Sunday Service

Diedre is someone who can handle anything, so Evelyn and I looked up when we heard her edge and saw her throw up her hands. Weaving elegantly past the tables and chairs in the undercroft, her kitten heels clicked on the hard linoleum as she announced, without even looking back at Brother Spaeth: “I don’t deal with dead people.”

Well after that Evelyn and I knew we had to stop what we were doing.

Each Sunday morning is the same. Evelyn, svelte and neat; not a hair of her salt-and-pepper pixie-cut out of place, was (as usual) methodically pouring orange juice, apple juice and cranberry juice into plastic cups.   Each juice-flavor selection on a separate, doily-lined tray, each cup about three-quarters full and lined up in uniform rows.  I stood next to her, a foot or so away, also looking out at the dining room from the church kitchen’s long rectangular serving window. I’m stout, my hair is styled in natural twisted locks  that fly- free especially my grey streak in the front;  I was (as usual) appropriately disheveled for someone working in a church kitchen before 8 in the morning.

Upstairs at St. Matthew AME Church they were praising the Lord and foot-stamping to the music. And I was trying to creatively line- up small boxes of Frosted Flakes, Frosted Mini-Wheats, Rice Krispies and Fruit Loops, next to Danishes in commercial cellophane and apple turnovers Saran-wrapped by hand and rearranging the blond cafeteria trays they sat on.  But now Evelyn and I both stopped and looked out at Diedre and Brother Spaeth and then at each other, silently craning our heads and knowing we were both thinking: “Did I just hear what I thought I heard?”

What’s more, it was Diedre and she can handle anything. Evelyn and I walked out of the kitchen in tandem to help, and there at a table near the center of the dining room sat a man with his head down. He was completely still—his back did not move up and down, he was apparently not breathing.  Evelyn poked him in the shoulder; there was no response.  I fingered his wrist and felt no pulse.

So what now? 100-plus people in church upstairs, most of them coming down to breakfast within the hour; biscuits and sausages in the oven, and a dead guy sprawled across a table in the middle of the room.

I volunteered to go upstairs and tell somebody.

I took a shortcut, ran up a back staircase and emerged at the side of the sanctuary. I can’t remember where they were in the service, but they were in full-church-passion mode and I decided to try to be discreet. Then it hit me: How do you break this news and to who?

I tapped one of the nurses, sitting at the end of a front-side pew near the Stewards, on the shoulder and said, Rena we have a situation – “A gentleman has apparently passed away downstairs.”

She looked at me like she’d never seen me before in her life. She said: “What?”

I whispered: We need you to come downstairs, one of the indigent people who come for breakfast, has apparently died in the undercroft. Rena had slipped out of her shoes – white nurse’s clogs – and she fumbled getting them back on her feet as she rose to rush downstairs behind me.

When we got downstairs the scene was unchanged: Diedre, Brother Spaeth and Evelyn standing over a slumped, disheveled, dirty-looking dead man.

And then he stirred. And then he started to throw-up. And everybody jumped back.

“I don’t deal with throw-up.  You can ask my late husband,” said Evelyn.

As she walked to the kitchen to get a wet dishcloth.  Rena cautioned us not to touch his body-fluids. Since Evelyn and I were the only ones wearing gloves ‘cause we’d been working in the kitchen we realized for these initial moments we were it. I took the dish towel, noting that she’d picked a nice towel and taken the care to use warm water, as Evelyn crossed to the other side of the round table and started gathering up the plastic tablecloth.

I had the wet dish cloth under his chin as he finished spitting up and by the time I had folded it over to gently wipe his face, Diedre and Rena were putting on gloves and gathering up the tablecloth on either side. Brother Spaeth gave us an ETA on the EMTs and announced he would get a trash can.

Rena, who had to go back upstairs to get her pocketbook (and see about her mother) told us he might have hit his head and we should talk to him until the emergency services people came. So, I sat down next to the gentleman—he was middle-aged, balding, medium brown-skinned and not bad-looking with a freshly cleaned face.

So there we sat, in front of the partially bunched up tablecloth with the warm, damp dish towel folded and laid in front of him. (Just in case).

OK, now, what to say to someone you just thought was dead once we were past: “Let me help you… let’s clean up your chin a bit, there now…. Face to face now, I started: “And I’m Maida, what’s your name?”  He just stared at me under low eyelids and said, “usually people just leave me.” (When he passes out?) Usually?

I decided to try not to be condescending and make our required talk as conversational as possible, while cleverly, sneakily (I thought) checking his coherence.  I engaged, “So what did you do yesterday?” I asked as casually and politely as I could.

“What did you do yesterday,” he countered with an edge that surprised me. And I stuttered; at that moment I couldn’t remember yesterday.

