IBPC Winning Poems, 2008, Congratulations Poets! Options

[Cleo_Serapis]

Winning Poems for January 2008
Judge Fleda Brown
Congratulations!

First Place

The Bottle Tree
by Allen M. Weber
Desert Moon Review

I was so proud, Mama, to get that robe, to help
fashion a cross with Hale County's finest men.
They let me have two swigs of shine and load up
Papa's shotgun.

That boy was kneeling on the hard-swept floor
below a char-drawn likeness of Jesus.
In a rightful fury, his ma'am fought like three
big men; her sorrow bit like a sour bile
into the roof of my mouth.

We dragged him to their bottle tree, and Mama,
those bottles made a sucking sound and poured out
colored moonlight at our feet. We staggered about
grinning like fear

as someone shot the barking dog, cackled when another
tore down the damp unmentionables that fluttered
on a single taut line.

As the rope was drawn around a limb, too near
a hollowed gourd with purple martin eggs,
I raised my hood to throw up supper on my boots,
then helped to paint a home with kerosene
and fire.

Since then my children raised up children, who play
with brown-skinned ones; and those who'd force it otherwise
are mostly hair and bones.

But southernmost branches caught the flames that night;
their splintered wounds still bleed. The heat-shocked
glass still takes my breath, to howl for reckoning. So

the animals keep wary: deer won't rut, dogs won't
lift to pee; and until I too go on to Hell,
the martins may never come again.

A child's experience, in the child's voice, of being allowed to join in a lynching--the subject could easily turn cliched, but this poem manages to keep a hard light on the memory--the sour bile, the bottles in the tree. The scene comes vividly alive. The martin's nest, full of eggs, just above the head of the child throwing up witnessing the horror--is a brilliant focus for the poem. It's the martin's nest and the skillful control of rhythm that charms me, here. --Fleda Brown



Second Place

Goose Step
by Lois P. Jones
Pen Shells

The Goose-Step
. . . is one of the most horrible sights in the world,
far more terrifying than a dive-bomber. --George Orwell

He loves to goose-step in her parking lot,
fluorescent light casting the stage
for Dachau. He grins in his brown
skinned suit, marvels at the way the Germans
treat him like a countryman. Loves the coarse
consonants of their commands, the wild sex
with the German girl he'd had on the road to Spain.

He wanders through Jewish graveyards to feel
the faded dates of the tombs. A pastime,
in the way that stepping is his pleasure
in the darkness. He loves the swastika,
tells her about its ancient origins, the dotted quadrants
of the Hindus, the Neolithic symbols 10,000 years
before Christ. "A tradition" that dates to the 17th century,
the Prussian army stepping on the faces of the enemy.

She finds him aesthetic, like the tall leather
boots of the Reichswehr. Tries to think
about his love of flamenco, the dark hollows
of his song unbedding a command. She knows
to pass under him is the terror
she needs. He knows to pass over her

like another graveyard. She prays the neighbors
are not looking. Begs him to stop but he smirks,
lifts his legs higher and higher. A sign of unity
like the men who stepped around Lenin's tomb.
It says that man can withstand all orders
for love, no matter how painful, how ludicrous.

A tightly controlled, dense poem that in its language evokes the goose-step itself. I like the way this poem moves from the image of marching (under the fluorescent light, scarier still!) to all the ramifications of the love affair, from flamenco dancing, to wild sex, to the study of gravestones--all at the emotional pitch that the word Nazi implies. "She finds him aesthetic" says everything we need to know about their relationship, and about what can drive people into inhuman behavior. --Felda Brown



Third Place

The Cardiologist Has a Word with Us
by Yolanda Calderon-Horn
The Town

Cold fingers prowl my spine
even though no one I know is
touching me: nothing doctors
can do. Not a thing. I brush

fingers on one sister's elbow,
greet my son's shoulder with mine.
Another sister clings to mami's hand.
My husband embraces me, lets go;

embraces, lets go. I call the rest
of my siblings in Chicago. I just
say it. I leave the hospital knowing
little about what comes next and too

much of what came before. Days after,
I'm a Radio Flyer covered in snow.
The body and mind lug its brood.
When I walk by young gals at the office,

endlessly pigging up their darling lives,
or the elderly neighbor shifting dust
to the street, I want to grab normalcy
by the collar, ask: why did you dump us?

I think of mami who has the right
or should raise her voice to suit,
and wonder if the phantom of the opera
will have untrained notes trapped

in my stomach. I go to bed trying
to sort fear from anger, resignation
from gratefulness, faith from hope.
I awaken tangled with pipes of the smoke.

