Two of My Latest Published Poems

Following up on my last post—Three Poems to be Published—I can now post two of them, below. (Once a magazine comes out, the rights revert back to the author). The first is from the magazine Constellations; the second, from the British magazine Seaside Gothic.

The One-Time Grandma

Was only four
the one time ever
she came to see me

brought me a truck
filled with hard candy
doors opened, tires rolled

just this one gauzy image—
her abundant, smiling face
craning down to me

a face that held a theater
I couldn’t know
of cobwebs and cold corners

of unpainted pain in triplicate
and difficult wishes boiling in pots
on an ancient stove

ears that held the screaming
of her sister being raped
over and over
by a mob of men

and of distant death
and death too close
at the hands of thugs and militias

hate, rape, thievery and murder
in the pogrom of 1905
as it had been for Jews
for millenniums

What Happened When We Emerged from the Ocean, Anyway

What happened when we 
emerged from the ocean, anyway
returned from eternity
and the Moses shores

Reborn in the Jersey lights— 
the high sheen of industrial
blood and glitzy sin

Here on the boardwalk
where kids fly across lit towers
and lizard eyes spy from wild rides

The wooden coaster tattoos 
the horizon like a snake goddess,
great wheels topple to the music
of clatter and screams

A cavalcade of plush figures,
necklace of chance stands and fry huts,
where lunatic visages frame dark portals 
with invitations to cheap seduction 

Ghosts of Freud and Coney Island
yet watch from the grandstands
play Fascination with Madame Twisto 
and the Mule-Faced Boy

Ten-wheelers tear the ancient sands
flowers show from the boxes
of jeweled motels where Jews
and Italians once shared radio songs 
of Rosemary Clooney and Johnnie Ray

Three Poems to be Published

Recently, a number of my poems have appeared or are forthcoming in highly-regarded literary magazines, including Constellations (The One-Time Grandma), the British magazine Seaside Gothic (What Happened When We Emerged from the Ocean, Anyway), and Slipstream (An Accidental Song for the Sacred and the Profane).

While I don’t have the rights to reprint most of these poems at this time, I think the stories behind them make for good reading, nonetheless.

The stories behind two of these titles surround my experiences as a four- or five-year-old boy.

In The One-Time Grandma, I recall sitting on the floor at age four with this gauzy image of my father’s mother craning down to greet me, offering a toy truck with wheels that rolled, filled with hard candies. Mysteriously, it was the only time she visited us. I never did learn why.

In An Accidental Song for the Sacred and the Profane, I’m playing in the little backyard of our two-story house in the Bronx, surrounded by brick apartment buildings. It’s a warm day in spring when I notice this beautiful woman in a diaphanous nightgown slowly brushing her long red hair at an open second-floor window, not 30 feet from me. What was a boy of five to make of such a sight? At the same time, an old Jewish man is davening at an open second floor window of another apartment building. When such a devout man is davening, he rocks to and fro while singing prayers, “nasal strains rising and falling and rising again.” Thus, An Accidental Song for the Sacred and the Profane.

In addition, I’ll post the entire poem What Happened When We Emerged from the Ocean, Anyway in a few days.

‘Poet in the City’: the Lost Gem

The following is from Mat Danks’ Excavation Tape Project, which attempts to unearth previously undiscovered musical gems:

Excavation Tapes #267: ‘Poet in the City’ by Allen Shadow

kks-album-cover Wow, this is dark. And very cool. Listen here.

It’s a creeping, haunting yomp over some brilliantly bleak, industrial clangy instrumentation. Perhaps, like a gothic take on John Cooper Clarke with some pretty obvious touchpoints of Nick Cave and Tom Waits.

It’s from a 2002 album called ‘King Kong Serende’ and a bit of digging into Allen Shadow (see his blog here) suggests he’s a bit of a renaissance man. His Twitter bio states: “Novelist Allen Shadow (aka Allen Kovler) is also a music artist, poet, journalist & PR pro (APR) who blogs on writing, music and politics.” Which is what we like here on the Excavation Tapes.

