Showing posts with label John Flynn - poet. Show all posts
Showing posts with label John Flynn - poet. Show all posts

Monday, April 20, 2015

COTTONWOOD YARD

artwork: ralph murre


COTTONWOOD YARD
by John Flynn
                                                                                                                          
Within the shaggy cottonwood yard                              
A lengthened sun-drenched patch of sod was found
And planted with white wooden posts
Whose grounded ends were dipped and stuck
With creosote borrowed from the railroad.
Crossbars were notched and set upon the tops.
Stretched between, the wires—
     new and blued,
     without the curls and
     kinks that age
     and almost daily
     use would bring—
Bobbed and hummed
And gave the sun
New tracks for it          
To run upon.

Each weeksworth of childhood’s dirt
Was worried out in a swollen tub
Whose agitator pounded time
Like a galley master gone berserk.
Detergent surged across the rim
And dabbled down enamelled sides.                          
A willing child’s imaginings could rampage
Through this hydrophobic scene,
Witness as the squinch-browed troll
Staggered stiffly through its death throes
And spurted soiled water through its nose.

Bed sheets hung with wooden pins
And slung from separate lines
Bloomed as the summer wind
Swooped between the pinioned sides.
From the porch the washline                                     
Rigged out in bedclothes
Looked for all the world a ship
From some exotic myth
Floating flatly on a grass green sea.                          

 To the boy, strolling lightly
On her spongy decks,
The dampened slabs of sail
Soothed and caressed him
And coddled dreams.

During one such topside stroll,
Sailing off a southern shore
He’d one day recognize,
He shouted greetings to a new bird
Borne from a sea-side cliff.
He watched aghast                                  
The callow, sentient heart
On stiffened wings
Drill smaller circles in the calid sky
And failing, merge into the pageantry.

Lifesworth of family’s laundered clothes
Dripped dry and bleached                       
Beneath the prairie sun;
And greened coarse grass and softened it
So in the dark barefoot you still could tell                                                                              
Just where you were and raising arm        
Catch up and follow to the end.
Then use the washline’s weathered bars
To hang upon and tease the stars.   

~ previously published in Cottonwood Yard       
                       


Friday, September 12, 2014

EAGLE HEARTS AND SEABIRDS (II)

artwork: ralph murre


EAGLE HEARTS AND SEABIRDS (II)
by John Flynn

Nomad flocks flood pale skies like
stippled notes scored, scoured, and
spilt from some sequestered staff.

Roadside orchards dapple
with ten thousand shimmering
wings. Their eagle hearts,

un-bated breath, endure
like a seabird soars
from shore.


~ first published at blueskirtproductions.com

Monday, January 27, 2014

SWEET SUGAR SMOKE, 1953

digitally modified from photo found on-line


SWEET SUGAR SMOKE, 1953 
 by John  Flynn         
          
We scavenged sugar beets by
trunkfuls later to discover only
member growers could peddle
sugar beets to the sugar beet plant.

Later on, they called it North Side,
like the North Side of Chicago
or Minneapolis but not  Fargo.
But it was just North Moorhead,
then, out by the beet plant,
from which the pall of acrid
smoke quilted black
the fallow onion fields,
and made it tough for
the mare and the kids
and the calves
to breathe.


~ first published in dislocate 

Monday, December 9, 2013

NEW WORK

architectural drawing: ralph murre


NEW WORK
 by John Flynn
              
He feels guilty enough about writing poems
much less talking about them for a precarious living.
He sticks closer to carpentry; straightening boards,
hammer blows, cutting out triangles of stair so it stands
right, is safe and level for the climber, the old and
babies just walking. Being sure the rafters carry
a roof that sheds rain and whatever snow load might
settle in. Joining oak boards to make the floor,
no gaps, no creaks; nails angled and set in the
tongue each with one massive blow of the mallet;       
doors that swing quietly, and catch with
a soft, hollow chirp. At end of day he puts his
tools away, picks up and sweeps. He inhales
the smell and the silence of new work and this day's
chirp of the solid core door latched behind him.
The joy of writing poems at night is that
same door opening on tomorrow
                       


                        ~ first published in WHISTLING SHADE

Friday, November 23, 2012

EAGLE HEARTS AND SEA BIRDS

ice sculpture: ralph murre


EAGLE HEARTS AND SEABIRDS
by John Flynn

Pilgrimed flocks glut the sky;
stippled quarter notes spilt out
from some sequestered staff.

An orchard jungled, dappled by
ten thousand shimmering
wings. Their eagle hearts,

unbated breath, endure
as a sea bird soars a
thousand miles off shore.


~ previously published in Lost Highways and Living Rooms

Sunday, September 30, 2012

Mountain Barn

artwork: ralph murre


Mountain Barn
by John Flynn

The mountain barn
low, close and warm
held fast the wild horned Hereford cows
lined up to milk.
Within the mangers kittens woke
and used the shaggy, rolling heads
to hide behind and play their games.
So little of the morning’s breaking light leaked in
that chores were done by touch
and so familiar were the sounds
     (metallic when the streams of milk were
      squeezed against the pail’s wall and wooden
     when a startled cow would jerk her head
     against the smoothworn rope that held her)
that one could watch in darkness
and view dusty dreams of olden times
before and afterwards.

