Cleopatra Mathis
The design, I see, is extraordinary.
Why watch for hummingbirds when I am caught
by the spider web strung in three layers
outside my kitchen door. Silver linking silver
fence, its chain anchoring one end, the roof’s
overhang studded twice. A geometric pattern,
a trick of the light this hot morning
after a hot night. The net holds
a constellation of tiny bugs, inconsequential
flights that ended here, a white moth
spinning, and as I look closer,
three long silver hairs—my own
I have to assume, migrated from my deck chair
and made pure and purposeful.

I’m in a kind of sleep, so think to free
the fluttering caught thing.
The moth’s wing falls off in my hand.
Poor thing, I tell myself, wake up.
from the book AFTER THE BODY:  POEMS NEW AND SELECTED / Sarabande Books
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Sylised color illustration of Edgar Allan Poe in pinks, purples and grey
Poe and 19th Century Science

"Readers of Edgar Allan Poe’s most famous prose and poetry might be unaware of how often he wrote about science....in the late 1840s, near the end of his life, Poe had established for himself 'a unique position as fiction writer, poet, critic, and expert on scientific matters.'"

via THE CHRISTIAN SCIENCE MONITOR
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Cover of Taylor Johnson's book, Inheritance
What Sparks Poetry:
Brian Teare on Taylor Johnson's Inheritance


"Restless, improvisatory, Johnson favors no single subject matter or mode. They are a poet of theory and memory, of essay and anecdote, of ode and aubade, of self-portraiture and landscape, of deconstruction and sex. Their poems are rangy in form–prose, erasure, projective, epistolary, ekphrastic, even a pantoum and a sonnet–and equally rangy in scene and setting."
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