Archives for posts with tag: crows

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GRAVEYARD CROWS
by Ja Lorian Young

What is it, do you suppose,
that goes on in the heads of crows
that sit upon the graveyard gate
and patiently commence to wait
for spirits gone awandering;
these crows in solemn pondering.
They sit together, wing to wing,
and sometimes they begin to sing
in cawing cries the living hear
as pestilence upon the ear.
But spirits drifting to and fro
are savvy to the words of crow.

“The leaves are gone, the trees are bare,
a chill has settled on the air
and here we are, past Samhain’s gate
and so the hour has gotten late.
Come on, come on, it’s time to go
if we’re to beat the coming snow!”

But spirits rambling toward the door
are hesitant, all wanting more
of all the things they leave behind
and fearful of what they may find;
what fate awaits them where they go
upon the midnight wings of crow?
They crouch behind their weathered slates
and silently begin to wait;
resolving simply to forego
the cautionary tales of crow.
But cutting through the creeping mist
the crows continue to insist:

“The veil between the worlds is thin
but if you’re late you won’t get in
then wandering will be all you’ll do
if you stay here and can’t get through.
Come on, come back, “the crows all cry,
“There are worse things than just to die!”

But spirits do what spirits do.
Some wait too long and don’t get through
and so, unto the earth they’re bound
and left to molder on the ground.
They cannot know the sweet repose
that flew away on wings of crows.

ABOUT THE AUTHOR: Ja Lorian Young, known as Janice to her parents, grew up in a small, New Hampshire town about 10 miles from where the first American potato was planted in 1719; she was sorely disappointed during a second grade field trip to find that they hadn’t kept it. In high school, she was he winner of the Voice of Democracy Essay Contest and was obligated to ride in the Labor Day Parade. The kids who made the posters to hang on the car had drawn very large V’s, little tiny o’s and very large D’s. She spent the school year being known as the VD Princess. That wasn’t enough to deter her from writing, and she has written many poems and short stories since — though only lately feels compelled to publish. Ja Lorian still lives in southern New Hampshire, now with husband and grown kids and assorted cats and an ancient dog, though now she’s considerably further away from the potato.

IMAGE: “Crows Fly by Red Sky at Sunset” by Shibata Zeshin (1880).

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SELF-PORTRAIT WITH CROWS
by Joannie Stangeland

Wings wipe the sky, smear and gone
leave the raw caw cry behind,
a fluid composition after rain
        rinses the high gray,

a day smudged, flood by light diffused,
no shadows but these black rags,
murder witness spelled across the canvas,
        incantation canted.

Tricksters in triplicate, carbon copies crease
oil shades I blotch below my eyes.
See the years fly, feathers brushing
        up against the fence,

the dead tree left.

SOURCE: Valparaiso Poetry Review

IMAGE: “Patched Quilt” by Gothicolors Images. Prints available at fineartamerica.com.

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ABOUT THE AUTHOR: Joannie Stangeland’s new poetry collection, In Both Hands, is available from Ravenna Press, which also published Into the Rumored Spring. Joannie’s the author of two poetry chapbooks: Weathered Steps and A Steady Longing for Flight, which won the Floating Bridge Press Chapbook Award. Joannie’s poems have appeared in Valparaiso Poetry Review, Crab Creek Review, Tulane Review, Painted Bride Quarterly, and other publications, as well as in the Rose Alley Press anthologies Limbs of the Pine, Peaks of the Range and Many Trails to the Summit. Her poems have also traveled on Seattle-area buses. Visit her at joanniestangeland.com.

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Poem for my Persimmon Tree and the Crows Who Visit It
by Gerald Nicosia

There’s a persimmon tree I see every day
Outside my bathroom window
I’ve seen it at least ten thousand times
But I’ve never actually
Looked at it
Today I wondered why I’d never paid attention
Before when it will
Probably outlive me just
As Kesey’s apple tree outlived
Him in the photo of them together just before
He died with his sad face knowing
He’ll be saying goodbye soon to the apple tree
So I thought it was time
I pay attention to this persimmon
And try to learn its lessons
Its fruit are barely orange now,
They’re born in May and
Take months to ripen and
As they do the crows
Start to come and test them and
Finally start eating them
And eventually the tree is leafless and
All stark Halloween colors
Dark rain-wet bark, bright orange-red globes and
The moving black patches of crows’ wings
But today there are still many of
The faint green, yellow, brown-mottled and sere leaves guarding
The still swelling fruit and I note
How the branches never move in straight lines and I wonder
How the tree knows just when to make a new
Branch from a bough and I realize there are lessons
Here waiting to be learned
That people including myself
Pass by every day and
I wonder how we can
Presume to live and die without
Ever having even tried
To learn them
As the crows do.

IMAGE: “Crow eating a persimmon,” original woodblock print (1910) by Koson (1877-1945).  For more information, visit castlefinearts.com.

