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Posts Tagged ‘Marilyn Chandler McEntyre’

Now available from Wipf and Stock,

JANE BEAL’s new poetry collection:

 Rising: Poems for America

BEAL-Rising

“Poetry is memorable language, according to W. H. Auden. Rising is a work of such vividness that I kept thinking about the poems long after I closed the book. Jane Beal is a strong poet with a sharp eye for landscape, a deep sense of history, and an intimate way of writing her language that is never less than bracing. I admire her work, and I hope that readers make their way toward this fine collection.”

—Jay Parini,
author of The Art of Subtraction: New and Selected Poems

“Jane Beal’s poems draw deeply upon the energies of earth and sky, bearing witness to the ways the life force manifests in birds nesting and flying, in women giving birth, in rivers and wind and song. Reaching across time and continental boundaries, they take the reader to quiet places of encounter with self and others and God. This is a collection to be entered and navigated slowly, accepting its invitation to slow down, see into others’ stories and take stock of one’s own longing for sacred gifts.”

—Marilyn McEntyre,
author of Caring for Words in a Culture of Lies

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It’s not a sheltered world. The noise begins over there, on the other side of the wall
where the alehouse is
with its laughter and quarrels, its rows of teeth, its tears, its chiming of clocks,
and the psychotic brother-in-law, the murderer, in whose presence
everyone feels fear.

The huge explosion and the emergency crew arriving late,
boats showing off on the canals, money slipping down into pockets
— the wrong man’s —
ultimatum piled on the ultimatum,
widemouthed red flowers who sweat reminds us of approaching war.

And then straight through the wall — from there — straight into the airy studio
in the seconds that have got permission to live for centuries.
Paintings that choose the name: “The Music Lesson”
or ” A Woman in Blue Reading a Letter.”
She is eight months pregnant, two hearts beating inside her.
The wall behind her holds a crinkly map of Terra Incognita.

Just breathe. An unidentifiable blue fabric has been tacked to the chairs.
Gold-headed tacks flew in with astronomical speed
and stopped smack there
as if there had always been stillness and nothing else.

The ears experience a buzz, perhaps it’s depth or perhaps height.
It’s the pressure from the other side of the wall,
the pressure that makes each fact float
and makes the brushstroke firm.

Passing through walls hurts human beings, they get sick from it,
but we have no choice.
It’s all one world. Now to the walls.
The walls are a part of you.
One either knows that, or one doesn’t; but it’s the same for everyone
except for small children. There aren’t any walls for them.

The airy sky has taken its place leaning against the wall.
It is like a prayer to what is empty.
And what is empty turns its face to us
and whispers:
“I am not empty, I am open.”

Tomas Tranströmer
trans. by Robert Bly
in The Winged Energy of Desire (2004)

Commentary: Jan Vermeer was a seventeenth-century, Dutch Baroque painter justly famous for his use of light in his works depicting interior scenes from middle class life. His extraordinary accomplishments have recently come to the attention of the American public because of the novel-turned-film, “The Girl with a Pearl Earring.” In addition, poet Marilyn Chandler McEntyre has written a book of ekphrastic poems on a selection of the painter’s works, In Quiet Light: Poems on Vermeer’s Women.

In our poem, Swedish poet Tomas Tranströmer imagines Vermeer’s studio sharing a wall with an alehouse … the chaos on the alehouse side, the light and life on the art-studio side … and the open attitude of the artist to whatever may come through the wall or from the airy sky.

As I read, I couldn’t help but remember the story from the Gospels of how Jesus appeared to his disciples, walking through a wall when the door to their hiding place was locked. C.S. Lewis has written that to Jesus in his resurrected body, the wall was as ephemeral as mist is to us when we take a walk on an autumn morning. Another human being could not have done it, because “walking through walls hurts human beings,” but Jesus did.

Then he said, “Peace be with you … receive the Holy Spirit.” (John 20:19, 22)

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I had a dream early, early this morning that was like this poem:

“Noon Rest (after Millet: 1890)”

To rest before the sheaves are bound,
toss the scythes aside, bare the feet and sink
into the nearest haystack, release
the undone task and consent to sleep
while the brightest hour burns an arc
across its stretch of sky:
this is the body’s prayer, mid-day angelus
whispered in mingled breath while the limbs
stretch in thanksgiving and the body turns
toward the beloved.

This is the prayer of trust:
what’s left undone will wait. The unattended
child, the uncut acre, cracked wheel, broken
fence that are occupations of the waking mind
soften into shadow in the semi-darkness
of dream. All shall be well. Little depends on us.
The turning world is held and borne in love.
We give good measure in our toil and, meet and right,
obey the body when it calls us to rest.

Marilyn Chandler McEntyre
from “The Color of Light: Poems on Van Gogh’s Late Paintings” (2007)

Commentary: Chandler McEntyre wrote an entire book of ekphrastic poems meditating on the late paintings Van Gogh. Eerdmans was kind enough to print poems and paintings together, on facing pages – a poet’s dream. The book is lovely. This poem is lovely, a reading of Van Gogh’s variously titled “La Meridienne” or “La Sieste” or “Noon Rest.” The painting can be seen, along with others in the same genre, at www.hayinart.com.

I find it so interesting that the poet alludes to the Revelation of Love by Julian of Norwich, the fourteenth-century English anchorite, who wrote all shall be well in the middle of her memories of a vision of Jesus.

Surely all sleep, and some wake, and some, even while sleeping, have awakened hearts.

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