Milking done, a girl slid back the door
and farther out undid the wired gate
for the mudded walk to pasture.
Each wary cow would pause
and look about, wide eyed and dumb,
before she slipped her haunches
through the hole and tumbled
from the steaming shed.                        
The girl stood back and pitched a cow chip at
the last brown beast that ambled past,
shadow spotted by the trees.


~ first published by the Gilcrease Museum of Western Art

Thursday, August 23, 2012

THE THREE GRACES




                        THE THREE GRACES
by John Flynn

Tonight the Marx Brothers. They're indignant and rage.
So complacent they go, eyes wide, with angels.      
They engage the declarative sentence like Norwegian          
knights turned home. Wardrobed dell'arte moderne 
they murder the Guelphs and the Ghibellines.
With black bulbed bicycle horns Harpo honks  
like a gaggle of east-bound geese. The brothers    
cover their mayhem with impromptu parades
and props only a royal torturer could love.
(A blow torch suttees cigars and singes
every moustache on the screen save one.) 
Steaming coffee cups appear like magic saucers     
from a mother ship. A menagerie…of which
less said is better. Nothing is left to chance. Yet
chance prevails. What are the chances of that?

~ previously published in Lost Highways and Living Rooms 

Wednesday, July 25, 2012

BAD LANDS

photoart: ralph murre

BAD LANDS
by John Flynn

Inspired by an oil painting,
“Waiting for a Chinook: the last of 5000.”
by C.M. Russell, known as The Kid

The old cowhand swayed serene
around the potholes. Every sinew
slack in the backseat of his
youngest son’s new Chevrolet.
His elbow high and out the window,
he watched the miles peel away
on the county’s arrow
straight red scoria road.

From a distance the red and
white big touring car kicked up 
cyclones and looked to be
on fire or re-entry from a
junket into inner space.   

From out the side he
assayed his time’s retreat.
Up front the windshield
framed a vanguard
trail of slag waiting to be
churned back into dust.

They lived here by
the thousands then,
in ones and twos,
on farms, in little towns.
Contrails lining up above.
Echoes seeping out from
missile silos underground.

Few folks remain. And
soon these few will
view the remnant herds
of settlers like the
buffalo used to do.      

Emigrants scrape something           
off the top, he thought,           
but not much more. Eventually
the plains reclaim what's theirs,
and plow black ash back
into white boned earth.                         

Charley Kid got it right. He painted it
a hundred years ago and more:
“Waiting…The last of 5000.”

Long shadows slick down the buttes
nearing home. The old man smiled
to himself alone: some say
I don’t recall but know,
I didn’t break down
or tumble off my horse.

Through the cranked down window I
catch the cooling scent of sage and
youth and recollect that
all I ever thought
to be I am.

I make no play
on maybes.
I do still what
I say I will.
I crippled
no one
up but me,
not the country, 
nor the spirits
camped out here.

Those things
I do recall,
and don't regret.                       

~ first published by the Gilcrease Museum of Western Art

Friday, June 22, 2012

ZEUS IN SUNSHINE




ZEUS IN SUNSHINE
by John Flynn

This day Old Sol  hides. The        
count stands three and one.               
You stare in, take the sign,
stretch, and let fly.
Your leather target  explodes
in dust and thunder.
A minor deity erupts and pumps.
“Strike two,” he scalds.

You get it back.
Thumb the herringbone seam,
roll it in the palms of your hands.    
All the senses feast.
Sweat it, stain it, dry it with dirt.
Rub it smooth.
Make it stick.

Late inning overcast absconds. 
You are Zeus in sunshine.
The orb of the earth is    
in your hand. You conjure up
players and saints. Gehrig, Dimaggio,                                                                                                                                                            
Whitey Ford, Emily Dickinson,
Christ, what a poem!

Down to one pitch. Throw harder
than you’ve ever thrown before.
Make it smoke.

Your leather target explodes
in dust and thunder.

He didn’t even see it
leave your hand,
but heard the thunder.  


~ first published in the Minneapolis Observer Quarterly                

Sunday, May 6, 2012

STARLINGS

artwork: ralph murre


STARLINGS                                                        
by John Flynn

You have to come
to an accommodation
with the starlings.
There are so many of them.
They take over a yard
like convicts too long confined,
and are without grace.
Purposeful, persistent.     
Not too pushy. But
enough to get by.

In wintertime
on the coldest days
they hunch on the top
of chimneys, beaks to
the feathery smoke,
to stay warm.
They accommodate us
and survive by our smoke.
They survive by our smoke.
They persist.

Not with starlings
is black white
or lies the truth.
They are the truth,
the starlings.
Looked down upon,
derided for their gaucherie.
Less is less.
More is more.
Accommodate.
Persist.


~ first published in Minneapolis Observer Quarterly