If this project is all about unearthing really interesting and brilliant material lost in the banal mainstream crossfire, then we’ve got ourselves a gem here.

–Mat Danks

‘Wrecked Nash’

Upon viewing this beast, this tank, this dream of a car at a local auto show, I knew it was time to reprise this poem from my recent chapbook, “America, I’ll Have My Way With You,” followed by a rumination on the original experience, which appeared in a post here on 3/9/10.

Nash_Full Car

In the Wrecked Nash

Big stand of day lilies
in the July morning
the time when the trees
begin to hang
 
the country taxi
takes a bend on 23A
headed up the mountain
 
I was nine the summer
in Mahopac when the ambulance
came and took old man Figarelli
the guy who threw
hot water on the dogs
humping on the gravel roads
of the bungalow colony
 
later me and Leif
sat among the hornets
in the wrecked Nash
that listed in the weeds
 
we had the front seat
and the world
all to ourselves
the huge plastic wheel
the split windshield
the hot seats
 
we could make up anything
excursions to distant states
being Audie Murphy
home runs a mile high
deadmen flying through the trees

From ‘The Hot Ride’ (3/9/10)

A heat bomb hit me when I slid into my Chevy today, a welcome rapture after an icy winter in upstate New York. It took me right back to the tireless Nash that was heaped among the weeds in my boyhood, nested among toads and copperheads in a bungalow colony in Peekskill.

A James Deanish boy named Leif was my summer partner in crime. He was the true grit country boy, I, the city kid learning the ropes. We were just short of teenage, and that mechanical skeleton was our rocket to the moon.

We sat in the stultifying July sun, hornets circling; our souls exulted from the dusty upholstery scents as we took turns behind the hot steering wheel, the battered speedometer feeding our imaginations. The cracked and crazed sheet metal became a time machine, taking us on far journeys through states that were as yet unknown. Our young hearts baked and burned. Turn after turn, we explored, as if mapping out the rest of our lives.

I have no idea what happened to Leif after that summer. Year after year, my own soul baked on: in my father’s Studebaker, Dodge; in my first car, a 1948 Cadillac hearse. That black monolith took me to California and back twice, tracing every road I had imagined in that magical Nash.

It persists. I’ve since traveled the back roads of most states. I continue the journey every chance I get: Cross Creek, Savannah, New Orleans, Pueblo, Greensboro, Kansas City, Staunton, Barstow, Albuquerque. Somehow, it’s always just beginning, when the sun enwraps you behind the wheel.

America is in my blood, my bones, as evinced in my writing.

Windy Hill

There was the country road
went on forever
me and Leif hurling rocks
swinging sticks
on the way to town

Weeds all sweated
gravel in our sneaks
Fords occasionally
even a Packard
long enough to make us dream
would the girls all be pretty as Renee
would we fly

Dusk back at the bungalow colony
Pete the jockey took us out on Thunder
bareback in the fields
nothing but the night birds now
Vesuvius beneath us
and the orange sun

Note: Windy Hill is part of my poetry series on summer.

Elegy for Claude

We did take the world
Didn’t we, Niño?
Took all the dim bar light
And made it sing
Didn’t we, Niño?
Made the girls call our name
At least some of time
Didn’t we, Niño?

And even dared take the city lights
And bend them into dreams
Didn’t we, Niño?
And in the end
Knew for sure
How the gleam in your eyes
Would simply go on forever
We did know that
Didn’t we, Niño?

Claude Haton

Claude Haton


R.I.P. Claude Haton
My little brother
November 1, 1955 to July 19, 2014

Note: A benefit concert in Claude’s honor will be held August 1 in Cairo, N.Y. (proceeds go to scholarship fund for local high school students).

The Red Apple Rest

Took a wrong turn and ran smack into my past: The Red Apple Rest, a way station for city travelers on their way to the Catskills, abandoned now for nearly 30 years. Had no idea she still existed.