Then he started asking me if I’d been to some church on Wednesday, or another church on Friday, or a different church on Saturday and gradually I realized he was telling me which churches gave away free food and which days I could go. And I started to see his sad, sad enterprise—a network, a traveling band of near-abandoned people walking from church-to- church all over West Philadelphia, looking for Christians willing to give strangers something to eat.

The EMTs came and I walked away. Brother Spaeth threw everything on the table away, Diedre wiped up with disinfectant and set out a clean tablecloth. Church ended, and the congregants came down to eat breakfast.

By the time Evelyn and I got back to the kitchen, someone had put the sausage patties in the biscuits and wrapped up the pork and turkey sandwiches, placing the piles next to the pastries and cereal creating the same food display everyone expects every week except first Sundays when we serve sage sausage, scrambled eggs, bacon, cheese grits and home fries.

Evelyn and I were back at our stations, food-prep time long past.  Indeed, we were nearly through serving our church family when a slightly familiar man walked through the line. Evelyn and I looked at each other, finally forming the words: “Was that?”

Diedre walked past, looked over at us and paused. “Yes, I know, “she said, her voice flat. “A resurrection and it wasn’t even Easter.”


Maida Cassandra Odom, a native of Akron, Ohio, is a longtime North Philadelphia resident and a member of St. Matthew AME Church in West Philadelphia. She retired in 2019 after working as a newspaper writer/reporter, a union activist/editor, and a journalism professor. Her church distributes free meals every Saturday.

Coal Black

The story of what happened during the summer of 2020 is lost, or rather, someone just dusted it over, and if you just put a little breath on it, you’ll reveal it all. The only abnormalities you can find in the official records have to do with the weather. If you want to know what was really going on, you’ve got to compare what you find on social media with what was officially reported. Check BallSnatch, Fakebutt, and Ingrastam. You’ll see. Things just don’t match up. Maybe you’ve got to water gaze, get a clean bowl, and fill it. Maybe you’ll get some answers that way. I don’t know.

Back then, the reporters gave no indication that anything was unusual; they continued to report the weather like nothing was wrong.  It was August, and not once had officials given us citizens an explanation for why it hadn’t rained all summer. Every city experiences an occasional drought, but it wasn’t dry. Far from it. There should have at least been a mention of it. No official source—no TV weatherman, no newspaper, not even weather.net—gave an explanation for the all-encompassing mushy grayness hovering over the city. Each morning a thick fog rolled in off the Delaware river. It was so massive. It looked like God had hiked her puffy white skirt above her knees to avoid the water. Then, for the rest of the day, a seemingly malcontent, monochromatic shadow colored everything, and no one said anything about it. Imagine normal, temperate, summer weather being like this all of a sudden:

Dawn rises, and there might be a wind that’s a little aggressive, a little more than flirtatious with the hair that hangs about your neck. It teases, and then it definitely threatens, slowly becomes tempestuous. And by mid-morning the sky cracks and rolls but never opens.

There was no rain. Never. At least there wasn’t any officially reported. Every day with the same recorded smile, the weather person, in her too tight cocktail dress and pin-up girl makeup,  announced the same, “Smothering humidity, high temperatures, severely overcast skies, possible rain.”  But it was ridiculous. Everyone knew that it rained. Just not continuously, and not over a very large area.  It was known to rain on one person, or one car, or one house at a time. In torrents. Hurricane conditions for an average of four square feet for an average of four seconds. They didn’t lie, not really. The media, indeed the people, simply ignored these uprisings that only amounted to the discomfort of a few, people who were often other anyway.

A new fried chicken and milkshake place had opened up across from the park, next to the new tiny art gallery, opposite the popsicle store, the pickle store, the mayonnaise store, and the barley beer store. It seemed to Sunny that there was now a store for everything in this neighborhood. How about a Qtip and cotton ball store? A dish soap store? Sunny imagined one day, these specialty stores would cover the city. And instead of a supermarket, you’d get each ingredient for your sandwich from a different store. At the end, your tomato on rye with vegan curry mayonnaise would cost over $100. How ridiculous would that be? But for now, couldn’t a sweet, thick milkshake cheer her, lift the numbing grey fog clinging to her mind and heart?

As if in defense of the thought, an angry steel cloud began forming over her head as soon as she stepped off the number 40 bus. Sunny barely escaped the rain. She stepped quickly through the glass doors that had been covered in plywood after the last riots. Merry bells rang, startled her, bright sounds to match the shockingly bright white walls and halogen lights. The inside of the shop had been sterilized of all of the violence and uncertainty that filled the streets around it.

Sunny ordered her shake from the counter girl with the blond hair. She had a plastic smile and empty blue eyes.

“Vegan shake please.”

“I’ll bring it out to you in 10. No chicken today?”

“Vegan.”

“Right,” she said with a tiny smirk.

