Poetry Collections – As It Ought To Be

SATURDAY POETRY SERIES PRESENTS: DEEP CALLS TO DEEP

Posted on April 28, 2018 by asitoughttobemagazine

From DEEP CALLS TO DEEP
By Jane Medved:

WINTER BURIAL

For the sky that reaches into its hushed pocket,
for the bridle of winter waiting to be released.

For the ghost face which slips over everyone,
for the tusk of the same white beginning.

For crystals that shape themselves while falling,
for the storm’s icy laugh.

For the charred bars of the petting zoo,
whose cages were made out of wood and went up fast.

For the twin goats trapped, for the small fire they turned their back on,
the bread burning, the coffee.

For the one surviving goose housed in a Little Tikes kitchen,
the black centers of his eyes and the string closing the door.

For the fenced-in storage area now zoned for a park,
where there used to be patches of dried grass.

For the last time it snowed on the Jerusalem highway,
and they wouldn’t let anyone in or out.

For the holiday makers who were stranded
without fun.

For my niece’s baby who never woke up that day,
she was an angel in her crib.

For they got her into the ground just before it froze,
but no one knows where.

For the hidden ear of the tzaddik she is buried next to,
for the cooing she drops into the ground where it melts.

For her small breaths, none of which are
shaped the same.

For the soul, which cracks open the body,
for the body, which is told what it must carry.

For when the ice let me back down the hill,
I found my niece in her kitchen, forgiving everyone.

from THE LAST TIME I SAW HEROD

I. Women’s shelter, Miriam HaHashmonait St., Jerusalem

He was banging on the gate
even though there is no way
to know that we are in here.

He was looking for his wife,
aren’t they all, which is why
we make the children play

in the yard and of course
he knew her real name,
which makes me wonder

what’s the point of being
a princess if even that
can be taken away. I’m not

sorry he looked thin. I used
to feed my own husband
but I never watched him eat.

In my mind he was gulping
me down, tearing everything
apart so as not to miss a piece.

EVERYTHING WILL TELL ITS OWN STORY

sooner or later, coins, a copper lantern,
bits of colored glass, Napoleon’s diary
on loan from Harvard and the endless
lap of water at the world’s toothless edge.

These were found in the Phoenician port
where Napoleon threw his cannonballs
into the Mediterranean to lighten the load.
He wised up soon enough and tossed
his soldiers overboard instead.

The metal balls are shocked into rust
and stare like thick black eyeballs
from their shelf in the dusty museum.
History ignores the bodies though,
their bones turn to fine sand
that tricks the treasure hunters
with its unpredictable lapses. Never mind.

We are all one part ocean anyway,
which is why sex smells like fish, and waves
always come back to a dry river bed.

We are all one part earth, which is why
snow angels cannot fly but lose themselves
to the ground, only the children
leave a clue, a small piece of spine
that still remains even if they are forced into ashes.

We are all one part fire, angry
as a kidney stone, a fist, absolutely certain,
a blaze that hides for months in the smoking
roots of the rotem tree, waiting
to be lifted out, spoken into flame and taken.

We are all one part wind, did you notice
how birds spread out like notes
when they fly, faithful as radio beams
to their unseen connections.

I inhale the invisibility of it, using up
my appointed breaths, certain
that the air will always pass through me
cold and hot and justified.

WHICH IS TO SAY,

there is another way home.
Just
yesterday, I saw the beating arc of starlings

who migrate to the Negev every year. It was late
and you have to take my word for this. They

became a single body that exhaled a melody
of startled scales made out of bones and feathers,

a flock of notes that scattered to swoop and play,
then reassemble in a different serenade, a fist of

sky squeezing its shape, or the curve of a swan’s
neck.
                   It was remarkable,
                                                      how soundless waves
could cart away the distance,
                                               and how I forgave,
in that moment, everyone.
                                                             Which is to say,

that the desert is a grave and lonely place,
where silence reappears as another kind of music.

