654 & 923 by B.C. Edwards

654. To Clean Dark Furs

Of all the animals, chipmunks are the least trustworthy.
Squirrels are the most. You can tell
by the stripes.  Skunks too but skunks
have all their own problems.
Do not burn them. They will not burn well
they will burn like the rest of us. Not well at all.
Cracked lipped and melting overcooked sugar
bubbling like bran added to milk heated over a soft flame
licking the bottom like it’s in love or something.
Like it knows what that is, even. That’s how they burn.
People are the same. Those of us that have ribbons
down our backs are not to be trusted. But you have to
get us naked first to be able to tell. You have to
fuck us to be able to tell you have to
want to fuck us before you can tell
if we’re squirrels or not.
I know,
I know.
No one said it was fair.

 

923. How to make Hydraulic Cement

Our hands are stiff with paste
tired from kneading and
kneading. Rolling the balls
we have boiled the paste in oil and will
form it into something useful. We say we
will form it into something useful, but
our hands will stick together
if we hold for too long.
Parts of your fingers are wet,
parts have already dried over caked
white and solid like we are building a new skin for your
like if we cover every inch of you
you will be safe. If we coat you in paste and harden it over
nothing will get in.
Even me, I ask.
Even you, you say.

_______________________________________________________

B.C. Edwards lives in Williamsburg, Brooklyn. He is the author of the forthcoming novella ‘knucklebone’ and is the editor of Pax Americana. He received his MFA from The New School. He is a regular contributor to BOMBlog and the Brooklyn Review. His most recent work can be found in Red Line Blues, LyreLyre, The Sink Review, Food-i-corp as well as Hobart which nominated him for a 2011 Pushcart Prize. He is also a Literary Death Match champion and has the medal to prove it.

A poem by Eric Smith

The Vanishing Doomed Boy Trick

Morning begins with a blueprint and I erect

my body’s skyscraper with it: seventeen stories

of glass and steel, my reflection in every window.

Even if the body is its own preparation

for failure, who knew it would be this

catastrophic? Or this fun? The streets are a mess

with the debris of a thousand failed Wednesdays

and my chest is ringing.

   It’s the foreman. Again.

I can see from my perch at the end of this girder

that tests the air with its rust-colored tongue

that the foreman wears a yellow hardhat and favorite

flannel, a cell glued to his ear. He’s such a nice man.

Down on the street, they’re inflating a lung

of bright plastic. That’s probably my secretary

on the curb. A knot of uniforms is trying to herd her

and a number of other people across the street.

The foreman reminds me I doesn’t have to do this.

I shout back, “the temporary respite

that insanity offers is still on the table,

licking itself.”

          And while I scratch myself in places

that are inappropriate, I promise I’m in no danger.

Even if this brain is a malfunctioning bumper car,

and I am a forgotten grammar without cases,

the trees are peeling with an arboreal mange,

and I hold in his hand the dried-out hearts

of every mouse who ever chewed insulation,

I can say I’m fairly comfortable

trusting the lime green paradox of the mojito.

Listen to these electric hymns to mosquitos,

all the symmetries evolution gave up on

when it put us together.

Now watch me disappear.

_________________________________________________________
Eric Smith’s poems appear or are forthcoming in Five Points,
Greensboro Review, Measure, Pleiades, and Smartish Pace. He is an
editor for Cellpoems and teaches at Marshall University.

Augury Books is Now Accepting Manuscripts


We are pleased to announce our inaugural Editors’ Prize in Poetry.

Our reading period will be from March 15-May 15, 2011.

-The winner will receive a $1,000 honorarium and publication with Augury Books as well as 10 complimentary copies of the book. Additional copies can be purchased at a discounted price.

-This contest is open to anyone, except personal friends, colleagues or former students of the editors.

-Multiple submissions are accepted as long as each manuscript is submitted individually with separate reading fees.

-All entries will be considered for publication.

Submit up 40-75 pages of poetry and an acknowledgments page. Please do not include a bio.

-Entry Fee: $20

-Deadline: May 15, 2011

We are accepting submissions online through Submishmash at http://augurybooks.submishmash.com/Submit.

All money received will go directly towards the title and the maintenance of our catalog.

Unfortunately we will not be able to provide royalties to the winner beyond the honorarium.

We are unable to accept manuscripts from international authors at this time. Open to U.S. residents only.

