“You must have chaos within you to give birth to a dancing star.” — Friedrich Nietzsche

 

How do you synthesize what feels like nine lives, consolidate them into one?

Giant-sized puzzles take time to assemble, especially jigsaws with four different

I do plots. Raised in Barbie-Cinderella era, unrealistic narratives

 

skewed your sense of reality. Grateful for your upbringing, girlhood was cushioned

with advantage: stylish clothing, summer travel, pricey dinners at fancy restaurants.

As if your early story had been written in purple prose. After your father died,

 

the mouth is so ridiculous

 

it’s way too important

to me, like a hole

among all the leaves

it’s a project

to me

 

 

 

I want high blood

 

or I want the blood

to be high up there

 

 

 

imagine standing ovations

 

that span over

an entire life

look what the cat dragged in

an entire life

it can be minimalism

this is burning

 

 

 

I’ve heard

 

that there are schools

that are more neurotic

than other schools

1.
During the quarantine, we were all in the living room,
the four of us, playing a game,
an unremarkable afternoon in April,
National Poetry Month,
and a small bird flew in through the dog’s foot-wide opening
in the sliding glass door to the backyard,
and the dog, Berkeley,
sprang up and barked and ran to the dining room
where the bird was fluttering against the glass and falling—
I could hear it, it was painful—
and before we could protest enough he had killed the small
gray-feathered bird with a swift, vicious bite.

Okay, let’s start with the title of your debut collection, ‘all these urban fields’ — what are urban fields? What does this mean to you?

Hey, me! A very good question right off the bat, if I do say so myself! A friend once texted me, ‘i was on the subway & saw all of these air conditioners sprawled out on the roof of an apartment building, like this whole field, & i finally got it, i got your title!’

If that text doesn’t fully answer your question, then let’s go with this: I lived in Brooklyn — urban — for two years, and while it was a daunting experience in many ways, it was also incredibly fulfilling. That being said, I could not have lived there, could not have fully survived, I don’t think, without drawing from the experiences I had on a farm in Vermont — pastoral – and my trips to smaller towns in Massachusetts. I think, in essence, the title — and the collection as a whole — is meant to be an ode to both types of landscapes, to how well they balance one another out.

i.

interest me, in me, lost woman amongst the garden cubes.
the fire that, finally, really burned, in real time — our home
in maine drowned under the saint george river.                       yes I

tore the body

that we wanted

plucked the weeds we wetted
(the bare chests)

when the bears crawled, at night, to our bed (burned),
we made it out alive because we were not yet sleeping.

it was alright because you — gosh — held my hand

Let’s not do this. How much meat are on these bones?

I … don’t understand?

 

Where do you go from here? What’s next? Is this book thing as big a deal as you thought it would be?

Well, yes, it’s a very big deal to me, it’s everything I’ve worked for since I was a teen, for three decades, it’s . . .

She says, Mama, I feel two beats on each side of me, so I think I have two hearts. I answer, When I was a little girl I read about the earth and the way it spins. Then at night when I lay in bed beside the big window in my room, and the crickets and cicadas sung to me through the dark while the scent of honeysuckle crawled past the window’s sash, I’d have moments where I felt myself spun too, whirling very fast, as if I’d returned to that playground ride where the older kids kept running the carousel faster and faster, and eventually I whipped into the air, a little flag of blonde hair and corduroy snapping to and fro, my scream lost in the wind. I thought I was going to die. I’d recall that chaos, that lost control, later when I’d been tucked into my sheet and my hair smoothed and my mother sang goodnight. When she left the room I became the axis on which the world spun, whirling with it and growing dizzy from insect song and the scent of flowers opening in the humid dark. It is amazing what the mind draws forth. I tell her, I like your two hearts. I imagine they are birds, though I will tell you about your blood and the way it carries a word, repeated, through the pathways of your body. I want you to believe me. And yet, I want for you those summer nights, too, when you lie awake and imagine all the ways you don’t.

Photo credit: Farah Sosa, Courtesy of the California Arts Council

Why are your Poems so Dark?

I hesitate to define poems as light or dark, because I think the poem exists as it is, in its own sphere, its own space.  A poem tells its own story, and poems are supposed to tell some sort of essential truth. There is light in the world and darkness, of course. When we write from the dark space, we are simply tapping into one of the parts of the world that exists and needs a voice.  Many people who read my poems, tell me that my work has opened up a space in them that they didn’t know existed , or didn’t give permission to exist. I think in order to be fully in touch with ourselves as a writer, we need to allow all of the shades of our writing to make an entrance into the room.

The sky has never forgiven you
for your blackness

when you fly
inside the backdrop of night
I am the only one who sees you

you claw your way
into my dreams
but I cannot
find you in the morning

Why?

Fuck him, he deserves to be devoured.

 

Who?

Mark and I often send pieces of Art and/or Words to each other. More often than not, we ignore them! But sometimes a piece will inspire the other to create something. It works both ways – Art & Words and Words & Art.

Man in Mouth

By TNB Poetry

Poem

Art by Mark Shuttleworth, Words by Luigi Coppola
Video-poem can be viewed here


He craves the salivated slabs
that sparkle crisp and clean
then shudders as they close and clench:
a prison pure, pristine.

He yearns for molten mounds of flesh,
a writhing, licking thing;
his mass sinks into palette, pores –
a thrashing, lashing sting.

All of your parents—both birth and adoptive—are dead. How do you feel about the fact that they never had the chance to read some of the things you’ve written about them?

I’m not sure they have never read them; are you? Actually, I think my dad would get a kick out of recalling how much he enjoyed that Life magazine cover shot of Dorothy Dandridge (see: “Daddy Registered Republican, 1931—[1]“), however, I don’t think my mother would appreciate being reminded of our conversation about my “sexual exploits” (ha!) (see: “Red Background”).

The year Mother arrived on Ellis Island, the heavyweight fighter,
Jack Johnson, began serving a one-year sentence in Leavenworth
for violating the Mann Act, but everybody knew

Jack was doing time for loving a whole lot of white women
and each and every one of them every which-way.
Mother, fresh from hibiscus and the Caribbean Sea,

knew nothing of it; didn’t know that some who thought
if you’re light, well alright, would look at her and wonder
is she a white girl…?

Photo credit: Giuliana Maresca

So, the title, “Lullabies for End Times”…

Pure coincidence. If you believe in that kind of thing.

The tuner bird now nests,
now thrums,
in its cage of bone.
Plays harp of cat gut strings
by the red light
that dictates my resonant streams.
Sisyphean translator
at the first breath’s strum.
That sought to home
that homed to seek
from its first beat—
under the weight of words
and through that escape room of language
that forever unhomes.