Jerl Surratt – Speaking As a Child

Jerl Surratt
Speaking As a Child

Being that this thing I am
is in some part the very dust
of a bright star that I’ve been taught
to single out and call Arcturus,
I wonder on this summer night
what’s happening with the star
I’m fondest of, imagining
of all the stars you are the one
that I am most made of?

Are you as yet still bright as when
the bodies you were captured in
were born at the same time as me
in all Time’s zones around the world,

Or dimmed a little bit by now,
the now we never see from here,
your energy so radiant
another star eons ago
grew envious while drifting by
just close enough to siphon off
some of your outmost rays,

Or are you brighter still,
if imperceptibly as yet to us,
for having faintly flared because
within your heart, your core,
the heat your life depends upon
has almost reached the point at which
it cannot be contained and you’ve
begun to die, as all stars must?

Here on my back on a quilt
on the grass, an old quilt
mother’s let me have,
I’m asking childish questions
while I can. More fun to ask
sometimes and not to know
what is in store for you
while I’m still young and still
aglow for being unaware

of all that is in store for me,
while I daydream by night
and stare into the meadows
of the Bear, the Northern Crown
nearby and feel your energy
alive in me, your heat, your dust
my guiding light, Arcturus.

Jim Ross – Unassigned

Jim Ross
Unassigned

In a dream, I’m on my deathbed. As the moment approaches, I ask, ‘Is this billable? ’ followed by, ‘To what do I bill this?’

###

      I ask friends for advice on interpreting my dream.
      A high-school classmate, Ron, now a medieval historian, advises, ‘Ah, but who will be answering? Sounds like an illustration out of the medieval ars moriendi. Look out!’
      Knowing the ars moriendi were medieval texts outlining protocols for ‘a good death,’ I ask, ‘You mean dying isn’t billable?’
       ‘Au contraire,’ Ron answers, ‘but who will be holding the divine credit card reader?’
      A mutual classmate, Bob—a middle-school teacher and Assistant Principal—sharply disagrees: ‘The question might be read: “To what account do I bill this?” meaning “To whom am I accountable?” It’s not a matter of ars moriendi but of ars vivendi.’
           College classmate John, who ekes out a living through sweat of his brow and strength of his hands, suggests, ‘The experts are hill people: the rugged terrain where they spend their lives puts them a step ahead of most bill collectors. Ask them.’
      Another college classmate, Gus, a lawyer, promptly emails me a do-it-yourself manual for setting up and maintaining systems of billable rates.
      Yet another college classmate, Gary, known as the ‘poet lawyerette,’ says, ‘Instead of asking, “Is this billable?” I’d ask, “Can we make a deal about the value of the time that’s left?”’

###

      I spent my career in an industry that demanded its workers bill each quarter hour to any of numerous charge codes. As it happens, the company’s name was MACRO. Colleagues committed to a single client and project had little reason to ask howto complete their timecards. However, those who worked on multiple projects and sometimes performed non-billable work—tasks that couldn’t be billed to clients— often characterized the time-reporting experience as ‘vexing’ or ‘unsettling.’ Everyone knew, being billable was highly correlated with being valued, and having ‘billability problems’ meant your ‘future’ was ‘at risk.’
      Management made it clear we were expected to bill every moment we reasonably could to client-billable projects rather than to overhead. When asked to attend an all-staff meeting or perform a small, non-billable task, someone inevitably asked, ‘To what do I bill this?’ MACRO management bridled at such micro questions. They speculated that askers believed they operated on a higher ethical plane or suffered from a deficiency in ability to read between the lines.

###

      Former MACRO work colleague Trish, now a mindfulness coach, says, ‘Your dream is a reminder that every moment counts.’
      Another MACRO work colleague, Stan, an anthropologist, says, ‘You worked way too long in that milieu. Asking for someone else to take responsibility for providing a charge code, even in a dream, is either a way of avoiding responsibility or quibbling over meaningless details.’
      MACRO’s CEO, Frank—long the final arbiter of billability questions—advises, ‘Your time should be charged to “unassigned”’.

###

      Returning to my dream, I’m lying in bed, I know the end is near, yet I’m asking whether this is billable. I want to know to what account I should bill this. After telling colleagues who asked how to fill out their timecards that they knew the answer, here I am, asking the same niggling questions, on my deathbed no less. Am I too unable to read between the lines?
      Only I can decide. Nobody can tell me how to fill out my timecard. Only I know how I’ve spent my life. The moments that mattered were hardly ever client billable. I can’t abdicate to others my responsibility to answer the hard questions.
      Perhaps by asking on my deathbed, ‘Is this billable?’ and ‘To what do I bill this?’ I’m really asking ‘Am I still valued, even in the moment of my death?’ And if I am, ‘Does that mean my future is freed of risk?’   AQ

Lily Jarman-Reisch – Quantum’s Complaint

Lily Jarman-Reisch
Quantum’s Complaint

A runt
in a dark neighbourhood
few visit,
a lifer in the Shawshank
of quantum gravity,
entangled with trillions
of my kind, never
knowing my place,
my worth in the grand cycle
until

another black hole hoovers
me over its event-horizon
shrinking me to a nullity
too tiny for space and time,
suddenly distinctive
after a lifetime in limbo,
a singularity,
my one chance
to belly through a wormhole
to freedom,
revel in the rain of redemption
until

I’m spat out yet again
by the next big bang
back to the slammer,
pining before a pin-up
for the tunnel beyond.

