Saturday, February 22, 2014

Florida Poet Mark Kerstetter Swims with Cézanne

Mark Kerstetter steals time away from restoring an old house in Florida to write poetry and make art out of salvaged wood. Says the poet: "My passion has always been for the arts. Some of my earliest memories are of drawing and my most pleasurable school memories are of writing verses and stories and sharing them with others. During my teen years I worked in the family business, painting in oils the woodcuts that my father made." Kerstetter's poems have appeared in Fickle Muses, Connotation Press, Evergreen Review and other journals. He is the former poetry editor of Escape into Life. Please visit him at

The Melancholy of Departure 
Giorgio de Chirico, 1914

The Melancholy of Departure

Privileged to be a lone witness
yet not granted access
to eat of the fruit or secure it
against assured decay,

A stage abandoned by actors 
(arrival unimaginable)
like a made bed awaiting a dream
a bed made by robots made by men
in locked rooms where
fluffy clouds of smoke
or steam send signals to those
who don’t know how to read—

The echoes of memory
a brass ring in a dream
eclipsed by shadow
rising like dew and
in the day air.

Standing Girl in Plaid Garment 
Egon Schiele, 1909
Standing Girl in Plaid Garment

She stands, forever: the refuge of art.
Standing for she who dances without ceasing,
under my skin.
Plaid or calico—any splash of color, however bright—
compliment to her cat black hair.
The artist liked to use a ladder to fix his bent
and twisted models
but for standing girl he built a column,
Eiffel tall, to climb up with the eye
and down, then up again,
as I look up to you, cast
down as I am.
He quivered his line—anticipating the Spanish influenza
—along the arm,
giving a sensation of life.
You, all porcelain and grace, had
no quivers.
—You only sent them through my
flaming flesh as I gazed on
with a thousand eyes.
The model’s eyes are closed.
Right. What need has she to see once she knows
all eyes are on her?
My Siren eyes are poison.
With slender fingers curling in to anchor her
—embryonic—until birth to a new day
of womanhood
(no chance of a touch)
in imitation of an Italian icon: Blessed Mary.
What thoughts fire in your brain
as I burn one thousand and one?

The Bathers, Cézanne, 1898–1905

Swimming with Cézanne

Cézanne, whose archetypal bathers dally beneath the branched archway of an indistinct face, could not stand to be touched. I met a guy who attended a party at Governor Rockefeller's mansion. Seeing him eye a Picasso, Rockefeller took the man's hand and placed it on the impasto. “Feel this,” he said. The guy delighted in telling that story, the cry, I touched a Picasso! implicit in his tones, but I couldn't get away from a sensation of hardened paint on my fingertips. When I hear the words earth tones I think of every tone on the earth, and like to cut “and the” out of the phrase man and the environment, like a tag out of a T-shirt, then lie down on unbleached linens to turn the fine glossy paper with its color reproductions. You will argue that I am at one remove from the paintings. True, up at the museum I can merge with other anonymous viewers. We sway like a colony of sea fans, careful not to bump into each other, to keep our responses to the paintings concealed behind pallid, placid masks. But when you get to be too full, like a sponge loaded with water, you must close your eyes, or rush out to stock a solitary space with flowing paint. And without a word, you shut the door tight.

broken circle
dive into the pool
virgin face

Thursday, February 13, 2014

Artist Sally Deskins' and Poet Laura Madeline Wiseman's Intimate Apparel

Intimates and Fools (Les Femmes Folles Books, 2014) combines body art and illustrations by Sally Deskins with Laura Madeline Wiseman’s poetry. This 38-page book explores notions of the bra and its place near the hearts of women, while contemplating literary and pop cultural allusions and illusions of such intimate apparel. Deskins' art has been exhibited in Omaha, New York, Philadelphia, and Chicago and published in Certain Circuits, Weave Magazine, Her Kind, Vagina, CLAP, and Whitefish Review among other venues. She has curated solo and group exhibitions, readings and performances centered on women’s perspective and the body. Her writing has been published internationally. She edits the online journal Les Femmes Folles and has published three anthologies of art and writing.

Laura Madeline Wiseman is the author of Queen of the Platform (Anaphora Literary Press, 2013), Sprung (San Francisco Bay Press, 2012) as well as two letterpress books and eight chapbooks. She edited Women Write Resistance: Poets Resist Gender Violence (Hyacinth Girl Press, 2013). Her book American Galactic is forthcoming from Martin Lit Books. Wiseman has a doctorate from the University of Nebraska-Lincoln. She has received an Academy of American Poets Award, the Wurlitzer Foundation Fellowship, and her work has appeared in Prairie Schooner, Margie, and Feminist Studies. Currently, she is a writer-in-residence at the Prairie Center of the Arts in Illinois.

Monday, February 10, 2014

NYC Poet Bob Holman's Tribute to Van Gogh & Monet

Bob Holman, so-called “Dean of the Scene,” is a central figure in the New York City spoken-word poetry community. He was born in Harlan, Kentucky, and grew up in Ohio. He earned a BA at Columbia University and also studied at the St. Mark’s Poetry Project with Ted Berrigan, Alice Notley, and Bernadette Mayer.     

In 2002 Holman founded the Bowery Poetry Club and, with linguists Daniel Kaufman and Juliette Blevins, the Endangered Language Alliance. He also produced the PBS series The United States of Poetry and several audio recordings of his own work, including The Awesome Whatever (2007). He has taught at Columbia and New York universities.

Holman is the author of numerous poetry collections, including Picasso in Barcelona (2011), Bob Holman’s The Collect Call of the Wild (1995), and Tear to Open: This This This … (1979). He co-edited the collaboration Crossing State Lines: An American Renga (2011, with Carol Muske-Dukes), The United States of Poetry (1996, with Joshua Blum and Mark Pellington), and ALOUD! Voices from the Nuyorican Poets Cafe (1994, with Miguel Algarin).       Numerous anthologies have included his work, including Spoken Word Revolution (2003), Bum Rush the Page: A Def Poetry Jam (2001), and Up Late: American Poetry Since 1970 (1988). He co-translated The Book of Sana’a: Poetry of Abd Al-aziz Al-maqalih (2004, with Sam Liebhaber) and also translated poet Er Zhang’s Carved Water (2003). Check out his blog at

Vincent van Gogh, Still Life with Apples, 1887-88

Perfectly Great

It would be great
To eat an apple
But there in the tree
It is perfect

Claude Monet, Sunset in Venice, 1908


This morning I raised my eye 

And saw the stars

Had not moved

Sweet Death, my Love,

I will never lose you again