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Citrus & Green | Tim Bellows | Taschenbuch | Kartoniert / Broschiert | Englisch | 2013 | AuthorHouse | EAN 9781481743914 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand.
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- Title
- Citrus & Green
- Author
- Tim Bellows
- Publisher
- AuthorHouse
- Publication year
- 2013
- Condition
- Neu
- Binding
- Taschenbuch
- Language
- English
- ISBN 10
- 1481743910
- ISBN 13
- 9781481743914
- Item weight
- 339 grams
- Dimensions
- 229 x 152 x 12 mm
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- Bücher
"Synopsis" may belong to another edition of this title.
Excerpt. © Reprinted by permission. All rights reserved.
citrus & green
~ poems ~
By tim bellowsAuthorHouse
All rights reserved.
Contents
| ~1~........................................................................ | |
| POET'S PERMISSION.......................................................... | 2 |
| FLYING ON I-5 SOUTH........................................................ | 3 |
| LATE FALL BIRDS............................................................ | 4 |
| SLEEPING TOGETHER.......................................................... | 5 |
| DREAMS, HIGH GRASS......................................................... | 6 |
| MEDITATION, PERFECT AIR—RED DEER RIVER..................................... | 7 |
| FLIGHTS.................................................................... | 9 |
| REPORTS FROM LI BAI........................................................ | 10 |
| SAYING A TUNE BY THE CHOWCHILLA RIVER...................................... | 11 |
| CAT—DESCRIPTIVE MUSIC...................................................... | 12 |
| A MORNING HOME ALONE....................................................... | 14 |
| MOOD....................................................................... | 15 |
| FOLLOW WHISTLING........................................................... | 16 |
| WAKING INTO WATER, LIGHT AND MUSIC......................................... | 17 |
| DOING THE SIMPLE THING..................................................... | 18 |
| ATTRACTIONS OF A FANTAST................................................... | 20 |
| ~2~........................................................................ | |
| WE SLIDE THE LAST BOX...................................................... | 24 |
| NEWS CLIP, 1959............................................................ | 25 |
| NORTH SHORE, SIERRA LAKE................................................... | 26 |
| PRIVATE TALK, LATE DECEMBER................................................ | 27 |
| DESERT TOWN................................................................ | 29 |
| NOTES—WALKING SMALL TOWNS UPSTATE.......................................... | 30 |
| WE COME IN, DOORS SLAM..................................................... | 32 |
| EXQUISITE IN VIENNA STREETS................................................ | 33 |
| TWO FARM LIVES—STORM TO SUN................................................ | 35 |
| IN THE HALL BATHROOM MY WIFE PULLS HER HAIRDRYER OUT, TELLS ME HER DREAM WHERE...................................................................... | 36 |
| WALKING, HE THINKS OF HIS WIFE,............................................ | 37 |
| RAINSTORMS AND A HILL TO CLIMB............................................. | 38 |
| WALT WHITMAN'S PASSING..................................................... | 41 |
| MEDITATION AT CAPE COD..................................................... | 42 |
| SUNDAY MORNING—RED-TINGED.................................................. | 44 |
| JULY MEMORY—MONTEREY....................................................... | 45 |
| THE CAR HUMS............................................................... | 46 |
| A BOY TO HIS GIRL—IN FRONT OF HER FRONT DOOR............................... | 47 |
| THINKING TO YOU AFTER GOOD-BYE............................................. | 48 |
| VISIT TO THE OLD MAN—ELY, NEVADA........................................... | 49 |
| SUMMER MARKETPLACE. THAT GIRL'S BARE FEET,................................. | 51 |
| 2 A.M.—YOU ARE NOT THE ONE................................................. | 52 |
| PROFESSOR BALTZ AND HER POEM OF SNOW, SENIOR YEAR.......................... | 53 |
| HUTS BELOW SMOOTH HILLS.................................................... | 57 |
| ~3~........................................................................ | |
| FADED MAPS................................................................. | 62 |
| RADIO SOUND................................................................ | 64 |
| FAIRY-TALE................................................................. | 66 |
| NIGHT. PASSAGES............................................................ | 67 |
| NERUDA'S BRANCH-TIPS....................................................... | 68 |
| MEDITATION, RIVERINE—ON A WALK IN THE SIERRAS.............................. | 70 |
| STATE HIGHWAY 108—DRIVING TO HIGH SPHERES.................................. | 73 |
| ANOTHER SUNDAY MORNING..................................................... | 75 |
| CHINESE FAN—A CHANT........................................................ | 77 |
| TIBET—CONTEMPLATION VISIT.................................................. | 78 |
| CHINESE WINDS.............................................................. | 79 |
| SUMMER NIGHT. MY BOY CUPPING A ROBIN....................................... | 80 |
| AFTER A MEASURED CUP OF WARMING BRANDY,.................................... | 81 |
| IMPRESSIONS, MENDOCINO AFTERNOON,.......................................... | 83 |
| MORNING, DECEMBER SIXTEENTH................................................ | 84 |
| UNSEEN HAND................................................................ | 86 |