Deep Calls to Deep: “Taking its title from Psalm 42, Deep Calls to Deep explores the nexus between the depths of biblical history and the depths of the self, and the twin powers of faith and doubt that drive them both. Building from a masterful sequence exploring the legacies of Herod to a final richly lyrical sequence, Deep Calls to Deep becomes richer with multiple readings. With stunning formal variety and skill, it enacts not only the struggle to maintain faith, but to ground it equally in past and present, chaos and void, self and other.” — Leslie Adrienne Miller, author of Y and The Resurrection Trade

Jane Medved is the author of Deep Calls to Deep (winner of the Many Voices Project, New Rivers Press 2017) and the chapbook Olam, Shana, Nefesh (Finishing Line Press, 2014) Her recent essays and poems have appeared or are forthcoming in Queen Mob’s Teahouse, The Tampa Review, The Atticus Review, The Cortland Review, 2River View and Vinyl. She is the poetry editor of the Ilanot Review, the on-line literary magazine of Bar Ilan University, Tel Aviv. She lives and teaches creative writing in Jerusalem, Israel.

Editor’s Note: “History ignores the bodies,” but Jane Medved does not. It is through her own determined lens on history that the poet shapes this stunning new collection. The history she embraces is personal and familial, ancient and deeply entrenched, a history of people and place, of nature and land, of violence and loss. One might approach this work like an archaeologist, gentle and sifting, knowing that “coins, a copper lantern, bits of colored glass” are all precious, that every word and artifact you come across has a story to tell.

Deep Calls to Deep is ambitious, provocative, heart-wrenching and sacred. Within its pages the spiritual commingles with the archaeological, and words lay bare lost treasures like a desert wind revealing fact and fiction from beneath centuries of sand. The collection is divided into four sections, each so distinct and compelling that I could only begin to give you a taste of the whole by sharing a poem from each.

How visceral it is to read this collection. How engrossing. How evident on every page the capable hand of the poet who wrought the work, her knowledge and skill as writer and reader, how in tune she is with the human experience. Deep Calls to Deep is a masterpiece of the lyric, overflowing with stunning language and accessible imagery, at once startling in its beauty and reassuring in its familiarity. “Which is to say, // there is another way home… Which is to say, // that the desert is a grave and lonely place, / where silence reappears as another kind of music.”

A NOTE FROM THE MANAGING EDITOR:

After nearly ten years as Contributing Editor of this series, I am thrilled to expand my role to Managing Editor and provide the opportunity for fresh voices to contribute to this ongoing dialogue. It is an honor and a unique opportunity to now share this series with a number of guest editors, and we’ll be hearing more from them in the coming weeks. Today’s feature, however, is a labor of love from yours truly.

Viva la poesia!
Sivan, Managing Editor
Saturday Poetry Series, AIOTB

SATURDAY POETRY SERIES PRESENTS: LITTLE CLIMATES

Posted on February 24, 2018February 24, 2019 by asitoughttobemagazine

From Little Climates
By L. A. Johnson:

EPISTEMOLOGY

I never had quiet times in the kitchen
making an icebox cake.
I never inspected the back of the box,
folded wafers up with cream.

In the morning, you fix whatever
needs fixing. You make eggs
with toast. And in the afternoon, I walk
out far past the end of the acre.

Only then do the strays come
to the porch, looking for a dish of milk,
a can of fish left open. No arguing
or crying can be heard nearby.

In the evening, the walls confine
the regular angers. We listen
to the kettle sing on the stove
that nobody bothers to stop.

In the freezer, always, only the notion
of an icebox cake—its layers
softening to be like the real thing.
The icing, milk and smooth.

Stranger, if only things had been
a little different, I could be
old-fashioned in my happiness,
blushing and easy to love.

SPLIT-LEVEL

Today the six of us perform a funeral for a home—
we wreathe the doorway with lilies, carry
our possessions above our heads like caskets.

We scatter the enviable parts of our lives
across the lawn: a radio, ceramic bowls, a sweater

that never fit. Strangers stop by to look
at all our things, each one dressed in black.

Then with hammers, we begin the destruction.
Afternoon sun exposes the fine particles
of wool and fiberglass that kept us warm.

Behind the medicine cabinet, we find razor blades
rusted in a wall-hollow. In the vacant lot next door,

a ravine appears that no stray dog will cross.
We know in some towns, this demolition is modest

or even ordinary. A bulldozer loiters elsewhere.
In a future, this house will become honeycomb
and bees will make clear honey out of all our mistakes.

“Epistemology” previously appeared in the Antioch Review and “Split-Level” previously appeared in the Indiana Review. Both peoms are from the collection Little Climates (Bull City Press, 2017; copyright L. A. Johnson) and appear here today with permission from the poet.