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ABOUT THE AUTHOR: Gerald Nicosia, born and raised in Chicago and transplanted to the San Francisco Bay Area in his late twenties, is a poet, fiction writer, biographer, historian, and playwright. He is best known for his biography of Jack Kerouac, Memory Babe. Long associated with the Beat and post-Beat writers, he has organized and taken part in hundreds of poetry readings, including a reading at Bob Weir’s Sweetwater Music Hall in Mill Valley, California, that drew over three hundred people and celebrated the release of the movie version of On the Road, on which Nicosia worked as a consultant. He has also spent a good part of his life studying, helping, and chronicling the story of Vietnam veterans; his book Home to War on their struggle to heal and readjust was picked as one of the “Best Books of 2001” by the Los Angeles Times. He is currently at work on a biography of Ntozake Shange, and published his fourth book of poetry, Night Train to Shanghai, with Grizzly Peak Press in the summer of 2013. He has also taught and lectured extensively on the Beats, the Sixties, and modern literature.

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HAIKU
by Natsume Soseki

The crow has flown away;

swaying in the evening sun,

a leafless tree. 

Photo: Dark Wing, ALL RIGHTS RESERVED

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THE OAK TREE
by Matsuo Basho

The oak tree:
not interested
in cherry blossoms.

Photo: Ian Parry, ALL RIGHTS RESERVED

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A PLUM TREE
by Matsuo Basho

Crow’s
abandoned nest,
a plum tree.

Photo: JanThePic, ALL RIGHTS RESERVED

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AH, AH
by Joy Harjo

for Lurline McGregor

Ah, ah cries the crow arching toward the heavy sky over the marina.
Lands on the crown of the palm tree.
 
Ah, ah slaps the urgent cove of ocean swimming through the slips.
We carry canoes to the edge of the salt.
 
Ah, ah groans the crew with the weight, the winds cutting skin.
We claim our seats. Pelicans perch in the draft for fish.
 
Ah, ah beats our lungs and we are racing into the waves.
Though there are worlds below us and above us, we are straight ahead.
 
Ah, ah tatttoos the engines of your plane against the sky—away from these waters.
Each paddle stroke follows the curve from reach to loss.
 
Ah, ah calls the sun from a fishing boat with a pale, yellow sail. We fly by
on our return, over the net of eternity thrown out for stars.
 
Ah, ah scrapes the hull of my soul. Ah, ah.

“Ah, Ah” appears in Joy Harjo’s collection How We Became Human: New and Selected Poems:1975-2001 (W. W. Norton and Company Inc., 2002), available at Amazon.com.

ABOUT THE AUTHOR: Joy Harjo was born in 1951 in Tulsa, Oklahoma, and is of Native American and Canadian ancestry. Strongly influenced by her Muskogee Creek heritage, feminist and social concerns, and her background in the arts, Harjo frequently incorporates Native American myths, symbols, and values into her writing. Her poetry tends to emphasize the Southwest landscape and need for remembrance and transcendence. (Read more at poetryfoundation.org.) Visit the author at joyharjo.com.

PHOTO: “Crow and Palm Tree” by Max ClarkePhotographer’s note: This crow leaves the nest for a movie theater parking lot. Crows like sitting on palm tree branches. They enjoy riding the leaves that sway in the soft breeze. They also like hula music and drinks with tiny umbrellas. (Visit the photographer at photocosm.com.)

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TWO OLD CROWS
by Vachel Lindsay

Two old crows sat on a fence rail.
Two old crows sat on a fence rail,
Thinking of effect and cause,
Of weeds and flowers,
And nature’s laws.
One of them muttered, one of them stuttered,
One of them stuttered, one of them muttered.
Each of them thought far more than he uttered.
One crow asked the other crow a riddle.
One crow asked the other crow a riddle:
The muttering crow
Asked the stuttering crow,
“Why does a bee have a sword to his fiddle?
Why does a bee have a sword to his fiddle?”
“Bee-cause,” said the other crow,
“Bee-cause,
B B B B B B B B B B B B B B B B-cause.”

Just then a bee flew close to their rail:—
“Buzzzzzzzzzzzzzzzzzz             zzzzzzzzz             zzzzzzzzzzzzzzz ZZZZZZZZ.”
And those two black crows
Turned pale,
And away those crows did sail.
Why?
B B B B B B B B B B B B B B B-cause.
B B B B B B B B B B B B B B B-cause.
“Buzzzzzzzzzzzzzzzzzz             zzzzzzzzz             zzzzzzzzzzzzzzz ZZZZZZZZ.”

