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Lauren Camp
I had plundered past nervous. A tense Walmart truck clanging the interstate. Smoke
gnawing the face of some mountain. America, aromatic

with ravages. In schism. Sacrificed. I stayed
woke most nights near the door. Occupied with every handle. Four years

my father had gone from corridor to quiver and I mustered my saddle
to get to him often. Four years of crinkled conversing.

Yes, and ginger. I shivered through rooms
of my home in the desert with its stoic astonishments

and took on some needles. I couldn't settle the ache.
The curt country and my family. Every ache size, every shape.

To reset, I've come to the distance, to watch the ocean repeat
how to unfinish. I brought with me a light jacket and a thick book

about Agnes Martin. I'm not sure
why I packed it, what it celebrates, but I know the artist

and her simple lines against excess. Know she made
sacred an emptiness. Maybe I'll hear thin strands of refuge

apart from the chaos that circles. What I want
is nothing. No meaning, no matter, no more. I've run away

with the most fragile questions. Haggard
in a small room big enough for a bed

with its modest blanket. I let my watch doze on the sill.
Minor details hurtle over grasses. A windribbed fence.

The land around me tugs. I don't know it. Fog covers.
Blank space consumes me.

I figure every day I'll navigate to the tail end of this small town
with its translucent leavings. What I want to figure out

is what could be in the neithers. I am entering
a conversation with Agnes for no reason I yet understand. I am not looking

to rivet to her, but to be extracted
from the sharp cuff of politics, of dementia-tweaked presence, of the gravity

of a future that keeps rolling toward me. How do you recover
from a decisive wound? A line, a line: it never leaves you.
from the book AN EYE IN EACH SQUARE / River River Books
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“Must Learn Neither” is the first poem in "An Eye in Each Square." Agnes Martin intended her compositions of light pencil lines and bands of quiet colors to show innocence, love, happiness and other emotions. These open spaces taught and settled me at a difficult time. As Martin said, "If you stop thinking and rest, then a little happiness comes into your mind. At perfect rest you are comfortable." Don’t we all need more of that?

Lauren Camp on "Must Learn Neither"
Color headshot of poet Carl Phillips standing in a cloister
Carl Phillips on the Power of Poetry

"A poem is made of patterns and the meaningful interruption of those patterns. There is sound. There's diction. A certain word might keep recurring. A certain image could come throughout the poem at different moments. And the artistry of writing a poem is getting those patterns to work in such a way that you condition the reader's expectations and you meaningfully disrupt those expectations at different points.

via PBS NEWSHOUR
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Cover image of Sara Nicholson's book, April
What Sparks Poetry:
Michael Joseph Walsh on Sara Nicholson's April


"Maybe what Nature and Art have in common is their amenability to being read—the fact that both can be the object of lectio divina, the contemplation of the 'living word.' In April the gods have left us, but Nature, like poetry, is being written, and can be read. The world is a poem, or a painting, and a poem, in turn, is the world, or at least a world (an 'imaginary garden with real toads in [it],' if you will)."
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