pain before you try to fix it?”
And I had just finished a painting, the impressions of which, the symbols within, the colors, the shapes, I thought might complement Jax NTP’s poetry. I don’t mean to suggest any of the paintings necessarily align with the poetry in any literal way. In any case, I continued to look for images within my collection of painting pic selfies for complementary impressions.
Reading and reflecting on Jessica Sequeira’s poems, and later looking for a painting to go with the posting on QMT, I again felt the suggestion with impressions that seems the essence of poetry, particularly of poetical delight:
“The heavens have promised rain for so many days.
from “Eastern Variations, style of Ikkyū Sōjun,” by Jessica Sequeira
I think of waiting for torrents from the white sky.
But it might be a long time. Or this could be a dream.
Taking your hand, I guide it below, to my cloud.”
I selected for Jessica’s poems a painting from last year, “City on a Hill,” a large painting that had taken some time to complete. Again, the setting of the poems and the painting seemed harmonious:
“lakes shine like mirrors
reflecting tall mountainsrainfalls are unpredictable
innocent changes in the divine moodbirds sing into great holy spaces
the wind whistles its replyicy glaciers plunge towards sky
from “My South,” by Jessica Sequeira
green valleys dive into earth”
I had taken numerous pics of “City on a Hill” when a work in progress in the basement studio:
And I used an early draft of “City on a Hill” to go with Ashen Venema’s poetry:
I sit still, watch him thin the oil
from “My Painter,” by Ashen Venema
and restore his long gone love
on canvas, standing in
as the young skin
by the window, sunlit among
lilies, fresh cut, and Persian rugs
casually flung across seats.
Well, the setting of Ashen’s “My Painter,” “sunlit among / lilies,” doesn’t quite align with the basement studio, though things are there too “casually flung.”
All my paintings I eventually give away, to family, friends, colleagues, who show an interest and enthusiasm. “City on a Hill” is hanging in my daughter’s den, looking out upon the backyard. The light in the room is perfect. I just want or hope the paintings have a life outside my basement, where, as Ashen puts it in “My Painter”:
“A blaze of light rims his white hair
from under his thick swirl of brows
black humour hides, and surprise”
After all the work on a painting, which isn’t really work, of course, but play, like the work of much poetry, we just might find a true work of art in what we’ve mostly ignored, in the mess we left behind. That tablecloth, for example, now that’s a work of art!
The Coming of the Toads 