I have a short nonfiction piece published with St. Dominic’s Media. You can read the story here, and thanks for taking a look.
Here’s a speculative poem that seems to fit an autumn theme.
The trees are haunted with ten-thousand eyes,
hanging in the place where leaves should be—
the remains of those who came this way before,
but did not survive in the forest.
They study me as I hike along the path,
searching for an opening to the other side.
I grow weary and stop to rest.
And then ten-thousand eyes blink in unison.
It seems like a signal.
And as I look around,
buzzards and crows fly at me,
then peck away at the flesh.
I fall to the ground and
the birds snatch pieces of me
as they take off in flight.
When I wake up, the sun is shining
and my eyes are now hanging in a tree.
Another man is walking on the path.
I look down on him and
when he looks up at me,
I give him a wink and then close my eyes,
as the birds circle him and dive in to attack.
©2017 Francis DiClemente
(Sidewalk Stories, Kelsay Books)
Here’s a short poem I wrote about the shift of seasons, as we transition from late summer to fall.
Farewell Summer (Apologies to Bradbury)
The death of summer—
as the season wanes.
No more soft-serve
ice cream cones,
baseball games and
giving way to the
birth of autumn.
And you know
what comes next.
pulls Old Man Winter
down from the attic,
sharpens his dentures
and deprives him of food—
until she’s ready
to set him loose
on the world again.
©2018 Francis DiClemente
My late mother’s handwriting. Black Sharpie marks on masking tape stuck to an old Tupperware container.
She wrote this out on August 30, 2011, less than three months before she died from lung cancer. I claimed the Tupperware from my stepfather’s house after her passing and never had the heart or the desire to peel off the tape.
This summer I cooked my mother’s zucchini and green bean stew with onions, Italian seasonings and crushed tomatoes. I don’t have a recipe of hers to follow, but I winged it and it came out edible. For the full effect you need to dunk fresh Italian bread in the juice.
And it was fitting to dump the leftovers in my mother’s Tupperware and stick the container in my freezer. Marking this date, I thought I would defrost the Tupperware today to honor my mother’s memory and enjoy the last zucchini stew of summer.
Yet when I pulled out the container from the freezer this morning, I saw another one, filled with the same stew I made, with my mother’s handwriting on masking tape (also dated 8/30/11), tucked in the back of the freezer. I think I’ll save that one for a frigid night in the middle of winter.
While waiting for an MRI on my left wrist at Upstate University Hospital, as a follow up for my rheumatoid arthritis, I spotted a cheap Van Gogh print hanging on a wall directly opposite from me. The image displayed was Vincent’s Irises (1889), and the text read:
Van Gogh in Saint-Remy and Auvers
The Metropolitan Museum of Art
November 25, 1986-March 22, 1987
Inside the small waiting room, on a wall-mounted TV set, local broadcasters recited the morning headlines and a meteorologist gave the weekend forecast. I paid little attention, instead choosing to focus my eyes on the Van Gogh painting. From far across the room, and taking my weak eyesight into consideration, the slanted vertical green leaves looked like snakes writhing in the dirt; even so, the longer I stared at the image, the calmer I felt. The one word that came to my mind was placid.
I don’t meditate, but I have discovered that good art, like classical music, has a way of centering my thoughts and ushering a sense of peace in difficult and stressful situations. And even a minor MRI can start the brain working on all of the “what if,” worst-case scenarios. So I was thankful that Vincent spent a little time with me in the hospital waiting room before my procedure.
Here’s a better image of the painting.
And after I left the hospital, inspired by Vincent, I captured my own “still life” image.
While perusing for books in the library, I spotted a large volume entitled The Unabridged Journals of Sylvia Plath, 1950-1962. In the few moments I took to scan the 700-plus-page book, I felt like I peered into the troubled soul of the confessional poet and author of the novel The Bell Jar. Plath struggled with depression much of her life and committed suicide in 1963.
The intensity of the language in one of the passages from a section dated 22 November 1955 – 18 April 1956 captivated me, and I thought if you rearranged the sentences in verse form, they would construct a splendid poem. I had no sense of context from where Plath’s agitated emotions sprang, and standing in the library stacks, I felt a great sense of loss about Plath’s life and sadness that she took her unique voice with her to the grave.
Here’s an image of the passage I read:
Plath, Sylvia. The Unabridged Journals of Sylvia Plath, 1950-1962. New York: Anchor Books, 2000.
I recently spotted this scrap of legal pad paper on the ground in the parking lot of a medical complex in Liverpool.
When I picked it up, I read a list of items needed for a kids’ party. Some of things jotted down included: hot dogs, water, sunscreen, juice box, ice cooler and plastic spoons and forks. There was also a reference to yard games, e.g. potato sack races.
On the flip side of the paper were the following notes: “order sheet pizza, order cup cake cake. Emoji. Approx 15 kids. Adults?”
I love stumbling upon these little notes because I feel like I get a glimpse into the person making up the list. Also, I know that if I were planning a party for 15 kids, I would do the exact same thing—make up a detailed “To Do” list. I was curious, however, about the absence of a “bouncy house” on the list.
I recently stumbled upon a short collection of poems by D.H. Lawrence when I went to Syracuse University’s Bird Library to borrow his famous novel Lady Chatterley’s Lover. Amid the works penned by Lawrence, I found the slim volume of verse and pulled it off the shelf.
I thought the worn book might disintegrate as I held it in my hands and turned the pages, and with an original copyright of 1918, its title amused me: New Poems by D.H. Lawrence. The last stamp on the checkout slip is dated December of 1999, so it appears no one else has picked up the book in nearly 20 years.