Marcus Slingsby – Alang Ship Breaking Yard

Marcus Slingsby
Alang Ship Breaking Yard

At the water’s edge the sand is black
heavy-ink-black waves caress it.
Like a sunrise-sky the beach slowly,
through dirty greys and sickly yellows
becomes the colour you want.

The biggest ship breaking yard in the world!
Mile after mile, ship after ship
Rammed onto the sand
Eaten by hands
holding blow torches.

Ants on hulls
Slowly devouring everything.
The street to this show –
A market selling toothpicks from aircraft carriers
Shot glasses in Russian
A chandelier
But the ballroom’s gone
The dancers, a world away.

Meryl Stratford – Confession

Meryl Stratford
Confession

There’s something in me that loves
the squirrel and hates the hawk,
but when I consider how the hawk’s

hunger inhabits him and inhibits
any habit of pity, it would be
strange in a park full of squirrels

if there weren’t any hawks. And,
when I see the pink and red
of a ribeye impaled on my fork,

I fly with the hawk
and my food has a mind
of its own.

Pat Seman – AQ38 Autumn 2023 Book Review

Pat Seman
AQ38 Autumn 2023 Book Review
Winkel-Mellish, Robin, An Obeisance to Frogs, Hands-On Books, IBSN 978-1-928215-90-5, 56 pages.

The title poem of Robin Winkel-Mellish’s An Obeisance to Frogs, seems to contain the very seed of this collection; like the frogs’ chorus, her poems, springing from an ‘animist heart’ and rooted in a deep attachment to the natural world, serve as a subtle but powerful ‘mantra to the living’.
      The first section of the book is devoted to the landscape and wild life of her native South Africa, where in ‘Earthward’ she gets ‘to feel the touch of sea/ the oily perfume of bush’, to listen ‘in bodiless moments to the sounds of night and love the heavy pulse/of gathered earth’. In ‘Snake’, with precise and vivid detail powered by terror, she pays homage to the beauty of a Cape cobra discovered hiding under an old rug in her garage, ‘potent as a king’, ‘Hooded gold/it stood up and glittered/ in the half dark’, its ‘spitting, sleek silk ’ ’a swaying reed of rancour’.
      In ‘Messenger’, however, a dove crashing into her window is an omen that this world is in grave peril. As she writes in ‘Oracle’, ‘when the messenger of God/ lay dead on my stoop, I knew/The old rivers of life had shifted/little rivulets of life that once flowed/had sunk, boreholes dried up/ our lives of plenty ended.’
      Yet, throughout this collection, which spans both South Africa and Europe, the human connection is always present as a source of hope and joy. Hope, as embodied in the woman, a man and their son, whom she comes across in ‘Encounter’, and conveyed in images that express a free-flow of life and plenty. ‘As natural as earth and air, never/hiding the fountain of themselves’, they are the born protectors of the Africa that she loves, ‘the caretakers of a coastline’, whilst ‘the way their son danced ‘the movement/a blossoming’ expresses the sheer joy of the body in movement; this a recurring theme. In ‘Ode to Legs’ she declares ‘How precious you are, dancing/and jumping for joy just as a caracal/that swats a flying bird in the air/opening to celebrate life and great pleasure’.
      Moments of self-discovery are drawn from her emotional connection to the natural world. The cicadas’ singing in ‘Cicadas’, ‘unseen but constant’, triggers the sudden realization that ‘this is the heart’s/greatest project:…’to keep on trying to make something/of the bright new surface of each day/and at the same time recognize/and cherish the great scar of demise’.
      This embrace of experience, ‘learning how to hold on’ (‘Cicadas’) through the inevitable cycles of life and death, love and loss, is a constant in these poems, its presence subtly and often beautifully expressed in images of the emergence from darkness into light. In ‘Turning Point’, Winkler-Mellish describes how as a child she would dive into mountain pools, down to the muddy bottom, then turn upward, ‘weightless arms unfurled/ swimming from the bottom/ of the world towards light’. In ‘A Look at Love’ the two lovers, ‘fallen out of shadow’ are now ‘a chrysalis emerging, transparent/as shiny drops, clothed in shimmering’. This image of the lovers bound together in a chrysalis ‘by threads of silk, together/though apart. Plumed wings unfolding’ renders the nature of their contact with great delicacy and precision. As so often in these poems, humans are connected not only to each other but to a closely observed and deeply appreciated natural world.
      The book ends with the long poem ‘Kaggen the Thief of Time’ in which a woman, caught at the midnight hour between the worlds of the living and the dead, as her life ‘shimmers/in the periphery of light and pall’, recovers distant memories of her lost love. In a string of images drawn from and inspired by the cave paintings, myths, stories and songs of traditional Bushman culture, she ‘shadow dances with ghosts/heeds Kaggen as he tells his vision/the last Bushman song sung into the night’.
      The poem’s ending, as she waits for the moon and the evening star to rise again, resonates with one of the most striking images related by Kaggen. ‘The stars…they steal your heart and it opens/like a flower in the sky’. The same could be said for this collection of poems, whose quiet strength, drawn from an intimate and heartfelt attachment to the wild in all its aspects and the wisdom gained from it, consistently offers an opening to life, love and hope.   AQ

