Oscar Oswald

Once it begins, the score is obvious.
White vines with wildflowers spring
along the fence, our center. Syntax folds,
the ballot shrinks into a coin and flips
the dews suspend us and we kiss ourselves
and cannot touch our noses. I love listening.
What awful noise, that is the bride's a bride
where we are minor, swift. I bless our fence.


Ornamental light. Who's there, a pox
to love's decay, a day away from day?
As proud participants – a sampled weight
of bleeding ray? Her curfew crushed the world.
Then it was richer, a corridor to heaven
equivalent and loved, an encore. Dove.


Where we have history, there is insistent
garnishing with parsley, evenings
of famine, a starlet's bra removed
by scientists in drag. And there you are,
Amaryllis, whose duck-duck-goose unrolls
calling us to wonder. Love's sacred bunker.


There are many greens. The machine
is self-sufficient. And here I pipe a drop
in pressure. Ancillary, I drive below
the ether, slipping stony thoughts.
"What's alive is lovely," "Like patterns over
time." Shorelines the aspen flutter, revive,
cool beneath some clouds, I sample
Walden Pond this global noon. I say Amaryllis
with binary effectiveness:open
sesame,             repeat,          open season
for the sake of Battus.                  Repeat:
Battus. Amaryllis, let speak my eyes.
from the book IRREDENTA / Nightboat Books
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Battus is a pastoral figure, as is Amaryllis. The poem is a system of pastoral parts, including the pastoral bouts of love and loss—always radical and total, self-destructive. It is the oldest poem in my book, and its vehicle is sound. The rest of "Irredenta" is grounded in the Mojave and New Mexico. I was thinking of America as a nation of deprivations, and this led me to the dispossessions of love and land throughout pastoral literature.

Oscar Oswald on "Battus (To Amaryllis)"
"Martín Espada: Stacks of Books, from Poetry to Photography"

"I have more than 3,000 books. They are everywhere. One of the things poets do is trade books, so I've got hundreds and hundreds of books that I have swapped over the years. I'm a stacker for sure. I have a table for books in my living room."

via BOSTON GLOBE
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What Sparks Poetry: 
Aaron Anstett on James Wright's "Eisenhower’s Visit to Franco, 1959"


"This poem, at once narrative, lyrical, and political, led me to more James Wright poems and to Spanish poets beyond Machado, particularly in the bilingual anthology Roots and Wings, which I discovered in my high school library along with the still-powerful Hayden Carruth anthology, The Voice That Is Great Within Us. From there followed a continuing lifetime of delight, bafflement, and discovery in poems."
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