Sunny slid onto a stool at the counter in the back and carefully peeled off her damp cardigan. From her vantage point she could people watch. She could clearly see everyone sitting at tables and booths. There was a thin slice of glass left uncovered by the plywood, and so she could also spy the anonymous raincoats and umbrellas walking past outside the shop.

There was a Black couple in the booth closest to the window that kept grabbing her attention. They were the only other Black people in the restaurant. And although most of the Black faces she passed in the streets were gloomy and wet, victims of rain, their houses maybe even torn up by the summer’s flash storms, they seemed to be happy. The sun wasn’t shining at all, and still their faces were reflecting some source of inner light. The waitress brought over a basket of hot chicken, which she sat in the middle of their table.

“Gimme some,” the girl said.

The man looked at her with a devious grin. “Better keep your hands off my food woman.”

She placed her hands on the table and leaned forward ready to pounce.

“I will bite the shit outta you,” he said, still smiling. “Stop playing!” he placed a protective arm in front of the basket.

The brown man began to eat greedily. He barely held in his laughter and paused to drop the chicken and lick his fingers to cool the burning. His date saw her chance. She pushed his arm aside and snatched a wing just as he was about to attempt another bite.

“Let me try this here. The girls at my school said this place got good chicken.” The woman pulled the wing from her mouth; her teeth took most of the meat from the bone.

The man spoke first, “This is nasty as hell,” he said, “it’s soggy as fuck.”

“Dang!” she said and spit the bite she had taken back into the basket.” Ain’t no salt on it or nothin…”

“And that piece you bit is bloody in the middle.” She looked as if she wanted to vomit. “That’s so trife.”

“That’s what you get, woman. How you gone let some white girls tell you where to get chicken in your own hood? What the hell is ‘artisan fried chicken’ anyway?”

“I coulda got better chicken on the block with some salt pepper ketchup.”

“Right?”

“Like $.10 a wing.”

“Alllll day!”

They both laughed until they were holding their bellies. They sat closer together. He grabbed the back of her neck and they pressed lips. Sunny swiveled her stool back toward the counter and sighed. Her milkshake had come and melted. She hadn’t even noticed. It was just as well.

Twisting to and fro on her stool, Sunny glanced once more at the couple as they made their way to the door in each other’s arms. They were the brightest in the room, not the walls or the lights, and when they left, they carried the sun out with them. Sunny imagined that they were in love. The way the girl kept smiling and the way the boy kept touching her, she imagined she must have been witnessing love or something like that.

Sunny paid for her forgotten milkshake and left. Her rain cloud had waited above the door of the shop to escort her home. She glanced at it threateningly from time to time as she walked the four blocks to her house. She didn’t even bother to put her umbrella back up.

“Fuck it,” she thought, “let it rain.”

But it didn’t.

****

The front door of her apartment was open, but the lights were off. She wondered where her roommate was. As she neared the top of the stairs in the communal hallway, she could hear a commotion in the bathroom. A less experienced partygoer may not have recognized the faint noises she heard as retching. But she knew, before she saw, that Mel was throwing up into the toilet. Sunny took the last few steps in bounds.

She found Mel with her head in the toilet looking distressed and even more pale than usual. She helped her into her bedroom and sat her on the bed. Sunny noticed that her personal cloud had hung around, and was now outside Sunny’s bedroom window making a storm just for her. Fat droplets began to assault the pane. Mel lowered her face as her eyes also began to shower the front of her lavender tank top. Her tears came in torrents. Puddles began to form in her upturned, cupped hands.

“I’m pregnant Sunny and I think it’s Allen’s.” Mel did her best to push her words through the water.

“Wow, Mel. Can I be the god mom?”

“Don’t be stupid. I can’t have this baby.”

Sunny moved to her friend’s side. “I’ll help you,” she said and gently brushed the hair out of Mel’s eyes. She held her tear-soaked hand. “And you won’t have to worry about money. Your parents will give you money right?”

“Not for a half Black baby Sunny. They’d just die. They’d disown me! For real this time…”

Sunny stood up and moved away. “Well, no that’s crazy, Mel. It’s your baby, so they’ll love it. Besides, your parents aren’t racists. They’ve always been really nice to me. How many times have I been to their house?”

“That’s because you can’t get their daughter pregnant, dummy.  Of course we are nice to Black people, we don’t fucking have babies with them. My nanny was your color Sunny,”  Mel stood glaring. “I’m getting rid of it, that’s what I’m going to do.”

“Mel!”

“I’m sorry,” she said quietly. “I just can’t do it.” And she left the room.