| TESTIMONY.................................................................. | 87 |
| I DRIFT ASLEEP............................................................. | 88 |
| ~4~........................................................................ | |
| PARTY, 1971. THE VELVET UNDERGROUND........................................ | 92 |
| SONG IN A STEEP HEADLAND................................................... | 94 |
| 6 A.M.—DRIVING NORTH SUNRISE............................................... | 96 |
| HERE IN AMERICA............................................................ | 97 |
| CHILD AND SODA............................................................. | 99 |
| NEW-YORK-CITY COOL AT THE RED LIGHT........................................ | 100 |
| WRITING GOGGLES ON......................................................... | 102 |
| DANCING IN THIN AIR........................................................ | 103 |
| FRESHMAN THOUGHTS. FIRST DATE.............................................. | 105 |
| RENTER. TEXTURES........................................................... | 107 |
| AFTERNOON OFF, WRITERS' CONFERENCE, SQUAW VALLEY........................... | 109 |
| TO THE MASTER OF HU, CHANGER OF MY SHAPES.................................. | 111 |
| POEM—TWO BY TWO............................................................ | 113 |
| INCANTATION—NIUE, CORAL ISLAND............................................. | 114 |
| DEAD TREE AS PROPHET....................................................... | 116 |
| RETURNING LATE............................................................. | 118 |
| MY LATE NOVEMBER ATMOSPHERES MEDITATE...................................... | 119 |
| GOING ON FOOT IN THE DARK.................................................. | 122 |
| ~5~........................................................................ | |
| OLD MAN IN THE WARDLAW HOME................................................ | 126 |
| SURVIVING YEARS:........................................................... | 127 |
| LET MY POEMS BE............................................................ | 128 |
| IT WAS DURING THAT RECESSION,.............................................. | 129 |
| A CONTEMPLATION: SO MUCH DEPENDS UPON...................................... | 132 |
| LEAVING THE VINE-HELD BRICK BUILDING....................................... | 134 |
| SCENES IN EARLY WINTER,.................................................... | 135 |
| TO A WHITE-HANDED GIBBON................................................... | 137 |
| UNCLE EDDIE'S DISAPPEARING ACT............................................. | 139 |
| MEMORY OUT OF OLD SPAIN.................................................... | 140 |
| AFTER 5 A.M. FIGHTS WITH HER LOVER,........................................ | 141 |
| MORNING AFTER SLEEPLESS NIGHT.............................................. | 142 |
| GLOW....................................................................... | 143 |
| FROM MY PORCH, RAINY VIEWS SAYING "DRIVE REAL SLOW"........................ | 144 |
| MEDITATIONS: NIGHT DRIVE TO O'DALY'S PLACE................................. | 145 |
| WALKING THE DESERT UNDER COLOR SHIFTS—SPECTRA OF GALAXIES.................. | 147 |
| CONFESSIONS................................................................ | 148 |
| A WEEK AWAY WITH MARNIE.................................................... | 149 |
| A FANCY.................................................................... | 151 |
| HUNCH...................................................................... | 152 |
| ACCOMPLISHMENT............................................................. | 153 |
| IF I WERE IN LOVE,......................................................... | 154 |
| OVER SIXTY—"STEP ON THE GAS"............................................... | 155 |
| ART OF LIFE IN HELL........................................................ | 157 |
| GIBBON—SECOND MEDITATION................................................... | 158 |
| CITRUS..................................................................... | 160 |
| ~6~........................................................................ | |
| NOTIONS FROM THE EXOSPHERE & EARTH'S DEEPER SOILS.......................... | 164 |
| VISIBLE TO INVISIBLE....................................................... | 164 |
| SHIFTING WORLDS............................................................ | 165 |
| HINTING AT INFINITIES...................................................... | 167 |
| RISKY BUSINESS............................................................. | 167 |
| DISSOLVING THE OLD HOAX.................................................... | 168 |
| MORE JAILBREAK WORDS FROM MARK ALEXANDER................................... | 171 |
| THE "LARGER" VOICE......................................................... | 172 |
| NOTES TOWARD "FORMS, THAT WANDER IN NOTHINGNESS" (FROM HAWTHORNE).......... | 173 |
| FINDING EVIDENCE........................................................... | 175 |
| ~7~........................................................................ | |
| JOURNALS WHERE MANY OF THESE POEMS HAVE APPEARED........................... | 182 |
| ~ SUGGESTED OUTSTANDING BOOKS.............................................. | 183 |
| ~ ADDITIONAL NOTES ON TIM BELLOWS' WRITING ~............................... | 185 |
CHAPTER 1
POET'S PERMISSIONGive the go-ahead for your heart
to strip naked. The buckeyes
are covered with yellow flowers,
smooth fruits. Now's your time
to vision white petals flying from your chest like
blowing blizzard down playgrounds,
down a field where weed-flowers survive
as tiny palms of hands, speaking to you
about holding fast, about letting go. In them
you see the faces that say, We
are pictures of the sun for no one
but you. Our fathers and mothers
are single motet, surely scored.