Poems (2) from Paul Legault

Catss

In my house, I remember
like a woman goes into her reason.

NINE LIVES: I pass in and out.
THE BOOKS: They pass in and out of me.
WANT: I went in.
FRIENDS IN A SEASON: This season

enacts a change in itself.
We get along

with and for each other.
THE SEQUELS: One cannot live alone.

THE IMPOSSIBLE: But one wants to.
ONE: I can’t live

without being
without and don’t.

 

Party

In it, the bird and his anti-bird
remained calm, it being the air.

CLOSE-UP: I’m dull,
but so is fog.
ARCH: You have to enter your own.
THE STARS: That we are eyes is a thing
as is that we eat corpses in the sea.
TRANQUIL PIGEON: I’m winking at you

to indicate collusion
and that the elliptical fire will augment its intensity

to become what all light will become.
ONE DAY: There it is.

GUILLAUME: Guillaume,
let’s get to know each other one day.
COGNITION: Parts can make a whole person
or thousands of them.

Stick out your tongue,
and hand me that little dog,

so I can describe to you
what they made of those cities with rivers in which they who are sensitive to the cold or not live.

THE SOUND OF THEIR FOOTSTEPS: Draw near
and do it this way.
ALGAE GIANT: An island is a tower.
1,000 WHITE TRIBES: To invent a language, one must tell someone one has done so.
GUILLAUME AGAIN: People put me together

by myself
like a tower

huddled up from the human effort.
TIME: The gods are trespassing in it.

WIDE AVENUE: The past is rising up.
NOTHING: I won’t exist again

because everything does that
to itself.
_______________________________________________________________________________________

Paul Legault’s poems have been published or are forthcoming in The Awl, Boston Review, Denver Quarterly, and others. He is the author of two books of poetry, The Madeleine Poems (Omnidawn, 2010) and The Other Poems, which is forthcoming this fall from Fence Books. He co-edits the translation press Telephone Books and works at the Academy of American Poets.

2 poems by Ivana Kilibarda

Franz Kline, New York, New York, 1953

Sunday afternoon

An insect gentle accepts
a verbal repellant, to which
I turn a cheek. No red.
Oh yes, confidence!
A stroll in December. A skip to July.
Rosehip tea for guests in wool socks.
A rest by fire, as the city mocks me
with voices and sirens.
I see-saw for hours
by myself
unable to unplug the sounds.

Crossing

All it takes
is a little
smoke on
the Staten Island Ferry.

The seagull stops
circling. The wind
doesn’t know where
to add force but up, up, up!

Fifteen minutes from Manhattan
a noiseless stir of water:
a wake. The clouds
compose above

the bridges. Steam irons the night.
How I wish
we had a light
and that bottle we almost brought

with us. Instead we drink
his cozy lies–
A harbor of warm
baths and masts.

_____________________________________________________

Born in the former Yugoslavia, Ivana Kilibarda currently lives and works in New York City.

Photos from our Event!

Once again, we truly want to thank everyone who braved the snow last month for our Poems About Nothing event at the Rubin Museum of Art. Whether you were there in actuality or just in spirit, hopefully you will enjoy a selection of photos from the evening.

Poems About Nothing at the Rubin

Brenda Shaughnessy

Our lovely host for the evening.

Our Editor

Post-event crowd

 

Enduring the snow

 

 

3 & 12 by Simone Muench

3: the arsonist

(starring brandi h)

Her calendar charm kick-starts men’s lips while her wrists drip with doorbells. When the doctor gazed at her, a nurse parade passed in his head. Thread of alizarin through her hair. She revs her engine with stars and white thigh-highs, while choirboys chant holy, holy in the burlesque of her hip swing. Though she was born at a roadblock, her legato knees open for the congregation. Murmur of campfire under her hair.  Murmur of bass notes, rubber gloves. Sugar, she says, my lips are firebrands that’ll make your gold cross vibrato. The boys saw in prescribed light, her thorned orbit. Her breath full of footprints and soporific ruin. Her arm an empty room.

____________________________________________________________________________________________

12: the bestiary

(starring jackie w)

In a tongue-snap sky, waxwings unspool over the plains. He was a whisper, she was Nebraska. Her hands pepperweed, pebble, pearl to pearl, so tone-smooth.  Her mouth speaks, a red canary to a dime cigar.  Spittle sheen. There are worse things than being a pretty Catholic girl without any guilt.