Sunny stood in the same place in the middle of the floor, staring at the empty spot on the edge of her bed where her friend had just been. She didn’t think. She just stood wondering what to think or do, if anything was to be thought or done. She turned toward the window, which the darkened sky had transformed into a mirror. For a moment the rain racing down the glass almost made it look like Sunny was crying, but she wasn’t. She couldn’t. She certainly wanted to but couldn’t choose between the many reasons why she might. Her friend had been the one crying, but somehow, Sunny was the one soaking wet. Now the rain was inside. She ran her hands over her cottony, kinky curls and briefly felt self-conscious; felt herself an enemy of her own skin.

Then Sunny felt anger but she felt love too. She remembered the couple she had seen in the restaurant, how they radiated love. For a brief moment, Sunny wanted to curse Mel, but instead she said this prayer for her and her baby:

I hope this child is born. I hope it’s born full of love and health, she prayed, and Dear God, I pray it’s born black as coal.


Misty Sol, a writer/visual artist from small-town Pennsylvania creates art to explore Black people’s connections to family, nature, and speculation. When she isn’t painting, writing, or homeschooling her two kids, Misty enjoys making meals from scratch, gardening, and foraging for wild edible plants. She currently lives in and creates in Philadelphia. Misty’s work is featured in both literary and visual genres in our winter 2021 edition. Visit www.mistysol.com.

Nobody Makes it Big in Philly

Elizabeth did the best she could to make ends meet. There were times she’d pay the light bill and times the lights went out. Sometimes we had a place to stay, other times we had to flee in exodus. Those times, I could never bring more than I could carry. We’d get to the apartment of some new artist boyfriend of hers that I had to call “uncle” so and so, and he was gonna take care of us, but it never lasted for more than a few months. We always outstayed our welcome.

I always assumed my father was one of the many artists she had lived with. I had no pictures or physical description, just the drunken ramblings of my mother yelling in an ear-piercing tone that I “looked like that motherfucker.” I remember going through a phase where I studied every brown-skinned man on the street and wondered if he was my father.  His name did not appear on my birth certificate, so all I could do was wonder.

When I was around eight, she settled with Fingers, a pianist and singer.  She followed him from gig to gig, usually stumbling home in the early twilight hours. A tap at my feet would signal their return, and I’d awake to see his tall, dark figure standing over the bed.  All I could see were his eyes in the moonlight and the red-orange of his cigarette dangling from those curving dark-colored lips. I was forced to sleep on the couch in the living room.

I used to share the same bed with my mother, sleeping on her right side, while her night guest laid to her left.  Until one evening, Fingers got mad and shouted, “When is he gonna get a bed of his own?” Ever since then, I was forced to sleep on the lumpy old couch in the living room.  I hated laying there alone in the dark while he enjoyed the comfort and warmth of the bed and my mother’s affections. Watching from the crack in the door as their bodies merged in the moonlight, I’d see how he held my mother, and how she looked at him. Fingers would call her “Baby,” and he’d sing to her.

In the morning, I’d have to tiptoe past their sleeping half-naked bodies, with the fragrance of cigarettes, liquor, and sex stinging my young nose. Forging my way to the bathroom and stepping on their carelessly flicked cigarette butts, together with empty bottles of Night Train lining the threadbare carpet. This became a part of my morning routine. Fingers would usually stir a little when I closed the door after having used the bathroom. He’d rub his eyes, smile dryly, and say something like, “Hey little man.” I’d scowl at him and walk back to the couch, wishing he’d leave so I could sleep comfortably.

When Fingers slipped out the front door in the morning before mom could prepare breakfast, I could hear her quietly sobbing in the bathroom. When she finally made her appearance in the living room, she’d push a bowl of cereal towards me.

As Fingers and Elizabeth’s relationship progressed, there would be weeks Elizabeth wouldn’t come home and I’d be left alone to fend for myself with nothing but liquor bottles in the apartment. Eventually I found my solace in those bottles. I’d sit in the living room and drink until I passed out, my little body numb to the reality of neglect. While alone, I began to channel my thoughts into a black and white marbled composition book, waxing poetic about the things that didn’t make any sense to me, about not knowing my father, about how poorly Fingers treated Elizabeth, and how I wished for a place to call a permanent home.

By the end of the year, Fingers stayed with us. I stayed as far away from home as possible. I passed the hours after school in the library, meandering through the art section, falling in love with the surrealism of Dali, the artful graffiti of Basquiat, and the collage of Romare Bearden. I began to see my world of abandoned buildings and liquor stores in geometric patterns. I began drawing and sketching this world in a spiral pad, seeing the images before the pen ever touched the paper. I consumed the writings of Richard Wright and listened to the sounds of Gil Scott Heron and The Last Poets. I was in the library until they kicked me out.

Elizabeth and Fingers were up nights talking about moving to New York. Fingers said he was tired of taking the Chinatown bus.

“Nobody ever made it big in Philly,” he told my mother.