Pat Seman – Pearl

Pat Seman
Pearl

There are always things that lie hidden,
buried deep in the bed rock of the past,
shunned and thickened with shame
into a shell impossible to prise open,
enclosing the tender mollusc that converts
every invasion, every grain of grit
from the rough pressing world,
into a hard and shining lining, a membrane
of mirrors of shifting, treacherous beauty,
a life-time’s creation, a lifetime’s frustration
pressed layer upon layer, strata of memories
that will not yield their secret, guardian
of the essence, the incandescent pearl,
                      my mother
         clamped tight in her shell.

Scott T. Starbuck – Dream of New/Old Country

Scott T. Starbuck
Dream of New/Old Country

Bury your art
on a mountain,

sell house, truck,
and possessions.

Donate books
to libraries.

Give guns, rods,
reels to best friend.

Sail across ocean
dreaming of fire,

ashes, spring flowers,
a faraway place

in the south Pacific
where ancestor

sailors speak to you.

Scott T. Starbuck – I Refused to ‘Duck and Cover’

Scott T. Starbuck
I Refused to ‘Duck and Cover’

in 1969, as a first-grader
at Our Lady of Guadalupe School
in Hermosa Beach, CA,

because I knew there was no way
an antique wooden desk
would protect me from a nuclear bomb.

Now, 53 years later, I refuse to believe
anyone is going to stop mass death
from a melting Arctic and Antarctic.

Bob Ward – An Expanding World

Bob Ward
An Expanding World: Enlarging the dominion of human senses

. . . for the limits, to which our thoughts are confined, are small in respect of the vast extent of Nature itself; some parts of it are too large to be comprehended, and some too little to be perceived. Robert Hooke, Micrographia, 1665.

How big is the arena of your awareness? In the 17th C., the human understanding of Nature was enlarged by the development of optical instruments. At the beginning of the century Galileo (1564 – 1642) caught wind of a Dutch invention whereby two lenses working together could bring distant objects into closer view. Quickly he developed his own telescope and turned it toward the heavens.(1) He published his astonishing observations in The Starry Messenger, 1610. The Moon was not a smooth sphere, as had been believed since classical times, but was covered in mountains that cast shadows.
      Jupiter, the bright planet, had four moons of its own that circulated around it, like a small version of the solar system that Copernicus had proposed in 1543. In the light of this observation, Galileo became a vigorous advocate of the Copernican view that put the Earth and the other planets in orbit around the Sun. Unfortunately, that got him into trouble with the church authorities for speaking out of turn.
      However, Galileo also looked at the Milky Way, normally visible to the unaided eye on a clear night as a cloud-like smudge that stretches across the sky. Through the telescope it could be seen as a mass of stars, many more than had ever been suspected previously. The known universe grew bigger, though it was a matter for conjecture whether the stars were all at the same distance away or studded inside a huge sphere.
      One reasonable objection to the Copernican system had been that if the Earth moved in orbit around the Sun, surely the measured direction of a particular star would vary through the course of a year (a phenomenon known as parallax). Astronomers at the time could not detect it. Copernicus offered what probably seemed a lame excuse that the stars were just too far away for the effect to be apparent. He happened to be right, but it was not until 1838 that Bessell had access to instruments refined enough to measure the minute angles involved.
      While the 17th C. astronomers were exploring outer space, other people chose to create microscopes that enabled them to gaze into Nature’s finer details. In England, following the accession of Charles II in 1660, a group of ‘natural philosophers’ launched the Royal Society to promote experimental knowledge. They charged one of their number, Robert Hooke (1635–1703), to provide practical demonstrations at their regular meetings in London, a practice at which he was particularly adept. To this end he brought his observations with newly constructed microscopes. He revealed an exciting world and in 1665 the Society sponsored the publication of Hooke’s Micrographia,(2) which became a best seller, not least on account of the fine illustrations made possible by engraving on copper plates.
      The book has lost none of its appeal, because it brims with the excitement of his discoveries. In his day fleas were a common pest, but Hooke found them worthy of admiration both for their prodigious ability to leap and for their beauty:

