Laura Cresté
After we leave New York, I read a book about how to not
                 let the internet destroy my brain. I think
                                   the answer is to have been raised in California,

to be a completely different person. At home
                 people clap every night for healthcare workers.
                                   They clap like someone who's seen their friend's play

or flown in a plane when planes were still new.
                 I call it sweet but don't know how to judge
                                   public gestures, like when after the towers fell,

after our mother pulled us out of school,
                 my little sister chastened me:
                                   "You shouldn't be reading right now."

My friends take me canoeing in the Housatonic River,
                 where the drought is obvious, water low
                                   and undressing the downed trees.

Steve noses his canoe through narrow channels
                 of branches. I break through brutely, scraping
                                   the belly of the boat against water-softened

trunks while a beaver slaps toward us, as if injured.
                 Steve says she's luring us away from her babies,
                                   den entrance exposed by the dropped waterline.

I'd like to be able to look at a thing and know
                 what I'm seeing, the way my friend points an oar
                                   at a pile of rocks and sees the trestle it once was.

Spring is working on me. I don't want to
                 change yet, but fawns and goats and all the girls
                                   I knew in high school tell me it's time to have a baby.

I might listen or else settle for a dog
                 so large we name it Bear. When it finally
                                   rains, the house shakes with thunder, wine

glasses chatter coldly and moss on the trees
                 brightens like wet velvet. I think I'm all
                                   right but in dreams my teeth shatter.

The gardeners tell us to weed to protect
                 the new flowers. Every time I hear that word
                                   I remember teenage friends—boys blowing pot smoke

at a spider trapped in the middle of its web,
                 until it seized up and died. When I imagine
                                   children, I want boys who are gentle or not at all.

I pull at crown vetch until there are ticks in the crooks
                 of my arms. Mike says we'll have them whenever
                                   I want. But I want too many things, babies, yes, but also

to eat pizza in the street with unclean hands, unworried.
                 I want to know the world the way my mother does,
                                   sprouting nasturtium seeds on damp paper towels in the kitchen.

I tend my own but cheat, buy them full-grown from the nursery,
                 leaves round as saucers, in the way of daughters
                                   fearing their mothers like them less each year we grow older.
from the journal AMERICAN POETRY REVIEW
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Color headshot of Linda Pastan in 2014
In Memoriam: Linda Pastan

"Liz Rosenberg wrote in The Boston Globe in 1998, reviewing Ms. Pastan’s collection, Carnival Evening: New and Selected Poems, 1968-1998, 'The book is wide, wise, various, sly, sexy, quiet, heartbreaking....The effect of reading this collection reminded me of only a few other modern poets: Robert Frost, in his virtuosity and beauty, and the great Russian poet Anna Akhmatova, in her passion and straightforward honesty.'"

via THE NEW YORK TIMES
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Color image of the cover of the anthology, I'll Write My Way Out, which includes work by incarcerated California writers
What Sparks Poetry:
Nik De Dominic on Teaching Poetry inside Prisons


"I ask students to define a community they’re members of and to list all the language that’s particular to that community and then write litanies, long poetic lists. Students often draw from previous lives. Jobs. Or from the prison itself. The prison then becomes an object of study, the student’s place within it, and through this study, the prison is a site for critique. This is not to say that students aren’t already critiquing prison; it’s that now that critique has value in this space, the classroom."
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