A few weeks later, my mother told me that we were moving. I didn’t bat an eye. I got up from the couch and started the familiar ritual of shoving my clothes into my duffel bag. Moving in with Fingers would be just another of our many relocations.

“What kind of dump he taking us to?” I asked.

“Baby, there ain’t no place for you where we going.” I walked down the stairs with my duffel bag and waited for Fingers to start up his Monte Carlo.

I hopped in the back, not sure where I was going. Fingers looked at me through the rearview mirror for a while. I wasn’t about to give him the satisfaction of seeing me cry or asking my mother to pick me over her lover. Elizabeth sat in the passenger’s seat and remained silent as the car went down Grays Ferry Avenue.


Pietra Dunmore’s writing has appeared in Rogue Agent, Penumbra, Causeway Lit, Pine Hills Review, Rigorous, and Hippocampus Magazine.

Letter From the Guest Editor

Hello,

My name is Lori.

I am a Black woman. I am a writer. And I have always known that Black lives matter. As an avid reader since early childhood, I have also known that Black stories matter, but I didn’t grow up seeing myself or others who looked like me in the pages of the books I so eagerly consumed. So, when I picked up a pen to write my first stories, I didn’t write about little girls who looked like me. I wrote about people who looked like Anne of Green Gables and Laura Ingalls Wilder. I didn’t know that I could write stories with Black people in the starring roles.

That is why it was such an honor to serve as guest editor for this special Black Lives Matter edition of Philadelphia Stories, where the mission was to tell Black stories, where Black people could have the starring roles.

So, what are Black stories? First of all, they are not stories filled with trauma, terror, and references to slavery. Except when they are. They also aren’t stories situated in urban centers and populated with senseless violence. Except when they are. Black stories aren’t repositories for stereotypes, but it would be perfectly reasonable to find references to fried chicken and southern living in a Black story. It would also be reasonable to find love, laughter, and joy as well. There also might be spaceships, dragons, and unicorns. In other words, Black stories span the entirety of the Black experience and imagination. Black stories are universal stories, written by Black people.

So, the essays, stories, and poems included in this issue are as varied as Black people themselves. There is love and laughter, sadness and pain. There is pride and despair. And yes, there is mention of fried chicken. The only thing that all of these stories have in common is that they were written by Black writers. And that’s what makes them Black stories. And yet, they are universal stories. Stories that can be appreciated and enjoyed by all people. Especially, Philadelphians, as most of the selections here have an obvious connection to the city of Brotherly Love.

In this issue, there are one non-fiction essay, two short stories, and five poems written by talented Black writers from different walks of life. These selections were chosen not only because they were well written and offered evocative expressions of life, both real and imagined, but because together, they offer a glimpse into the highs and lows of Blackness in America right now. From the front lines of the fight against Covid, to the bustling kitchen of a Black church, the prose offers compelling characters and complex stories. The poetry crackles with rhythm and life.

I hope you enjoy reading this issue of Philadelphia Stories as much as we enjoyed putting it together. I hope it whets your appetite to read more Black stories by Black writers, from Philadelphia and beyond. I hope more Black writers submit their work to be considered for this publication and many others. Because we need more Black stories. We need Black stories to matter to everyone, not just Black people. We need Black lives to matter to everyone as well. Please keep writing. Please keep reading. Please keep sharing. It all matters.


Lori L. Tharps is a writer whose work meets at the intersection of race and real life. She is an author, journalist, educator, podcast host, and popular speaker. She is inspired by the collision of culture and color. She is fueled by creativity and passion.

Originally from Milwaukee, Wisconsin, Lori attended Smith College, where she had the opportunity to spend her junior year studying abroad in Salamanca, Spain. After graduating from Smith, Lori spent two years working on Madison Avenue at one of New York City’s top-ten public relations agencies. Soon after, she entered Columbia University’s Graduate School of Journalism and has been writing her way through the world ever since.

Lori began her journalism career as a staff reporter at Vibe magazine and then as a correspondent for Entertainment Weekly. She has served as writer and/or editor for magazines including, Ms., Glamour, Suede, Zora.com, Parents, and Essence. She has also written for The Columbia Journalism Review, The Philadelphia Inquirer, The New York Times, The Root.com and The Washington Post. 

Tharps is the award-winning author of three critically-acclaimed nonfiction books including, Hair Story: Untangling the Roots of Black Hair in America (St. Martin’s) Kinky Gazpacho: Life, Love & Spain (Atria), and Same Family, Different Colors: Confronting Colorism in America’s Diverse Families (Beacon) She also penned the novel, Substitute Me (Atria).

Lori is the mother of three, is (almost) fluent in Spanish, and can say I love you in seven languages. She has a labradoodle named after James Baldwin.