The Red Apple Rest

The Red Apple Rest

Beautiful in her ghostly repose, she inspired this poem:

THE RED APPLE REST

Came upon her by accident
and as surprised as when
she loomed up at us
as we breached that far hill
in the Studebaker

The Red Apple Rest
that boyhood vision
ship-like
in all her sweeping glory
magic oasis for urban escapees

Snack bar windows yawning
for the idling Fords, Mercs and Greyhounds
engines hotter than Venus
dogs, malts, pastrami
loudspeakers and mothers’ calls

Free to roam and exult for a time
gape at the oddities
men with beards
girls with midriffs
until back in the oven car
stuffed with pillows and dishes
and dreams of an endless summer

 

Ode to the Lost Motels of the Jersey Shore

Exploring Seaside Heights, N.J., for the first time, and, sadly, I find no treasure-trove of midcentury motels like there are in Wildwood. Here, as testament, is an image of a Jeffrey L. Neumann painting of the Seashell Motel in Wildwood and my poem on the same subject (total coincidence, but not surprising, since Jeffrey and I cover the same beat: lost America).

 

"Sea Shell," a painting by Jeffrey Neumann

“Sea Shell,” a painting by Jeffrey Neumann

CHECKOUT AT THE SEA SHELL MOTEL

the caramel room
at the Sea Shell Motel
dollar store palm prints
and nicotine sills

cheap rum hangs in the shaft of sun dust
hula lamps hold the afternoon

dealings have come and gone —
Greek families, pimps, divorcees,
schmuck runaways, suicide watches

music plays no more
only murmurings and distant trucks
the scent of the bulldozer

‘Checkout at the Sea Shell Motel’

When I first saw the paintings of Jeffrey L. Neumann, in a gallery in Hudson, N.Y., I could hardly contain myself. I knew I had discovered a simpatico artist, a realist painter whose images of a lost America — faded motels, eateries and roadside oddities — could have illustrated much of the nourish imagery of my poetry and fiction.

Then, recently, in a kind of artistic kismet, I discovered a poem I had written years before I happened on Jeff’s work. The poem was about a motel in Wildwood, N.J., the very same seaside relic Jeff had painted in 2009. I shared the poem with Jeff, who responded: “Wow. I can hear this set in Waitsonian (re: Tom Waits) phrasing.” He agreed to let me use the image of his painting “Sea Shell” for this publication.

My poem, accompanied by Jeff’s painting of the same subject, follows.

"Sea Shell," a painting by Jeffrey Neumann

“Sea Shell,” a painting by Jeffrey Neumann

CHECKOUT AT THE SEA SHELL MOTEL

the caramel room
at the Sea Shell Motel
dollar store palm prints
and nicotine sills

cheap rum hangs in the shaft of sun dust
hula lamps hold the afternoon

dealings have come and gone —
Greek families, pimps, divorcees,
schmuck runaways, suicide watches

music plays no more
only murmurings and distant trucks
the scent of the bulldozer

Shadow to Read in Pueblo

I’ll be reading chapters from my second novel, “Puppet Girl” (now in progress), at the Pueblo Poetry Project, Wed., Jan. 22 at 7 p.m. The reading will be held at the Daily Grind Espresso Bar and Café, 209 S. Union Ave., Pueblo, Colorado.

The Historic Union Street, Pueblo, Colorado, the site of Shadow's reading.

The Historic Union Street, Pueblo, Colorado, the site of Shadow’s reading.

This will be the sixth time I’ve been the featured reader at the Pueblo Poetry Project, which is in its 35th year. I’ll also be reading poems from my series, “I’ll Have My Way With You, America,” which will be released as a chapbook in the future. Meanwhile, “Puppet Girl” is a sequel to my first novel, “Hell City.”

Joel Scherzer and Robbie Rubinstein, publishers at Quick Books in Pueblo, have published my poetry, beginning with the chapbook, “Harlem River Baby,” which was first released in 1984 (and is now going into its second printing). They also edited “Hell City” and are currently at work editing “Puppet Girl.”