I want to wish papi a feliz ano nuevo
the moment I walk through his door-
but the unpredictability of his failing
heart gobbles happy out of terms.

I stand by the fireplace hoping
the ice-storm will melt. Minutes later,
the hearth inhales moisture out of words:
my tongue is heavy like cooled clay.

I like the way this poem slips up on the sorrow, embedding it in the details before we understand its source. The Radio Flyer, the neighbor shifting dust/ to the street, the coworkers "pigging up their darling lives"--the images skillfully keep us one step away from the actual event, the one that matters. The poem stands in its length and its quatrains as testament to Emily Dickinson's poem that begins, "After great pain, a formal feeling comes." I am particularly fond of "The Cardiologist..."s last two lines, the way the poem ends with "cooled clay." --Felda Brown



Honorable Mentions

Come Back to the Raft Ag'in, Huck Honey!
by Guy Kettelhack
Desert Moon Review

Let it go? Vapid palliation! --
which at best can soothe one
into thinking there's a truth quite
simply to be had, if only we'd get
calm enough. Stuff it: here is
what I know today. I've got a cold
I'm almost happy won't too quickly
go away: I've just ingested
chicken broth with matzoh balls --
Balducci's tasty anti-flu soup (lower
east side wannabe) – and I've been
on a spree of fantasizing lightly:
watching Turner Classic Movies
circa 1933: and it's as if a Cupid
had alighted on my knee, to entertain
me with this possibility: that
someone full of glow whom I have
just begun to know might turn
into a Huck, or Jim -- I do so very
much like him. It's quite a mix, this
pile of pick-up sticks that one
calls one's perceptions: full of
chicken soup deceptions: but
nothing's here for seeing that we
haven't dreamed up into being: so
allow me Jim, or Huck, and I will
be the other shmuck, and it will
half be daring, half be luck,
if we, out on our raft, get into --
something -- ineluctable.


Red Cap
by Sarah J. Sloat
Wild Poetry Forum

Tarry, stray,
and you fall into his lap:

a pillory and bellylaugh --
for that is the plunge of strumpets.

Down the hatch lie rooms
strewn with wool, stockings

and children's shoes,
lined with moss and stumpage.

No surprise to hear
the village hiss, complicitous.

Gossips consider it
no mystery how girls

go down, kindling appetite,
when the wolf asks what you have

under your apron, little
mistress, and you reply --

wine and tarts, old beast,
a ruse, a rosebud.

[Cleo_Serapis]

Winning Poems for April 2008
Judge Patricia Smith
Congratulations!

First Place

A Second Look at Creation
by Sergio Lima Facchini
Poets.org


Every biped, crawler and slitherer; every daybreak
fast-forwarding past the solstice; every afternoon that loses
momentum as it plods into evening; every child born
logical and cerebral, proud to be gifted,
bright as Andromeda and Cassiopeia; every planet in the universe,
comets, black holes,
their combined gravitational pull,
pulling on each of the five known elements: earth, water,
fire, air, and yellowing passion fruit;
every pediment, apse, nave, narthex ,effigy, oracle,
pyramid, every all-seeing
eye; every crease and whorl on a palm;
every hand that holds money and is diligent,
hard-working, closed to commitments;
all of those, along with matches, hydraulic presses,
arguments, salt water,
and the admirable number pi, took long,
sweeping strokes to be made, one by one,
as God was going through multiple life crises,
barely surviving each brainstorm.

How many times he’s come back from the brink of losing face,
such as when in the midst of a heated debate
over who made what and to what purpose, a sudden
gust of wind blew off his skullcap,
exposing a bald spot
high in the crown.
But for the most part he’s feeling good;
he’s glad it’s spring even if it means he must restart from scratch,
trying to convince things buried and burrowed
to come back up, saying tongue-in-cheek
it will be different
this time.

I immediately fell in love with this submission's lyrical momentum--building a narrative, building a defense, building a remarkably fresh view of an old story. I was intrigued by the poem's sweet science, hurtling toward a who-knows-what crescendo--and in the end, we have a tentative, warmly human deity struggling with his confidence, pulling in a weary breath and beginning again. I read every poem I encounter out loud, listening for the magic it works on the open air, and this one was a particular joy--deftly avoiding preachiness and predictability with bright, rollicking language. --Patricia Smith



Second Place

Spring Dance
by Brenda Levy Tate
The Critical Poet.com


Route 22 ripples to an axle beat as the red pickup approaches.
Puddles pulse, wheels veer, water arcs like a tide
parting before the F-150's tire hiss. Beer cans snicker
beneath ice-wire-wink.