 

 

Poetry Prompt: Write, Replace, Repeat

By Grant Clauser

In his Journal of the of Fictive Life (1965), former US Poet Laureate Howard Nemerov writes in one section about the struggle of getting started on a new work, but concludes “What a great weight one adds to the heart by simply writing ‘It was a fine summer morning.’”

While I can’t remember the whole passage (I stumbled upon the above sentence online), it strikes me as good advice to offset what Maxine Kumin calls “the terror of the first line.” I and many other poets have spent innumerable hours staring at an empty page (paper or pixels) waiting for the first words to squirm awkwardly from the ooze. Sometimes that happens. Often it doesn’t, which is why we need to try some other tricks to push through the inertia. I’m thinking of kayaking right now (daydreaming actually). The first dip of the paddle can be the hardest one because you’re not moving. You need to fight the water’s grip on the boat, and physic’s grip on reality, before one motion becomes forward movement. Dip and repeat. Dip and repeat.

So, back to Nemerov’s summer morning. Here’s a first dip that’s worked for me.

Simply write out the simplest, easy, statement you can, much like the above.

It was a fine summer morning.

Then, write it again, replacing one word for another, but to force the mind into movement substitute a verb for a noun, an object for a person, or turn it into a simile… until you feel the boat gliding across the surface. Don’t be afraid to get weird. Only then can you let go, point the bow somewhere and keep paddling.

She was a fine summer morning.

She laughed like a fine summer morning.

She laughed like the summer rain

against the tent, mosquitos bursting

between our bodies while down

in the valley the river rose over

the road making an island of us

Etc. You get the idea. The point being that the mind, the part that takes one experience and transforms it into another, sometimes needs a push, like a friend on the shore giving your kayak a shove before you figure out the stroke that will keep you moving. Dip and repeat. Dip and repeat.

Grant Clauser is the author of five books including Muddy Dragon on the Road to Heaven (winner of the Codhill Press Poetry Prize), Reckless Constellations, and The Magicians Handbook. His poems have appeared in The American Poetry Review, Cortland Review, Tar River Poetry, The Literary Review and others. He works as an editor and teaches at Rosemont College.

Writing Prompt: The Three-Part Poem

In Carolyn Kizer’s introduction to Theodore Roethke’s essay collection, On Poetry and Craft, she notes that Roethke often described his favorite kind of poems as three-act plays.

“You move from one impulse to the next, and then there is a final breath, which is the summation of the action as a whole,” she writes. In a lyric poem of this sort, she says, the action is emotional or mental, rather than physical, but it still follows this dramatic structure.

That reminded me of a poetry exercise I created years ago and have presented to several classes. Sometimes I ask people to write it in class, as fast as they can. Other times it’s a take-home assignment for discussion the next week. Either way, it almost always results in good poems, ones with a structure that just seems to work. Depending on the workshop, I’ve called it different things with slight modification: The Three-Part Nature Poem, The Three-Part Person Poem, The Three-Part Nostalgia Poem. Here’s the place poem version.

Part 1
Select a specific scene or place from your memory where you have a strong emotional attachment (the front porch of your ancestral home, a place you’ve vacationed, the bar where you wasted your 20s, a boat dock you where you broke up with your lover, the paddock you used to raise hoses as a kid, the street in front of your grandfather’s house, the place you used to go when you skipped school…) and write one stanza on that. Try to keep people out of this stanza and make the imagery vivid and a little metaphorical.

Part 2
Write a stanza about your family or someone in your family connected to that place—any subject or situation relating to your family, but it must be in essentially the same style/format as the first stanza. Where there’s an emotional situation, describe the circumstances of the emotions or feelings, rather than the emotion itself (the sound of the fight, but not the fight itself).

Part 3
Write a stanza about yourself that returns to the place and imagery of the first stanza.

Now, refine these three parts to make them form one three-stanza poem. Look for connections within the stanzas. Do images or references create echoes or loops? How can you make the scene metaphoric or reflective for something in the other stanzas?

What would happen if you change the order of the stanzas (you may do that if you think the poem works better that way).

 

Grant Clauser is the author of five books including Muddy Dragon on the Road to Heaven (winner of the Coghill Press Poetry Prize), Reckless Constellations, and The Magicians Handbook. His poems have appeared in The American Poetry Review, Cortland Review, Tar River Poetry, The Literary Review and others. He works as an editor and teaches at Rosemont College.

ONLINE BONUS: How To Grieve A Home

  1. Become so attached that you cannot separate your identity from it

Live and grow there with the people you love. Use each and every part of the house, every square inch. Let your siblings teach you how to use the foyer and living room for floor hockey. Use the tall, angled ceilings in the living room as movie screens and decorate the largest possible Christmas tree every year. Use the unfinished basement for band practice or gymnastics or as the set for a music video. Use the shower to shower, but also to cry. Cry in your room, too. Laugh in every room with every person who matters. Laugh at dad snoring on the couch in the living room. Laugh at mom leaving her retainer on the kitchen counter. Laugh at your brothers wrestling in the living room, the kitchen, the basement, and every bedroom.

