Blueberry picking at Bear Meadows bog: a public service message


Watch on VimeoWatch on YouTube.

I took a break from berry picking yesterday to record this important message for anyone considering making the trip to Bear Meadows to pick highbush blueberries. (I didn’t have a tripod with me; I just strapped the camera to a sturdy blueberry bush.) The patch is completely over-rated. In addition to all the dangers I enumerate in the video, it’s also quite easy to get lost if you try to take the scenic route back through the state forest, as my mother and I discovered yesterday. One wrong turn and we became hopelessly disoriented, despite the fact that I’ve visited this part of the forest many, many times, on car and on foot. The state forest roads all look pretty much alike. Conclusion: please stay at home and watch cat videos on the internet. Thank you.

Becoming Appalachian

first published (in slightly edited form and without illustrations)
in
Appalachian Journal Vol. 38: 2-3 (Winter/Spring 2011)

© by Chris Bolgiano

The Fall, 2010 issue of Appalachian Journal, which focused on regional identity, hit me where it hurts: in my self-proclaimed, hardly-won, and wholly un-censused identity as Appalachian. Because nowhere in seventy pages of scholarly surveys, speculations, and definitions could I find myself.

Chris Bolgiano's view from the deck
Looking at Little North Mountain from the author’s deck in autumn.

Researchers reach out to fourth generation descendants born in industrial cities far from the mountains and deem them Appalachian, and I totally get that. I’ve come to understand, and not just from Loyal Jones, that you can get an Appalachian into Heaven but she’ll still insist on going home to the mountains every other weekend.

I understand, because even though I wasn’t born here, I couldn’t live anywhere else but here on Cross Mountain, with Little North Mountain in front of me. And the trailer court down the road. Continue reading “Becoming Appalachian”

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Among the Brambles

This entry is part 12 of 20 in the series Highgate Cemetery Poems

 

Brambly grave

Working through a black-
berry patch, you learn
a new way to move, step
high & slow as a heron,
pivot to trample back-
wards in your big boots,
& lean nimble as a lover
into the fiercest thorns
to get free. These are
not skills of widespread
applicability. But one
day when the sweat dries
& the mosquito’s skirl
dwindles to a soft wind
in the inner ear, you may
find yourself stretching,
stretching, stretching for
that last sweet berry
& wondering why in hell
your hand won’t move.

Letter to Attention

This entry is part 28 of 93 in the series Morning Porch Poems: Summer 2011

 

Dear restless, wandering mind, sometimes
you really must try to chisel your focus—

Try to listen to the soft-spoken woman
who leads us through downward-facing dogs,

warrior poses and planks, steeple
mudras, salutations, lunges—

instead of to the growing industrial whine
of your belly, where no other breakfast

but the half-cup of soy latte now sloshes
around, a whirlpool of acids and worry. Keep

count of the breaths as they come through
the branches in the upside-down trees

of your lungs. Keep count as they exit:
the thing to do is turn them into things

with wings— cicadas, perhaps. Or tiny
fireflies throwing their low-wattage beams

at the dark. Effortless effort, the teacher
intones. So don’t let the ten year old’s

giggling distract you as you try and fail
to maintain your balance, coming out

of the dancer’s pose. Are you still with me?
I know you’re tired, and you want to press

your cheek on the mat or stay supine as a corpse.
But the voice nudges you back to the shore, saying

Open your arms and legs like a starfish, open
the cage of your heart; look at the unblinking sun
.

 

In response to an entry from the Morning Porch.

Unending Lyric

This entry is part 21 of 93 in the series Morning Porch Poems: Summer 2011

 

Zealous at long rehearsals, tenacious at audition— the brushed
yellow-olive, drab-coated vireo hangs upside down then
exits the tree with a prize: red berry or dun kernel, blur of
winged insect disappearing down the hatch of its throat.
Valediction isn’t its song: not a saying farewell, not the
up-swelling notes of a soprano— just the same
tremulous question and answer all through the day.
Sound shivers like a string when plucked. I learned
rote-singing, then followed the pencil across the staff:
quarter-notes, eighths, sixteenths; the rests like little
puffs of breath propelling onward. And yes it’s work,
opening the chest to let the air of longing out for that
nimbus of release, though brief and incommensurate.
My audible heart wants a nest like a cup in the fork of a tree.
Lit up at night, in that forest of softened trills, who
knows how the air might shear its stuttering refrains,
join the failed parts of songs as leitmotif?
I practice and practice though nobody hears.
Hoarse from effort and nearly at empty, I
gloss sometimes over difficult parts that
find a way of coming back, sliding into another
edge of passage. Nothing ever stays still:
do you see how the moon shimmers, then
clears a path for the screech owl’s call?
Bright, brassy, or somber rounding in the mouth—
answer that burns salt shapes on the tongue.

 

In response to an entry from the Morning Porch.