Little Climates: The lyric poems of Little Climates address the divisions between the self and the world, the self and the lover, and self with the self. In her debut collection, L. A. Johnson examines of the disparate spaces humans occupy in relationships: together and separately, alone and as unit. Each partner’s past, how they’ve changed, how they dream of the present—these are the little climates.

L. A. Johnson is the author of the chapbook Little Climates (Bull City Press). She received her MFA from Columbia University and is currently pursuing her PhD in literature and creative writing from the University of Southern California, where she is a Provost’s Fellow. She’s received scholarships and fellowships from Vermont Studio Center and Sewanee Writers’ Conference. Her poems have recently appeared or are forthcoming in The American Poetry Review, Antioch Review, The Iowa Review, Narrative Magazine, The Southern Review, and elsewhere.

Guest Editor’s Note: I first heard L. A. Johnson’s poems at a reading the poet gave in Los Angeles. When I read Little Climates a few weeks later, I realized that her imagery is so acute and vivid that it had stayed with me. Johnson is an expert at creating poignant landscapes and visceral environments. At times, they are intensely familiar: “the notion/of an icebox cake—it’s layers/softening to be like the real thing,” but the poet also deftly moves in directions the reader might never have imagined; “In the evening, / the walls confine the regular angers.” The detailed, sensory world the poet creates builds into unforgettable landscapes that stay with the reader long after the pages of Little Climates have been closed.

Guest Editor Alan Toltzis is the author of The Last Commandment. Recent work has appeared in print and online publications including Hummingbird, Right Hand Pointing, IthacaLit, r.k.v.r.y. Quarterly, and Cold Noon. Find him online at alantoltzis.com.

A NOTE FROM THE MANAGING EDITOR:

After nearly ten years as Contributing Editor of this series, the time has come for change. I am thrilled to expand my role to Managing Editor and provide the opportunity for fresh voices to contribute to this ongoing dialogue. Today and in the coming weeks, please help me welcome a series of guest editors to the newest incarnation of the Saturday Poetry Series.

Viva la poesia!
Sivan, Managing Editor
Saturday Poetry Series, AIOTB

SATURDAY POETRY SERIES PRESENTS: MALAK

Posted on December 2, 2017 by asitoughttobemagazine

From MALAK
By Jenny Sadre-Orafai:

LAST READING

There is a pregnant bird in the cup.
Malak looks at me like she has never looked

at that in a cup before. My father looks at me
like there are things I’m not telling him.

She crochets baby caps, square blankets,
booties in Neapolitan ice cream colors.

If I ever have these babies, if I’m the bird
in the cup, I’ll want to devour them.

After the last reading she leaves the cup turned up,
daring the bird to forget I was pregnant.

MOTHER SPELL

I felt for mountain
and ocean, my first globe.

Mouth or beak. Arm or wing.
Skin or feather. Feet or feet.

Who brought these to me
to dress in booties and caps.

I didn’t ask to know a belly
so tight.

I didn’t ask if it was girl
or boy or bird.

LANGUAGE OF SIGNS

I slept the whole day
without remembering, Malak.

I dreamt I had a son
growing so fast,

a tomato plant sprawled
everywhere, unstoppable.

I held him at my hipline.
And I fed his hunger.

Now he’s a pitcher
of water.

Malak is an invocation of past and future. With familial lament and childish wonder, the words lay tribute to the infinite—to the beauty in descent and the heartache that binds us to place. To our smallness in death and the importance of conjuring anew.

Jenny Sadre-Orafai is the author of Paper, Cotton, Leather and five chapbooks. Her poetry has appeared in Cream City Review, Ninth Letter, The Cortland Review, Hotel Amerika, The Pinch, and other journals. Her prose has appeared in Los Angeles Review, The Rumpus, South Loop Review, Fourteen Hills, The Collagist, and other journals. She is co-founding editor of Josephine Quarterly and an Associate Professor of English at Kennesaw State University.

Editor’s Note: Birds, tea leaves, foxes. If there are talismans that illuminate the path Jenny Sadre-Orafai’s Malak lays out for the reader, these may be those divining objects. There is magic within these pages — the kind that is conjured up in Gypsy tents and over old world kitchen tables, magic from a time and place when women were believed. But the future is always uncertain, and the tales that unfurl within Malak‘s pages curve and splinter like the lines on a palm.

What is inheritance, this collection asks. What is lived? What is lost? Do we inherit even that which cannot be passed down? Are predictions only as good as their fruition?