She gives herself over to the music, embracing the Phoenician sailor and swearing beneath the cinema screen. Under the ostinato, under the train’s rustle, she goes down.  With her topaz neck and her bestiary lure. With her coloratura and vixen gene, she goes down. Into the musk and hum and howl.

O lady of the bossa nova.  O girl born of semaphores.  Into the moss and phosphorous. Into the salt marsh and subjunctive silence.  With currants in her mouth, a yellow scarf around her neck, she goes.

____________________________________________________________________________________________
Simone Muench is the author of four poetry books: The Air Lost in Breathing (Marianne Moore Prize for Poetry; Helicon Nine, 2000); Lampblack & Ash (Kathryn A. Morton Prize for Poetry; Sarabande, 2005); Orange Crush (Sarabande, 2010); and Disappearing Address co-written with Philip Jenks (BlazeVOX, 2010). She received her Ph.D from the University of Illinois at Chicago, and now directs the Writing Program at Lewis University where she teaches creative writing and film studies. Additionally, she serves on the advisory boards of Switchback Books and UniVerse: A United Nations of Poetry, and is an editor for Sharkforum.

A few words from the Danes

Hamlet’s terrace, Kronborg, Denmark

Horatio: If your mind dislike any thing, obey it: I will forestall their repair hither, and say you are not fit.

 

Hamlet: Not a whit, we defy augury. There is special providence in the fall of a sparrow. If it be now, ’tis not to come; if it be not to come, it will be now; if it be not now, yet it will come–the readiness is all.

 

William Shakespeare, Hamlet, V. ii. 217-222

 

We are readying ourselves for our March reading period. If you have a manuscript, we hope you’ll send it our way for our inaugural Editors’ Prize. More details available if you click on our Submissions tab.

Augury Live! Tonight!

Enjoy the weather and come hear some poetry at the Rubin tonight!

TONIGHT at 7pm!

Kimiko Hahn, Saskia Hamilton, Noelle Kocot, David Lehman, Ben Lerner, Brenda Shaughnessy, and Stacy Szymaszek will read poems by themselves and others reflecting absence, emptiness, and nothing—themes inherent in Buddhist art and philosophy.

Poems about Nothing is one in a series of programs inspired by the museum’s current exhibition, Grain of Emptiness: Buddhism-Inspired Contemporary Art. Like Poems about Nothing, the five artists’ works featured in Grain of Emptiness have been influenced by the tenets of Buddhism, namely, its central principles of emptiness and the fleeting nature of all things.

Programming Producer Tim McHenry notes, “Ancient Zen Buddhist koans are famous for presenting the reader with mysterious questions that are cryptic and paradoxical. Emily Dickenson, Robert Frost and many Western poets have confronted what “nothing” could be. But what is the contemporary poet’s relationship to the subject of “nothing?” I’m so pleased we can bring these seven celebrated poets together to excavate the multitudes of meaning behind nothingness, and to celebrate the ephemeral nature of the spoken word.”

Tickets
$12; $7 students with I.D. Tickets include admission to the galleries
Online: www.rmanyc.org/tickets; Box office: 212-620-5000 x344; or in person

Rubin Museum of Art
150 West 17 Street, between 6th and 7th Avenues
By subway: 1 to 18th Street; 2, 3, F, M to 14th Street; N, R, Q, 4, 5, 6 to Union Square
www.rmanyc.org; 212-620.5000

The Poets

Kimiko Hahn is the author of eight books of poems, including: Earshot(awarded the Theodore Roethke Memorial Poetry Prize); The Unbearable Heart (an American Book Award); The Narrow Road to the Interior, which utilizes Japanese forms; and her latest Toxic Flora, poems inspired by science. Hahn is a recipient of a number awards—the most recent area Guggenheim Fellowship, PEN/Voelcker Award and The Shelley Memorial Prize—and she is a distinguished professor in the MFA Program in Creative Writing and Literary Translation at Queens College, The City University of New York.

Saskia Hamilton is the author of As for Dream (2001) and Divide These(2005), the editor of The Letters of Robert Lowell (2005), and the co-editor of Words in Air: The Complete Correspondence between Elizabeth Bishop and Robert Lowell (2008). Her poetry has appeared in the Kenyon Review, the New York Times Book Review, the New Yorker, and elsewhere. She teaches at Barnard College and lives in New York.