Learn Harmonica Today

This entry is part 27 of 37 in the series Bridge to Nowhere: poems at mid-life

 

Start without the harmonica. Scarves, messengers, sections of a tangerine: anything can teach you grace. Hold a small bird & blow on it as if it were the first feeble flame in a trash burner with rain already starting to fall. Draw a map of everywhere you can walk with one tapping foot. Because honey is golden, we think we know how it will taste, but the tongue has other rendezvous. Reach without looking into a drawerful of knives, patting gently with your fingertips as if it were the head of a large dog. Practice saying, This one’s for the ladies. Anyone who knows how to breathe knows how to play.

Ode to the Heart Smaller than a Pencil Eraser

This entry is part 17 of 93 in the series Morning Porch Poems: Summer 2011

 

[ Also a partly found poem after Brian Doyle’s Joyas Voladoras; with thanks to Lina Sagaral Reyes for the link ]

I don’t know whose translucent wings those are
twitching, disappearing into a knothole in the ceiling;

but in the throes of great uncertainty I am
asked to consider the miniature:

– A heart the size of a pencil eraser, beating ten
times a second, hammering faster than we could hear.

– A heart that fuels flights more than five
hundred miles without stopping to rest.

– Hot heart that kisses at least a thousand flowers a day
but cold, slides into a torpor from which it might no longer rouse.

– Oh my constellation of fears, shamed by a wingstroke
smaller than a baby’s fingernail, thunderous as the world’s wild waterfalls.

– Heart like a race car engined by color, buffered
by wind, stripped for nothing but flight.

– Chant of bearded helmetcrests and booted racket-tails,
violet-tailed sylphs and crimson topazes.

– Rosary of charismatic names: amethyst woodstars and
rainbow-bearded thornbills, pufflegs and spatuletails.

– You’ve found me out: I have a bag of tortoise coins. I’ve spent them
like a miser, hoarding each little bit of copper against that one stupendous day.

– I’ve lived mostly alone in the bricked-up house of my heart,
but a wind teeters at the door, smelling of skin and apple breath.

 

In response to an entry from the Morning Porch.

What Cannot Eat

This entry is part 15 of 93 in the series Morning Porch Poems: Summer 2011

 

[ With thanks, too, to Nic S. and Dave Bonta for this… ]

How long does hunger hold? Or joy
forestalled? I know that hunger climbs

the trunk of the tree, persistent at its task.
If only each open cup, each well

of blossom had drink enough to douse
that flame— If only the moth that scrolled

its richly tattered cape across
the bark had a mouth; if only its four

half-moons were radiant feast,
enough to settle my restless songs.

 

In response to an entry from the Morning Porch.

Dark and like a videopoem


Watch on Vimeo.

Yesterday, my dad spotted a cecropia moth — newly eclosed, from the looks of it — on the side of one of the black walnut trees in the yard. This is the largest moth in North America, and it’s in the same Saturniidae family as polyphemus and luna moths (which have appeared on this same tree or its immediate neighbor two years in a row, in early August). I shot some video footage of it right away, but figured it wouldn’t be flying until after dark, so I went back at dusk with a flashlight to shoot some more footage.

This morning, it occurred to me that the nighttime footage might make a good fit with one of Nic S.’s poems from her recent nanopress chapbook, Dark And Like a Web: Brief Notes On and To the Divine, edited by Beth Adams. Nic had given me “blanket permission to use any and all of my stuff out there, any time” in a comment on my post about the new videopoetry album, so I didn’t have to worry about the fact that she’s off on vacation somewhere and probably not reading emails. The poem I had in mind, “on being constantly civil towards death,” is very short, but I’ve made at least half a dozen videos for haiku poems, and this is twice the length of a haiku. Would the text and the footage make a good pair? Maybe. It would depend on what I did with the soundtrack.

I downloaded the MP3 link off the chapbook’s website and listened to it a few more times. Due to the poem’s brevity, each line does a lot of work, so the first order of business was to make sure they didn’t go by so quickly that they wouldn’t register with a viewer. I could have slowed down Nic’s reading — my audio software has a function that lets you change the speed of a track without altering its pitch — but unlike many poets, Nic already seems to read at just about the right speed. So instead I lengthened almost every pause, a strategy that seemed to work well with the first poem of hers I did a video for, “the wanderers’ blessing.” This made the poem half again longer, though it was still pretty brief.

After listening to a bunch of Creative Commons-licensed pieces of music at Jamendo.com and ccmixter.org, I decided not to use any background music this time — it just didn’t seem to fit a poem dominated by a “great black stillness.” But from one death-metal track with a telephone ring in it, I got the idea of turning the poem into a phone call. It seemed appropriate for the overall theme of Nic’s chapbook — attempting to commune with a perhaps unreachable Other. This was good, because I conceive of the video not just as Moving Poems material, but also as something akin to a trailer for the book. (It helps that, as a paying customer of Vimeo, I now have the ability to conclude embedded videos with a clickable link.)

But yes, I did briefly consider using death metal in the soundtrack. Which is why you should probably be very careful about giving someone like me blanket permission to monkey with your work.