Malak is a book that pairs loss with beauty, future with past, the certainty of fate with the unknown and the unknowable. Throughout its pages, a sense of familiarity is established that both grounds and destabilizes. Its stories are told in the dark of night, but under the light of a full and generous moon. When Malak‘s truths reveal themselves, you bask in their luminosity and marvel at the careful magic of their making. You do not ask if they are boy or girl or bird.

SATURDAY POETRY SERIES PRESENTS: THE TREASURES THAT PREVAIL

Posted on October 14, 2017 by asitoughttobemagazine

From THE TREASURES THAT PREVAIL
By Jen Karetnick:

ADVISE AND CONSENT

It seems to fall to men to create
disasters and women to mop up after.

The first thing people have to forget

is their sense of the senatorial

desk, the deep leather armchair.

There’s always
somebody screaming

off stage or window-shopping for the ridiculous,
arm in arm. Sooner or later these moments come.

We have seen this happen and cannot refrain.

UNDER MANGO CAMOUFLAGE

They bloomed too soon, pistils coral,
hung green like left-behind seawater
well into the sodden fall, ripened
into a bilirubinous yellow.

Falling, they broke themselves
open into Cyrillic letters on the unearthed
limestone as if they were envelopes
stuffed too full of possibilities.

Now marked only with a flag of memory,
this is where we buried the bits
of flesh snipped as easily as a stem
from an eight-day-old son, disguising

the dreams that in the wrong hands
could have been so readily rewritten.

THE OPPOSITE OF MECCA

Oh, the darkness of it all—black cat, black dog,
black monkey on the black-eyed woman’s shoulder,

rocking on a boat dock over water so absent of light
even our dreams have lost their shadows. In this house

made of books and planks, under the art of thatch
and weave, we are birds nesting together who have closed

our throats to song. This is where, without definition, we pin
the horizon as the center on a map of our always new world.

The Treasures That Prevail is about climate change and its effects on Miami; the poems in this collection confront the ills of modern society in general, mourn both public and personal losses, and predict the difficulties of a post-modern life in a flooded, Atlantis-like lost city. The narrators are two unnamed women, married with a teenage daughter and a teenage son, who live in a part of Miami that will be underwater unless action is taken. The Treasures That Prevail is a parable about what could happen to any of our low-lying coastal cities if we don’t start to make changes now.

Jen Karetnick is the author of seven poetry collections, including American Sentencing (Winter Goose Publishing, May 2016)–which was a long-list finalist for the Julie Suk Award from Jacar Press–and The Treasures That Prevail (Whitepoint Press, September 2016). She received an MFA in poetry from University of California, Irvine and an MFA in fiction from University of Miami. Her poetry, prose, playwriting and interviews have appeared recently or are forthcoming in TheAtlantic.com, The Evansville Review, Foreword Reviews, Guernica, The McNeese Review, Negative Capability, One, Painted Bride Quarterly, Prairie Schooner, Spillway, Valparaiso Poetry Review, Waxwing and Verse Daily. She is co-director for the reading series, SWWIM (Supporting Women Writers in Miami). Jen works as the Creative Writing Director for Miami Arts Charter School and as a freelance writer, dining critic and cookbook author. She lives in Miami Shores on the remaining acre of a historic mango plantation with her husband, two teenagers, three dogs, three cats and fourteen mango trees.

Editor’s Note: How fearfully prescient this collection has proven to be as California is burning, as large swathes of the world are recovering from hurricanes and earthquakes, as Harvey Weinstein has been outed as a sexual predator, as man after man shows us what it really mean to be “senatorial” in his “deep leather armchair,” as the world is melting and our future threatens to emerge underwater.

With The Treasures That Prevail Jen Karetnick has penned a collection that is beautiful and terrifying, that is lyric and devastating, that rings of Cassandra in the ways its truths fall upon deaf, ignorant, or apathetic ears. The language within these pages is thick and malleable, painting with words a picture that you might cut back with a machete in a valiant effort to combat the vengeful wrath of a raped and battered Mother Earth. For even the best among us — in the age of capitalism and consumerism and selfish, self-destructive climate change — are but “birds nesting together who have closed // our throats to song.”

SATURDAY POETRY SERIES PRESENTS: THEY WERE BEARS

Posted on September 23, 2017 by asitoughttobemagazine

From THEY WERE BEARS
By Sarah Marcus:

PEOPLE HAVE ALWAYS KNOWN BEARS

You said you were afraid of bears—

we weren’t safe until there was ice
along the shoreline. I said we all need trauma,

and my heart breaks every Autumn, so we broke
ourselves against those rocks until the cave mouth opened:

a womb for blind crayfish,
a passageway harboring beetles.