Trillion voices. Come sing and grow rich.
Come, go exactly half
the distance to madness—touch
our fragrant lips.
FLYING ON I-5 SOUTH
Band of early mist, a long scarf,
clear, unclear, drawn across the field.
Horizontal sunlight raying its way
into low oaks and grasses.
The cows chew, disconnected, unacquainted—
facing their black directions.
Bent down at necks thick as trunks,
eyes shut, pleasant with eating. Noses
swaying—happy—down in the starry grass.
LATE FALL BIRDS
High winds
& the birds
scattered like
flipping leaves
down granite sky.
No telegram they can call out for me.
No seed I can toss up toward them.
In the dawn glow
I paint my pictures again
on the ocean just past the stars
& shuffle in slow steps.
Keeping a pace along the path
winding behind the houses. Down—
as if to thoughts describing
the way poplars
stand against the windy light.
Even the sky is tumbling away.
SLEEPING TOGETHER
"I may not hope from outward forms to win
The passion and the life, whose fountains are within."
—Coleridge.
After loving we sleep, then wake together
in the night's forest wilds where thoughts
soften and swim down as if to reach
the central seeds of unkempt apple trees.
We're not exactly awake, maybe even
not exactly in love, just swept—like dust,
like thistle butterflies, like all things riding air—
into the looming mansion of dreams.
Here we vision generous waves collapsing over,
where sea tide and wreathing rods of riverwater
collide, and show the way inland to those
who can read pure light. We're
Mendocino coast, where a riverway
tumbles outward, lost in massy ocean swirls.
We let our lives go in such water-rushes,
in summer thunder, that code
signaling the coming of logical light,
of barren day with its hard gleam.
DREAMS, HIGH GRASS
he turns over in bed
sings the first word
for wolves they wander & sniff
along ditch & fence
tails
high in yellow light grassy wind
he dreams the hard dream strolls
along the field in dim shirt & pants
his rifle butt smooth
dark as any flesh he would stroke
wolves
lope along easy in the field
land & wolves move sure
as a turning over in sleep
now he
shoots enters the howl
that alerts three counties he
turns again steps into evening here's
lamplight wide as the continent
dead wolves
snap in his face force him to fly down
in the gyroscope of matter and time
kneel on sands
wash a wound
in a body in a diamond
sending gemstone fire
into his eyes
MEDITATION, PERFECT AIR—RED DEER RIVER
May the trees take what's left of your thought and pain.
May the details of vine and threading tendril be enough
as they
sneak their slow grip around slender trunks and whatever
sifts
through head, heart and old feet cramped with years.
May you and I aspire to listen like the faces hiding out
in these branches, excited by small things, by a wind's
motion
rippling the flat light on water, by the small droplets
that sink into earth so the packed dirt of the woods can
feed
full-grown cedar and oak. They say everything
comes from wind. Bless me, for I turn, glad and
angled, crazy in this thin frame—I too stir the air like
Persian mystics who smiled in the wisdom of summer
dust.
I too surrender, throwing my old names down into rock
debris.
I shrug and traipse off to reverse everything: I roll
in riverine grassland, celebrating what's new.
Let's toss ourselves together to the unspeaking ring
of horizon, outdo the naked Persians' mythic tales
and chant songs. Friend, I ache to be nothing
but outskirts, deep soil, and sky that greets people
everywhere
and lives inside. It must be that by now no thing making
color
or shape or music can call us away from the plan made up
by variable winds. They cross through this day of
perpetual arrival
where we climb into sequoia's immortal powers
laying out the whole of our journey along the poor, dry
soils,
this pine forest. We agree to accidents under hard
November sky
where flowers kneel and bow their heads. The air
gathers tension. Still, we return to take our green hold
in the sweet promise of rain.
