With the Help of Birds
Bill Brown

For to come upon warblers in early May was to forget time and death.
—Theodore Roethke
Every poem of death
        should start
with my mother's love
        for birds.
Finches and waxwings
        her favorites,
though she wasn't
        one to quibble;
an eagle dragging a carp
        across the sky
would do.

There are worse things
        that being dead.
You might be swallowed
        by the daily minutia
of the great mundane,
        to be spit up
years later
        wondering where
your life has gone.

But loving something
        can save you:
the way finches
        stack a feeder,
meddle in each other's
        business until
a woodpecker crashes in,
        littering surrounding
shrubs with wings.

Last summer my wife
        found a hummingbird
on Mount Pisgah.
        Its emerald wings trembled
as its feet tried to grasp
        her fingers.
A ranger said
        that their lives
are so short anyway.
        What a curious reply,
I thought, but later
        reconsiderd.
Perhaps any time
        being a hummingbird
is enough.
from the journal ASHEVILLE POETRY REVIEW
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Color photograph of a dramatic winter sunset
S. C. Flynn's The Color of Extinction Reviewed

In "The Oxygen Makers" we meet stromatolites, the oldest fossils on Earth. Their ancient wisdom insists that 'all we need is time'—time to develop sustainable technology and more respectful ways of living. Time to gift our descendants something more useful than a sepia postcard of despair, 'a world bleached of meaning.' Yet these poems also dare us to challenge this excuse. Perhaps we don’t have time. Maybe what counts is cultivating a more colourful imagination."

via THE GUARDIAN
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Cover image of the Iowa Review issue in which David Gorin's poem was first published
What Sparks Poetry:
David Gorin on Life in Public


"The surface of the moon in winter is a figure for isolation. It could be a happy isolation, the kind that writers and artists often seek to do their work, which we often dignify with the name 'solitude.' Its 'winter' could imply what Wallace Stevens had in mind in 'The Snow Man,' a state in which one sees 'nothing that is not there'—that is, without projection or illusion. But that isolation might also be the kind that isn’t happy. It could be the kind that comes with being close to people in the wrong way, or the one to which you flee when you have experienced wrong closeness, where intimacy is a vector for harm." 
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