Fight there, too. Deliver one word answers when your parents ask you how your day was. Roll your eyes at every tip your dad offers after your games and tell him you don’t need his help. Pretend you don’t hear the catch in your mom’s voice when she asks if you like her. Tell your brother you hate him, and don’t talk to him for days. Argue constantly. Slam doors. Punch walls.

Doing all of this, the place should know you better than you do.

 

  1. Leave temporarily

Leave for school, for a job, or just to leave. Take it for granted. Learn and grow outside its walls. Tell the people you meet about your home and about the people who live there. About the floor hockey and about the laughter and about the cruel things you’ve said and regretted there.

Get hurt. Find someone you love who loves you. Try to make it work until you wonder why you’re trying so hard and what that means for you both. Look around once it’s over and realize how few are the friends you have left. Hold onto those who’ve stayed. Keep learning and growing though it is difficult. Focus on your work.

Miss home.

 

  1. Return

Go back. Inhale the familiar smell of your mom’s Italian wedding soup and tune in to the clacking of siblings playing pool in the basement. Run your fingers against the walls as you walk through the hallway. Count the missing wooden fence posts that you knocked off the treehouse while playing soccer in the backyard. Lie down in the treehouse while you look up at the canopy, trace the leaves and remember what you used to daydream about. Fall asleep in the arms of the couch when your family watches football. Smile when the oak tree in the front yard drops an acorn on your head. Welcome back, it seems to say. Remember how it feels to be somewhere that knows you.

Hug your family for what feels like the first time, and don’t say any more cruel things. Apologize for old arguments. Feel comforted in every sense.

 

  1. Lose it, and blame a loved one

Someone will tell you this house won’t be your home for much longer because your parents will decide to downsize now that all their kids have grown up.

Interrogate them. Question why they would do this before you’ve graduated. Ask them if they don’t feel connected to it in the same way you do. When they explain that, yes, it is sooner than expected, shift the blame to the new homeowners while still holding a grudge with your loved ones. Avoid conversations with them. If they talk to you and you must respond, do so unenthusiastically. Slam more doors. Cry in more showers. Refuse to believe someone else will call this place that is yours, theirs.

Listen when they tell you they weren’t expecting this to happen so soon either. Pay attention to the tone of their voice, and watch their eyes as they tell you this. Hear what they don’t say. See that they are feeling things, too. Stop blaming them if you can.

 

  1. Commit every square foot to memory

Enjoy every inch of the place while you can, while still refusing to accept you will lose it soon. Memorize every creak in the floorboards, every paint chip in the walls, every nook where you used to hide, every heater you and your brother would sit in front of in the winter when you were little, every tree you’ve climbed. Remember the meals you’ve shared there with the people you love, the holidays celebrated, even the family reunion in the backyard you were too young to remember, and the family dog that bit the neighbors that you’ve only heard stories about. Imagine how many more memories your family has made there years before you were born that you don’t even know about.

Don’t forget the time capsule you and your neighbors buried in the backyard years ago, the clicking sound of the dryer as it tossed your icy clothes after a day of sledding, the cracks in the driveway you used to avoid when you were on your rollerblades following closely behind your brothers. Write it all down. Take pictures.

Drink champagne with friends and family in the empty house the last night that it’s still yours. Share fond memories of sleepovers in the living room, camping in the backyard. Notice how bare it looks with all of your family’s things moved out.

Try to enjoy the last night, but know that you won’t. Wish you could have a day by yourself with it. Write an ode to each room in your head or on paper.

 

  1. Settle somewhere new knowing it will not be the same, but that it will be enough

When you want to complain that the kitchen is smaller than your old home, or that the walls are too thin, or that it isn’t big enough for the holidays when everyone comes home, hold your tongue. Instead, listen as your mom rambles about all the changes they’re going to make, all the ways she plans on making it feel like home. Grab a paintbrush, a hammer, a drill.

Find fragments of home all around you. In the smell of the backyard’s freshly cut grass where you still play soccer. In the creaking sound of your grandmother’s old rocking chair as your dad dozes during the holidays. In the basement where at the pool table siblings break, share stories, and scheme together. In the family photo albums you routinely flip through that stand tall on the living room shelves. In your parents’ glistening eyes when they have all the kids home for the holidays.

Then, with these fragments, reconstruct what home means to you.


A recent graduate of Emerson College, Kira Venturini lives in Washington, DC and works in the nonprofit industry. She grew up in Wallingford, Pennsylvania as the youngest in her family of five. Her work has been published in Talking Writing.