I want you to reach into the depths of your backwoods
and remember our Winters. We need the bears, ourselves

ursine sleeping in dens—the caverns drip-stoned and stunning.
I was and still am in search of a great bear

because people have always known bears—
we will always be shelter for each other.

When we first met, I told you that a long time ago,
grizzlies came down from the Rockies—

they were poisoned on the range, trapped,
hounded, shot out—we found cranial fragments.

We still listen to those legends of bounties paid
to mountain men, harboring that ancient fear of

the bears that made meat of us, boar and sow,
mauled and gnawed away. Our bones resting in caves,

because you were born to hunt, and I was
born of hunting: a witness of great fires.

LOVE POEM

First snow of the season—
your eyes say
there’s not much oxygen
in the mountain air.

I have never wanted someone
as much as I want you.

I devalued the damage:
you won’t belong—stay gone longer—

let it melt.

I’ve been thinking about you
because we cannot be separate.
The gravitational pull defies
the thousands of miles between us.

Even in the deepest woods,
we kneel beside the rill,
the river’s riffle,
the spruce’s mantle of rime,

until the point of rock
swells tightly around us.

There’s a chant building in the forest: I won’t be your secret.

Everyone knows how to leave,
but I don’t know how to be
in this city
without you.

MYTHOLOGY FOR DESERT LOVERS II

These things are real:
you are a desert moon rising a hundred mornings away.
My horses paw a cracked Earth.
The air threatening Winter.
The solitude of sand.
We can smell the danger

of you and her
in that house.
In every house.

When you are so strongly connected
to another person, what did you call it? Rare?
It’s like the sunset.
No one can hold that kind of beauty
for more than a moment.

Our small ribs are thick
enough to take on a prairie panic.
The fear of too much open space.
So many acres;
we can never catch up.

You say I’m always on your side—
and this will always mean more
to a woman.

I try to explain that love is a violence,
even when it’s beautiful.
When you enter someone,
you must also leave them.

And there’s always that moment of relief
when I realize that I’ve always known—
I am a hundred deserts.

I will wait for you or some version of you
to become sky.

“They Were Bears gives us a world that is intimate, complicated, and lush in its raw, brutal meditation upon the complexities of Nature, both within and beyond our grasp as both human beings and animals. These poems by Sarah Marcus channel what the world demands of us, and our bodies as we are guided through a startling cartography of desire, trauma, and memory that is both refuge and wilderness. Marcus writes, ‘I want to say that there are places I have to go, and you have to follow me…through all this orange light, every version of the color red, we betray ourselves for miles.’ With stunning craft and intuition, Marcus places her lyric power against the beautiful, terrifying bones in us where words often feel broken and impossible. Her poems expand through their stark and luminous discoveries to reveal a natural and psychic world too complex to ignore. Marcus gives us sacred breath in which to claim that world when she writes, ‘We inscribe the rocks/with our names, wanting a sign,/want the sky to say:/This is mainland. Solid ground./The place you’ve been looking for.’” -Rachel Eliza Griffiths, author of Lighting the Shadow

Sarah Marcus is the author of They Were Bears (2017, Sundress Publications), Nothing Good Ever Happens After Midnight (2016, GTK Press), and the chapbooks BACKCOUNTRY (2013) and Every Bird, To You (2013). Her other work can be found at NPR’s Prosody, The Huffington Post, McSweeney’s, Cimarron Review, Spork, The Establishment, Cosmopolitan.com, and Marie Claire.com SA, among others. She is an editor at Gazing Grain Press and the Series Editor for As It Ought To Be’s High School Poetry Series: Gender, Identity, & Race. She holds an MFA in poetry from George Mason University and currently teaches and writes in Cleveland, OH.

Editor’s Note: In the Jewish calendar, the days between Rosh Hashanah and Yom Kippur are a surreal and reflective time of reckoning. During these days we are introspective, coming to terms with our true selves before turning outward and asking forgiveness from those who we have wronged. It is in these Days of Awe that I come back to a collection I have been meaning to review for quite some time. It is in this magical time of brutal honesty that I dive deeply into a carefully-wrought world that is far beyond my comfort zone, with eyes and heart wide open to its savage and beautiful truths.