Sleet coats cables, gone by noon. Pavement's a mosaic –
broken headlights, embedded pennies. Mouse bones crunch
under Goodyear studs.

First tractor out of the yard wallows with a pulmonary
wheeze in muck stubble. Field's black, twisted
as abandoned shirts. An old collie three-legs it
down the chain track because that's what he was born to do.

In a heifer-gnawed grove behind the loafing shed,
deer scrabble snow crust under bare oaks;
limbs scratch cloudskins. Mated robins drop
sky bits onto dull moss. New melt trinkles
and plishes off the gambrel-roof barn.

On the porch step, farmboy smooths his trout filament
between forefinger and thumb, feeds it into the Shakespeare
with a handful of hope.

The day flows around him – river and rock – while mother
sings from her clothesline, "Fare thee well, love,"
hazel gaze a salamandrine fire that burns what it touches.

He listens, furrows deep as plowed dirt
above his eyes; matches reel spin to wash-pulley creak.

Milkroom radio chatters about foreclosures, lost soldiers
and protests against a mine two counties away. Fishhook
snags the little fellow's thumb.

Long driveway rasps its monotone; gravel shoulders shrug
still-frozen clods into ditches. Muddy Ford swerves,
bumps over brushcut lawn, halts beside a lattice arbor
where rambling roses will soon explode like ruptured hearts.

Woman-song stops. She turns - sliced lemon smile -
carries her laundry basket, sets it down carefully.
Then she straightens to confront the truck, but won't glance
at her son. Not even once.

Out on bleeding earth, her husband inhales the dark
diesel, whistles off-key. "This will be no ordinary April,"
he assures his crippled dog.

Densely atmospheric story of earthly and personal rebirth; I was particularly drawn to the poet's daring, the deft creation of pinpoint phrasing that conjured EXACTLY the image needed. Snickering beer cans. Ice-wire-wink. The collie actually "three-legs it." And plishes. That is not, NOT in the dictionary, and it friggin' well should be. This is like the wide, opening cinematic shot, a huge story in a nutshell, and the last line resonated in a hopeful but chilling way. Geez --Patricia Smith



Third Place - TIE

Boy, Winter 2008
by Mike LaForge
The Critical Poet.com


You can't hear my voice, thousands of hands away,
smoke-shred and husky, broken as knuckles.

Boy, I've punched through pine and ribs, shouted
down the black mountain, bled on concrete, stone

and shoals of snowy paper. Today, there's a screw-
topped winter in my backpack, made of glass.

I sip from it when your telephoned voice cuts me
backward to your first clear word, your first

poor Christmas. I don't forget how your new fingers
gripped my wrinkled shirt, your birth-scars, your fear

of water and the loud sound. My hands wring circles
around this cold green bottle while your hands shape

crooked snowmen, frozen daddies. Warm,
they reach and touch your mother's face.

Soon, and I'll be there, you'll hoist your own pack,
my boy, strike hard into a greening world.

I was pulled headfirst into this tale of a repentant but hopeful father and his longed-for son--I wanted more, craved more, but I don't believe that was a shortcoming of the poem. I enter every poem hungering for a tale, and when that tale is as terse and straightforward as this one, I feel slighted. But I also feel that somewhere, in that rollicking parallel universe where the wishes of wordsmiths are paramount, the lives of these two people--especially the father, whose trek homeward is already scripting in my head-go on well beyond the poem. --Patricia Smith



Third Place - TIE

18 – Again
by Cherryl E. Garner
South Carolina Writers Workshop


Big-lipped mincing – mind’s eye –
that perfect Brown Sugar bass
boot thump at the light – only
my plasticchrome volume button
on the stock FM, black toggles,
turned me, 18-up.

Only cross winds in car cabin,
blue-shine Chevy, carried best
shrilly teeny angst, atomic-rocket
wrench, the turn of menses
into red power in free air
and wild, skin-pocked riot.

As someone who is trying (with varying levels of success) to reverse a reputation for rampant wordiness (not to mention sudden spates of alliteration), I've always envied conciseness that embraces huge vision. This little poem roots the reader squarely in a time and mindset; each little line is dense with atmosphere. And "...the turn of menses into red power..." Amazing --Patricia Smith



Honorable Mentions

None Chosen