ONLINE BONUS: POETRY BOOK REVIEW

Poems for the Writing: Prompts for Poets (2nd Edition) [Texture Press, 2019]

Review by Jamal H. Goodwin Jr.

Poems for the Writing: Prompts for Poets is more than a motivational tool or instruction manual for a beginner poet. It is a source of joy, insight, melancholy, curiosity, and humor. This variety of emotions arises thanks to poets of various levels, from students to classical poets to professionals. Valerie Fox and Lynn Levin, the authors of Prompts for Poets, contribute poems as well. Fox is a writer who teaches at Drexel University, and Levin is a writer and translator who teaches at Drexel and the University of Pennsylvania.

But this book is more than a writing guide with prompts for poets: it is also a poetry collection. Prompts for Poets offers strong lines, voluble stanzas, and opportunities for both humor and contemplation.

The narrator in Levin’s “Paraclausithryon” ostensibly pleads for entry into a lover’s abode, but is actually castigating them:

I beg news of your dreams

the milk of your voice.

Don’t waste yourself

like an unread book

I will wait a year, maybe two

then don’t blame me if I seek

someone simpler

less in need of coaxing.

 

The scorn of the narrator is palpable, and the ease of their transition from serenading their lover to threatening abandonment is almost disturbing.

Devin Williams’ “Rats” delivers insight on a marginalized soul. The mythology that Williams evokes demonstrates that there is more to a rat. They are not just subway dwellers; rats have admirers, and rats have feelings, too:

I am present when food is abundant.

Companion of Daikoku,

Savior of Sesshu,

First sign of the Zodiac

It is only language that separates us.

Yet, you avoid me

And attack me.

You don’t know me,

How can you claim to know how I feel?

 

Prompts for Poets has humorous, carefree moments too. In chapter 11, “The Advice Column Poem,” desperate readers ask columnists for life advice. Each poem’s columnist gives an absurd answer, one that ignores the question and frequently prompts a laugh. In Lauren Hall’s “Lost without Frank,” a wife inquiring about difficulties with her husband is told by the crystal-ball-consulting Madame Rosa that he does not exist:

You say this Georgina never existed, and there Madame Rosa agrees, but who’s to say that Frank wasn’t just more of the same? Who’s to say you didn’t make him up one afternoon while you were sorting your sock drawer or scrubbing the toilet?

There’s plenty more prompts and poetry to be found in Prompts for Poets. The prompts and instructions are sure to get the mind warmed up and ready to write while the poems bring about contemplation or give rise to a laugh. More can be found on Fox and Levin’s collaborative website, https://poemsforthewriting.com/.

 

Answer a Poem with a Poem

Among the things I dislike so much about our national political discourse, in the news as well as on social media (maybe especially on social media) is the lack of introspection and the ignorance of nuance. Pundits, politicians, trolls, and neighbors are quick to attack each other without thoughtfully probing their own motivations.

Luckily we have poets. Imagine what political debates, or just regular conversations, would be like if they were done in poetry? We actually have a good example of what that would be like in the form of Shakespeare’s plays, but don’t worry, I’m not going to ask you to talk to your neighbors in blank verse.

Instead I want to talk about the tradition of poets responding to other poets in poems. One of the most well known is Sir Walter Raleigh’s poem The Nymph’s Reply to the Shepherd, which is a response to Christopher Marlowe’s The Passionate Shepherd to His Love.

Writing response poems is a good practice for several reasons. First, it forces you to look closely at the tools, including the quality of the metaphors and references, the poet uses to make their point. Second, with a starting point essentially created for you, it eases you over that first hump of a blank page that can give writers so much trouble. Third, it’s fun.  Look at how Denise Levertov uses, and even subverts (though they actually agree on the main matter), the title of Willam Wordsworth’s poem The World is Too Much With Us.

O Taste and See

By Denise Levertov

 

The world is

Not with us enough.

O taste and see

 

the subway Bible poster said,

meaning The Lord, meaning

if anything all that lives

to the imagination’s tongue,

 

grief, mercy, language,

tangerine, weather, to

breathe them, bite,

savor, chew, swallow, transform

 

into our flesh our

deaths, crossing the street, plum, quince,

living in the orchard and being

 

hungry, and plucking

the fruit.

Try a response poem yourself, and if possible, incorporate a line or title from the original poem in your own poem. It’s easier to do if you start with a poem that makes bold or clear statements, such as Maggie Smith’s Good Bones,  Archibarld Macleish’s Ars Poetica, or William Carlos Williams’ This is Just to Say.

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Grant Clauser is the author of five books including Muddy Dragon on the Road to Heaven (winner of the Codhill Press Poetry Prize), Reckless Constellations, and The Magicians Handbook. His poems have appeared in The American Poetry Review, Cortland Review, Tar River Poetry, The Literary Review and others. He works as an editor and teaches at Rosemont College.