They Were Bears is one of the most thoughtful–if not the most thought-provoking–poetry collections to be released in recent memory. Rife with hunger and blood and animal instinct, this work pulsates at the intersection of nature and violence, family, sex, and love. They Were Bears drags us mercilessly back to our animal nature, honoring vulnerability and calling out sexual violence. This book pulls no punches, spares us little. What is reflected in its waters is our truest selves, as beautiful and terrifying as they are wont to be.

The tender, ravenous, brutal honesty of the book’s thematic spectrum is brought to life by the true craftsmanship of the poet. This is an absolutely stunning collection on every level–its words and images thrash and breathe, fly and tether. The poems are lush in their soundscape, and on the page they mark their territory distinctly. And the moments. The breathtaking moments. How true their revelation, declarations, and admissions: “because you were born to hunt, and I was / born of hunting: a witness of great fires;” “I try to explain that love is a violence, / even when it’s beautiful. / When you enter someone, / you must also leave them.”

Mazal tov to Sarah Marcus on this incredible work, and may we all start anew together in these Days of Awe.

Want more from Sarah Marcus?
Sarah Marcus’ Official Website

SATURDAY POETRY SERIES PRESENTS: IN THE ABSENCE

Posted on February 25, 2017 by asitoughttobemagazine

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From IN THE ABSENCE
By Dara Barnat:

IMPRINT

I hear you’re gone and I fall with you.

In that place part of me stays,

like a hand in clay,

even as I make rice for dinner, boil water,

measure the grains,

pour wine, set out flowers with all their petals.

The imprint holds the loss of everything.

It holds what we thought was joy.

IN THE ABSENCE

Dark is just dark–

rooms and all we’ve built are nothing.

Chairs with their backs, tables with their legs, beds with their heads.

Outside, trees with their leaves.

I can’t write that wood into a vessel

that will carry us to a place

where life is a river never not flowing.

I close my hand around a filament of sun as it filters

through the window, try to catch
its meaning,

but light is just light.

PRAYER I DO NOT KNOW

There’s no one here, but me
alone. I close

my eyes and try
to remember your face,

its light, your
fingers, their light

touch, your laugh,
the lightness. I say a prayer

that is my own:
May we live

a thousand years together,
in another life.

In the Absence: Dara Barnat’s In the Absence evokes a yearning of the spirit so strong that it becomes presence, its light unstopped.

Dara Barnat is the author of the poetry collection In the Absence (Turning Point, 2016), as well as Headwind Migration, a chapbook (Pudding House, 2009). She also writes critical essays on poetry and translates poetry from Hebrew. Her research explores Walt Whitman’s influence on Jewish American poetry. Dara holds a Ph.D. from The School of Cultural Studies at Tel Aviv University. She currently teaches at Tel Aviv University and Queens College, CUNY.

Editor’s Note: Dara Barnat’s first full-length collection begins by declaring that “Dark is just dark.” But the assertion casts a shadow question: Is dark just dark? For it is light that is at the heart of this work: “I close my hand around a filament of sun as it filters / through the window, try to catch / its meaning, / but light is just light.”

But “light is just light” is no more the truth of these poems — and the poet’s journey that unfolds across them — than “dark is just dark.” This work is neither a book of questions nor of answers. Instead, In the Absence is an honest experience of grief that explores the inevitable, never-ending pilgrimage inherent within loss: “I hear you’re gone and I fall with you. / In that place part of me stays, / like a hand in clay.”

Not since Li-Young Lee’s Rose have I been so slain by a book of mourning. Like Rose, In the Absence mourns the loss of a father while acknowledging that such a loss is anything but simple, that the complications of life remain a reckoning for the living. “The imprint holds the loss of everything. / It holds what we thought was joy.”

Held close within this incredibly moving and painstakingly wrought collection is a poem titled “Walt Whitman.” I had the honor of featuring this poem here on the Saturday Poetry Series in 2013 as I marked my father’s first yahrzeit (Jewish death anniversary). Tomorrow will be five years since my father’s death. What at one year could be commemorated with a single poem, five years later needs an entire book. Such is the nature of grief — it does not diminish; it grows. And in its growing it becomes more painful and more beautiful all at once.

In the Absence transforms the poet’s personal grief into communion. I will re-read this book tomorrow as I remember my father on his five-year yahrzeit, and I will grieve. But, more than that, I will say a prayer that is the poet’s and is my own: “May we live / a thousand years together, / in another life.”

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