FLIGHTS
A sea roars in me.
Two pointed birds
sail the air.
I pick up their scraping calls,
flights to a shore,
a white arc within sight.
Above the huts, and filling
with blue and white skies,
a temple.
REPORTS FROM LI BAI
Night becomes a glowing when I sleep.
I fly in a bird's wings,
view my country's tilting fields—
riches of wisdom, water and mud.
My countrymen believed the soul
would spin away from the body
in the wind rhythms of sleep, and the mind,
gone for a stroll, would rest
in high hallways of tossing trees. The soul
would see those leaves top and bottom, move
like half-seen moons shimmering
in their hues of tawny pearl. Then soul
comes back to bed, views the covers as
mountains that drift along grand avenues of night.
In that dark, good friends, be certain
that my deeper companions—
many other shapes in wings—
glide low and watch for us all.
SAYING A TUNE
BY THE CHOWCHILLA RIVER
salmon
slaps a kiss
on silver water
from underneath
ring shapes
swell out
hawk and condor
wear long wings
long cries
turn the sky
the bright blue wheels
CAT—DESCRIPTIVE MUSIC
Sir Cat, my cat, anthology of
moving curves in noon light.
master of scratchy yowls, musical
grunts, indirections, studied arrogance.
master of warming air and its
early-morning clean beyond your eyes,
beyond my windows. Beyond this
weather full of scents, temperatures and
glassy luster, a jade green—so nicely fitted and
flirtatious all around you. Your whiter fur with
floating islands of black. Your composure? Royal,
indignant, explaining all the shades of mood
clear back to thought-lines of Pythagoras
on his green Greek Isle. My imperious cat, you
lift an arm, hold the pose, lick, and a cosmos
clicks into place; heaven, in multiple bandwidths,
swings into this moment where you and I
would hum charmed unisons with
the brief specks of stars—even as
morning sunlight simmers them out of view.
Cat under my window, living by pauses,
you sigh once in your compact, surrounding pool
of meditations, meaning high grasses;
mice rustling down in leaves.
Cat, Sir Cat of mine, you possess
such slow and hypnotic zeal for their tiny bodies.
If I were the master dreamer, I'd watch events
only through your princely patience, my sight
fluid as your bones, muscle and fur,
enchanted as the nighttime wells
of your eyes—lunar surfaces, secrets inviolable,
reassembled in relief after night's long alarm,
roof-clattering summer rain—for you, it's
a full-out terror of straight lines
hissing down against the house, and you
skitter along in hunkered-down crouch.
And sit, ball of tensile fuzz in the hamper, proving—
as the gray of rain demands—that you're
also master of the ongoing, compact tunes
inside stone.
A MORNING HOME ALONE
my wife's cat
shadows past me.
I stand in the linty,
fluorescent laundry room,
half lost, half
found inside
my notebook of loamy,
procreating fields where
I make up skies
and a blue lake sliced
by translucent wind.
and the marveling shadow
skitters, beckoning me till
I entertain a wish
for a magic life. He lopes
down the long beige
rectangle of this back hall.
his shoulderblades
gyrate with friendly spells,
composure worth the price
of any dried-up mona lisa.
if I would only
follow him, we'd
hum all around
the ceilings of this
house alone—
many small suns.
many golden eyes.
MOOD
maple—
late fall—amber—
silver-gold light drifts and
glimmers in leaves—dry bones of life
sharper
FOLLOW WHISTLING
Under wide sky I'm
thin and singing, wandering around on sunlight.
Seedlings' leaves, warm in surrounding miles,
prompt me through deeps of forest, where love
does the right thing and I'm whispered
to find the stream for you. To wait up past
midnight.
It may be that you'll follow my whistling
through black spruce and alder. And know the spot
for drinking daybreak, spring-water, the white
flowers and
edible red berries everywhere. Take heart: Plants
gleam within many lives; brave seeds fly on leafy
wings,
scouting out one sun after another,
eradicating a century of sad news
as the brightest eye beams phantom secrets
and daytime stars glide into you.
(Red Star Ridge, Nevada)
(Continues...)
Excerpted from citrus & green by tim bellows. Copyright © 2013 tim bellows. Excerpted by permission of AuthorHouse.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
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