Noelle Kocot is the author of four books of poetry, most recently, Poem for the End of Time and Other Poems (Wave Books, 2006) and Sunny Wednesday (Wave Books, 2009), as well as a discography forthcoming in 2010 from Wave, and a full-length poetry collection, The Bigger World(Wave, 2011). She has won awards from The American Poetry Review, The National Endowment for the Arts, The Fund for Poetry and The Academy of American Poets, among others. She lives in New Jersey.

David Lehman is the author of Sign of the Times: Deconstruction and the Fall of Paul de Man, several books of poetry, and is Series Editor of The Best American Poetry. His essays, poems, and reviews have appeared in all the major literary publications, from the Times Literary Supplement, to The New Yorker to The Paris Review. He is the recipient of numerous prizes and fellowships, including a Guggenheim and the Award in Literature from the American Academy and Institution of Arts and Letters. Mr. Lehman’s book A Fine Romance: Jewish Songwriters, American Songs recently won the 42nd Annual ASCAP Deems Taylor award for outstanding print, broadcast and new media coverage of music. He lives in New York City.

Ben Lerner earned a BA in political science and an MFA in creative writing from Brown University, and was a Fulbright scholar in Madrid. Lerner is the author of several full-length poetry collections, including Mean Free Path (2010) and Angle of Yaw (2006), which was a finalist for the National Book Award and the Northern California Book Award. His sonnet sequence, The Lichtenberg Figures (2004), won the Hayden Carruth Award, was chosen by Library Journal as one of the year’s 12 best poetry books, and was a Lannan Literary Selection. His poetry has also been included in the anthologies Best American Poetry, New Voices (2008), and 12×12: Conversations in Poetry and Poetics (2009).

Brenda Shaughnessy received her B.A. in literature and women’s studies at the University of California, Santa Cruz, and she earned an M.F.A. at Columbia University. She is the author of Human Dark with Sugar (Copper Canyon Press, 2008), winner of the James Laughlin Award from the Academy of American Poets, and Interior with Sudden Joy (Farrar, Straus & Giroux, 1999), which was nominated for the PEN/Joyce Osterweil Award for Poetry, a Lambda Literary Award, and the Norma Farber First Book Award. Her poems have appeared in Best American Poetry, Bomb, Boston Review, Conjunctions, McSweeney’s, The New Yorker, The Paris Review, The Yale Review, and elsewhere. She is the poetry editor at Tin House magazine and currently teaches creative writing at Princeton University and Eugene Lang College at the New School.

Stacy Szymaszek was born in Milwaukee, WI. She is the author of the books Emptied of All Ships (Litmus Press, 2005) and Hyperglossia(Litmus Press, 2009), as well as numerous chapbooks, including Orizaba: A Voyage with Hart Crane (Faux Press, 2008), Stacy S.: Autoportraits (OMG, 2008), and from Hart Island (Albion Books, 2009). From 1999 to 2005, she worked at Woodland Pattern Book Center in Milwaukee’s Riverwest neighborhood. In 2005 she moved to New York City where she is the current Artistic Director of the Poetry Project at St. Mark’s Church.

The Human Factor by David Lehman

Indiana power plant after flood, 1913. Photograph by DJ Angus.

It is our great pleasure to present this poem by David Lehman, one of the readers at tomorrow night’s Poems about Nothing event at the Rubin Museum. “The Human Factor” appears in When a Woman Loves a Man (Scribner, 2005).

 

The Human Factor

 

The gambler knows nothing’s
more addictive than deception
with the chance that the betrayed one,
the spouse or the State, is pretending
or consenting to be deceived
for motives of vanity and greed
not different from his own,
leaving him with a choice to make
between his mistress and his self-respect —
which may be why the ideal reader
of Graham Greene’s novels went
to a parochial school, was married
and divorced, has lived abroad
in Europe or Asia, plays in a weekly
small-stakes poker game, works
for a newspaper, lies to make a living.

 

_____________________________________________________________________

David Lehman is the editor of  “The Oxford Book of American Poetry.” He initiated “The Best American Poetry” and continues as the series editor of the annual anthology. His latest books of poems are “Yeshiva Boys” and “When a Woman Loves a Man.” The most recent of his six prose books is “A Fine Romance: Jewish Songwriters, American Songs” which recently won the 42nd Annual ASCAP Deems Taylor award for outstanding print, broadcast, and new media coverage of music.