Lawrence’s poems display sophisticated language with an “Old English” quality to them, and as I read the book, I had to stop several times to write down words that I would later look up on Dictionary.com. Many of the poems were short and possessed a timelessness, as they focused on nature and emotions, which cannot be bracketed by date or era.
Here are a few selections I liked:
I, the man with the red scarf,
Will give thee what I have, this last week’s earnings.
Take them, and buy thee a silver ring
And wed me, to ease my yearnings.
For the rest, when thou art wedded
I’ll wet my brow for thee
With sweat, I’ll enter a house for thy sake,
Thou shalt shut doors on me.
Softly, in the dusk, a woman is singing to me;
Taking me back down the vista of years, till I see
A child sitting under the piano, in the boom of the tingling strings
And pressing the small, poised feet of a mother who smiles as she sings.
In spite of myself, the insidious mastery of song
Betrays me back, till the heart of me weeps to belong
To the old Sunday evenings at home, with winter outside
And hymns in the cosy parlour, the tinkling piano our guide.
So now it is vain for the singer to burst into clamour
With the great black piano appassionato. The glamour
Of childish days is upon me, my manhood is cast
Down in the flood of remembrance, I weep like a child for the past.
These final two poems are ideal for summer reading, and I needed to look up the definitions of the two “p” words that stand out in the verses—primula and palimpsest. According to Dictionary.com, primula is a primrose, while palimpsest is a noun, meaning “a parchment or the like from which writing has been partially or completely erased to make room for another text.” The reference to twilight as a palimpsest suggests night overtaking day.
WHEN I woke, the lake-lights were quivering on the wall,
The sunshine swam in a shoal across and across,
And a hairy, big bee hung over the primulas
In the window, his body black fur, and the sound of him cross.
There was something I ought to remember: and yet
I did not remember. Why should I? The running lights
And the airy primulas, oblivious
Of the impending bee—they were fair enough sights.
Palimpsest of Twilight
Darkness comes out of the earth
And swallows dip into the pallor of the west;
From the hay comes the clamour of children’s mirth;
Wanes the old palimpsest.
The night-stock oozes scent,
And a moon-blue moth goes flittering by:
All that the worldly day has meant
Wastes like a lie.
The children have forsaken their play;
A single star in a veil of light
Glimmers: litter of day
Is gone from sight.
Lawrence, D.H. (David Herbert), New Poems. London: Martin Seeker, 1918.
One of my poems, Black Trees, was recently published in Issue #5, The Poetry Issue, of Spirit’s Tincture, a literary magazine that publishes speculative fiction and poetry. Here it is:
The limbs of the black trees
cradle the roadkill porcupine
splattered against the asphalt.
The leaves of the black trees
whisper to the deceased animal,
telling it: “With the spring rain
your bones, blood, and quills
will flush into the soil
and fertilize our roots.
Your death sustains our life.”
But the porcupine
is long gone from this earth,
snuffed out by a texter or tweeter who
failed to notice it crossing the street.
And the black trees stand erect
as a storm roils in the distant.
They remain impassive,
aware the forces of nature
could target them next—
uprooting their trunks,
shearing their branches.
And the black trees know
they could soon occupy
the same ground
the dead porcupine rests upon.
In celebration of Saturday’s 143rd running of the Preakness Stakes at Pimlico Race Course in Baltimore, Maryland, I thought I would offer a horse racing-themed poem inspired by Charles Bukowski and his penchant for betting on the ponies.
Hanging with Bukowski
I wish I could spend an afternoon
with Charles Bukowski—
drive out to Santa Anita,
watch the horses parade in the paddock,
then head up to the grandstand and
compare theories about breeding,
jockeys, trainers, and finishing times.
But I know he wouldn’t share
any betting tips with me.
I’d ask him: “Hey, who do you like in the fourth race?”
And I can hear him say,
“Screw you man, figure it out for yourself.
I don’t have the answers for you.”
But maybe if I hung around long enough—
if I bought him a hot dog
and a few draft beers,
his tongue would loosen
and his disposition turn.
He’d let me stick around,
and I’d get to see him composing a poem,
scribbling notes in the margins
of the Daily Racing Form,
flashes of images preserved,
like the glistening muscles of the horses,
or the curves of a tan woman
wearing an orange sundress
and standing along the rail.
Maybe after the last race
we’d go out to a bar
and have a couple of drinks,
maybe meet some women
and take them back to his place.
He’d fry some eggs or make sandwiches,
and we’d drink some more,
while listening to
Mozart or Beethoven on the radio.
This is how I imagine
I would spend the day with Bukowski.
But since the social interaction is not possible,
I will seek out Bukowski
in the pages of his books.
There I will discover the writer
who rises above the legend.
The odd jobs and shabby apartments,
the drinking, gambling, profanity, and women—
they entice readers, draw them in
like a trailer for a summer blockbuster.
But once there, you’re hooked by the stories,
the prose and poetry of a man who
sacrificed everything to express his art.
And what he had inside
is now stored for us to review,
volumes upon volumes
in any public library.
I will keep reading,
cracking open Bukowski books,
and saying “hello” to my friend.
And maybe I’ll spot his ghost
the next time I go to the track.
I may even place an exacta bet on his behalf.
But he would probably complain
about the horses I’d pick.
“Jesus, you wasted six bucks on those nags,”
he would say.
“You don’t know your ass
from a hole in the ground.
Next time don’t do me any favors.
Stay home if you’re gonna blow money like that.”
©2017 Francis DiClemente
(Sidewalk Stories, Kelsay Books)