But, as for the beauty of it, the Microscope manifests it to be all over adorn’d with a curiously polish’d suit of sable Armour, neatly jointed, and beset with multitudes of sharp pins, shap’d almost like Porcupine’s Quills, or bright conical steel-bodkins; the head is on either side beautyfy’d with a quick and round black eye . . .

      He is similarly enthusiastic about the louse, which he describes in almost heroic terms:

‘… twill be known to every one at one time or another, so busie, so impudent, that it will be intruding it self in every ones company, and so proud and aspiring withal, that it fears not to trample on the best, and affects nothing so much as a Crown; feeds and lives very high, and that makes it so saucy, as to pull any one by the ears that comes in its way, and never be quiet till it has drawn blood . . .’

      In paying attention to such creatures, Hooke not only extended the range of the physically observable but enlarged human sensibility. These common ‘pests’ exhibited structures that deserved respect for their ingenuity.
      In the final section of his book, Hooke also describes how he had turned his attention towards the night sky, making use of a thirty-foot telescope with a three-inch object glass. This had revealed “multitudes of small stars”.
       ‘So that ‘tis not unlikely, but that the meliorating of telescopes will afford as great a variety of new Discoveries in the Heavens, as better microscopes would among small terrestrial Bodies, and both would give us infinite cause, more and more to admire omnipotence of the Creator.’
      Hooke was not alone in studying ‘Bodies’ at close quarters. In the Netherlands the distinguished physicist and diplomat Christiaan Huygens (1629–1693) had already made a practice of carrying a lens in his pocket with which to examine ‘a new theatre of nature’. His young compatriot Anton van Leeuwenhoek (1632 – 1723) visited England in 1662, where it is possible that he saw a copy of the Micrographia or at least heard tell of it. Whatever the case, he set about his own microscopic studies using just mounted single lenses. His findings proved remarkable for what he revealed over many years, such as protozoa in rainwater, and bacteria in the tartar picked out from between his teeth. When Huygens learned of this activity in 1673, he wrote a letter to Hooke drawing it to his attention. Unfortunately, this was the time of the Anglo/Dutch war, and Hooke, who had an awkward temperament anyway, failed to answer.(3) Nevertheless, Leeuwenhoek began sending letters to the Secretary of the Royal Society in London about his discoveries. In all he sent over a hundred, which enlarged even further the world described by Hooke.
      In the second half of the 17th C. the outstanding scientist was Isaac Newton (1642–1727). Not only a superb mathematician, he also had a talent for practical experimentation. Interested in astronomy, he devised a reflecting telescope to overcome the limitations of the glass lenses then available. This provided sharper images for the observer. But he is famous for his train of thought which stemmed from seeing an apple fall in his garden. It was drawn the Earth by gravity. That being so, he reflected how far did the force of gravity extend? Did it have an effect on the Moon, or through the space beyond? Such questioning led him to develop his theory of universal gravitation, published in Principia Mathematica 1687. It was a theory that embraced the stars.
      Subsequently Newton published a treatise on optics in 1704.(4) It included details of his experiments showing that sunlight, by means of a prism, could be split into a spectrum of colours, yet another enlargement of awareness.
      As Hooke forecast, improved microscopes continue to reveal ever more detailed minute structures in matter, and telescopes detect events far away in space and close to the beginning of time. We humans find ourselves positioned between the extremes of the incredibly small and the immensely vast. Rather than regarding ourselves as mere specks in the universe, I suggest that we enjoy a special privilege. While not knowing whether beings on some other planet can do the same, evolution has brought us to the point where through our agency the universe becomes aware of itself. We are not gods, but we do exercise a power that could be unique. How remarkable!   AQ
—————————————————————-
(1) The wonderful Museo Galileo in Florence, which is devoted to the history of science, displays two of Galileo’s telescopes, together with the bones of his little finger!
(2) In 1961 Dover Publications of New York produced a facsimile edition of Micrographia with a modern preface by RT Gunther, but there is now a range of recent versions available. Also it can be viewed on line at www.royalsociety.org or as a free Ebook at www.gutenberg.org.
(3) The text of Huygens’ letter to Hooke may be found in Lisa Jardine, The Curious Life of Robert Hooke, Harper Collins, London, 2003, pp. 360-361.
(4) An Ebook edition is available from Barnes and Noble.