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ABOUT THE AUTHOR: Nicholas Vachel Lindsay was born in Springfield, Illinois, in 1879 — in a house where Abraham Lincoln had visited several times. He is considered the father of modern singing poetry, as he referred to it, in which verses are meant to be sung or chanted. Because of his identity as a performance artist and his use of American Midwest themes, Lindsay became known in the 1910s as the “Prairie Troubador.” The Illinois Historic Preservation Agency helps to maintain the Vachel Lindsay House at 603 South Fifth Street in Springfield, the site of Lindsay’s birth and death in 1931. (Read more at wikipedia.org and poetryfoundation.org.)

Photo: “Two Crows on a Fence” by kitten, ALL RIGHTS RESERVED.

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In September 2001, Green Poet Press released A Bird Black as the Sun: California Poets on Crows & Ravens, edited by Enid Osborn and Cynthia Anderson. The 162-page collection features poetry by 80 of the Golden State’s finest poets, who hold forth 
on the theme of crows and ravens — offering passionate, vivid, sometimes humorous, 
and ever-surprising views of these common yet mysterious birds, called 
”black as the sun” by Gary Snyder.

Myths and Texts (Excerpt)
by Gary Snyder

Raven
on a roosts of firs
No bird in a bird-book
Black as the sun.

Contributors include two poet laureates of the United States and other iconic poets 
such as Christopher Buckley, William Everson (Brother Antoninus), Lawrence 
Ferlinghetti, and Ann Stanford.

Other outstanding contributors include: Sylvia Alcon, Ron Alexander, Maureen Alsop, Len Anderson, Cathryn Andresen, Jennifer Arin, Rochelle Arellano, Lisl Auf der Heide, Bettina T. Barrett, Abigail Brandt, M. L. Brown, John F. Buckley and Martin Ott, Jeanette Clough, Constance Crawford, Patrick Daly, Carol V. Davis, Frances Pettey Davis, ellen, Roe Estep, Robert W. Evans, Joan Fallert, Paul Fericano, Molly Fisk, Mary Fitzpatrick, Dan Gerber, W. K. Gourley, Lara Gularte, Kevin Hearle, Katie Goodridge Ingram, Sheila Golburgh Johnson, Greg Karpain, Susan Kelly-DeWitt, Kit Kennedy, Lois Klein, Steve Kowit, Danusha Lameris, Noreen Lawlor, Andre Levi, Ellaraine Lockie, Perie Longo, Paula C. Lowe, Friday Lubina, Glenna Luschei, Maia, devorah major, Diane Kirsten Martin, Julianna McCarthy, Kathleen McClung, Deborah A. Miranda, Charlotte Muse, Carol Muske-Dukes, Jim Natal, Ruth Nolan, David Oliveira, Melinda Palacio, Robert Peake, Connie Post, Peg Quinn, R. S. Read, Sojourner Kincaid Rolle, Halie Rosenberg, Mary Rudge, Mary Kay Rummel, June Sylvester Saraceno, Edwin Shaw, Kim Shuck, Dian Sousa, Barry Spacks, David Starkey, Joseph Stroud, Patrice Vecchione, Doris Vernon, Patricia Wellingham-Jones, Jackson Wheeler, Charan Sue Wollard, and Cecilia Woloch.

 A Bird Black as the Sun is available at Amazon.com.

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AH, AH
by Joy Harjo

for Lurline McGregor

Ah, ah cries the crow arching toward the heavy sky over the marina.
Lands on the crown of the palm tree.
 
Ah, ah slaps the urgent cove of ocean swimming through the slips.
We carry canoes to the edge of the salt.
 
Ah, ah groans the crew with the weight, the winds cutting skin.
We claim our seats. Pelicans perch in the draft for fish.
 
Ah, ah beats our lungs and we are racing into the waves.
Though there are worlds below us and above us, we are straight ahead.
 
Ah, ah tatttoos the engines of your plane against the sky—away from these waters.
Each paddle stroke follows the curve from reach to loss.
 
Ah, ah calls the sun from a fishing boat with a pale, yellow sail. We fly by
on our return, over the net of eternity thrown out for stars.
 
Ah, ah scrapes the hull of my soul. Ah, ah.

“Ah, Ah” appears in Joy Harjo’s collection How We Became Human: New and Selected Poems:1975-2001 (W. W. Norton and Company Inc., 2002), available at Amazon.com.

ABOUT THE AUTHOR: Joy Harjo was born in 1951 in Tulsa, Oklahoma, and is of Native American and Canadian ancestry. Strongly influenced by her Muskogee Creek heritage, feminist and social concerns, and her background in the arts, Harjo frequently incorporates Native American myths, symbols, and values into her writing. Her poetry tends to emphasize the Southwest landscape and need for remembrance and transcendence. (Read more at poetryfoundation.org.) Visit the author at joyharjo.com.

PHOTO: “Crow and Palm Tree” by Max Clarke. Photographer’s note: This crow leaves the nest for a movie theater parking lot. Crows like sitting on palm tree branches. They enjoy riding the leaves that sway in the soft breeze. They also like hula music and drinks with tiny umbrellas. (Visit the photographer at photocosm.com.)