Lark
Corey Marks
A stone lodged in the boy's throat.
Why had he even taken it in his mouth?
Hard to remember now—something

about its smell, like rain. Something
about the open field, a distant song,
a sense of the day's never-endingness.

On a lark, his mother would say.
He'd moved the stone inside his cheek,
along his teeth, pressed it against

the roof of his mouth like candy,
though it tasted of dirt and ozone.
It was hard to imagine being on a lark—

such a small thing. The size of his fist,
though finer boned. In the story his mother
read when she used to read to him,

birds were caught in branches painted
with glue. The birds would settle
aud then exhaust themselves battering

against the air that wouldn't open
to them anymore. He imagined
plastic bags snapping in wind.

And now he felt like a tree filled
with larks, his whole body branched
with panic, lashing and lashing.

Meadowlarks lived in the field, he'd
seen them skitter in low arcs away.
Not true larks at all, though

it was hard to think of them as a kind
of blackbird with their yellow chests
and brown-stippled backs.

Still, that's what his book said
when it mattered to him once.
Who named these things? How

did they mistake so much?
He didn't like his own name—
something an old man would be called.

His parents were old. The day
felt old. His mouth tasted
like the ringing inside a bell.

And how little he filled his name
the only one he'd ever own—
it strained away from him. Beyond,

names drifted the field, billowing,
unattached, catching briefly on shocks
of broken grass, a raised lip of stone.
from the book THE ROCK THAT IS NOT A RABBIT / University of Pittsburgh Press
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2024 Ruth Lilly & Dorothy Sargent Rosenberg Poetry Fellows

The 2024 winners, "in recognition of their current and potential future contributions to the field," are Rob Macaisa Colgate, Marissa Davis, Hermelinda Hernandez Monjaras, Chandanie Somwaru, and marion eames white. Adrian Matejka, the editor of Poetry magazine, noted that, "Their poetry is exceptional in both substance and style. It extends beyond the page, too, as they are each dedicated community members and supporters of our art."

via POETRY FOUNDATION
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Cover image for Johannes Goransson's translation of Ann Jaderlund's work, Lonespeech
What Sparks Poetry:
Johannes Göransson on Ann Jäderlund's [Not here]


"The influence between texts seems to flow in mulitple, volatile, anachronistic directions. It’s perhaps even wrong for me to say that the poems are based on Celan’s and Bachmann’s correspondence. The correspondence is one source, but from these letters, Jäderlund’s poetry is brought into contact with Hölderlin, Heidegger, Shakespeare, Rilke and others. Like Manny Farber’s infamous concept of 'termite art,' Jäderlund’s writing 'goes always forward eating its own boundaries.'"
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