Poetry of the People with Kimberly Simms Gibbs

This week's Poet of the People is Kimberly Simms Gibbs. She is South Carolina upcountry poetry. She sees with an eye of southern cornbread sopped in pork drippings gravy. If you want to feel the Carolina hills and mountains read Kimberly Simms Gibbs.

Kimberly's literary voice is rooted in the Southern tradition of storytelling. Her passion for poetry from both the page to the stage has led Kimberly to garner titles such as former Carl Sandburg NHS Writer-in-residence, National Poetry Slam ‘Legend of the South’, TedX speaker, co-founder of CarolinaPoets, former Southern Fried Poetry Slam Champion, and award-winning teaching artist. In her first full-length collection from Finishing Line Press, Lindy Lee: Songs on Mill Hill, Kimberly chronicles the lives of textile workers in the Carolinas with historical accuracy and imaginative insight. Ron Rash, the award-winning author of Serena, says about Kimberly: "she writes with eloquence and empathy about an important part of Southern history - too often neglected."


                                  Trespassing after the Hysterectomy 

The Lily-of-the-Valley 

           pearly bells tremble 

            the way a child’s mouth brims 

                                   with laughter. 

Daffodils 

          headless green arms gesture 

          split-hearts subterranean 

                                leaves blackened. 

Mole, 

          how sweet is your tongue 

           after your feast of bitter 

                                 tulip daughters? 

Dark earth, 

           how do you embrace the emptiness 

            of your bloomless womb 

                                  your crumbling tubers? 

Lady Slipper, 

           my gloved hands long to plant 

            while your tendrils more exotic 

            unfurl sharp leaves, pregnant blossom 

                                   beneath the last living hemlock.  

                                                  Homestead 

                                 But nothing is solid and permanent. 

                       Our lives are raised on the shakiest foundations. 

                                   – Ron Rash, One Foot in Eden 

A bolt of barbed wire, black with age,

hints the way, jutting from the undergrowth 

like a wizened digit— the post long since decayed 

and lost to the crumbling host of litter. 

This sunken corner is a garbled message 

till we catch a tree pierced with another barb. 

A stone pile murmurs, entangled with the metal. 

This forest expands in every direction. 

Our eyes can see no horizon beyond it. 

Mountains surge as we weave 

up and down valleys, creeks, and ravines. 

Eighty years: a forest has fallen and regrown. 

Homestead cleared, tilled, planted, harvested 

then reclaimed by this hummocked beast. 

We follow the ancient line back to a single 

hearthstone and the outline of a foundation. 

A toppled stone wall, a brown bottle. 

All around us: a forgotten fence, an outpost of the past.

Wild Green Soup

          Newberry Cotton Mill Village

           South Carolina 1924  


Fingers of frost stretch across the windows.

Seasoned wood crackles in the wood stove

while I stir the last salty pork knuckle

with a handful of beans, wild greens

into a stock pot just off the boil.

Fall's harvest now a collection of empty jars;

the cupboards breath -- dust, dead moths.

Each stir is more a wish as the day considers

getting warm, sweet herbs summon cravings.

Morning casts its pink sap over frost-risen clay

as I shepherd this thinly-feathered brood

towards the cotton-strewn spinning room.

Today we will piece broken strings, weave

cotton scraps to make them something whole.

Liddy Lee Songs on Mill Hill (Finishing Line Press, 2017)

       Machine Tool Salesman

Bill run that grinder fo ten years

Machine bigger than a brown bear

in Manny's stretched machine shop

in the flats of South Carolina.

The metallic cold milled slack snow

big sloppy flakes. The guys put on

their coats and stuck out their tongues

for the rare southern crystals.

Scraping together snowball heaps,

they watched the yard go dark and drank

black coffee. They stomped their feet

and left their coats on cause the shop

was so cold. That year so metallic.

That's how it happened, the coat.

Bill knew better, but ten years

you get so easy. The machine caught

him-- metal grinding machine --instant.

I sold them that grindernew.

Just horrible, he had two little babies too.

Took a week to get him out of the wheel

but it still ran. Can't keep a machine

something like that happens. I sold

it down the coast. Just horrible, two little

babies too and that year so metallic cold.

                                                     Summer Swagger

Late August, we are still free summer children.

We run over the rocky banks laughing in some

chase game; muscles flex, tense, stretch, climb

the steep --- dig fingers into cracks, wrench ourselves up.

Mountain expanse of water calls to us. My skin

tingles with nervousness as I look down thirty feet.

"Take my hand," you tender, "We'll jump together."

Wind races around my feet! We send out seagull wails,

steal breath for the plunge. My body is a scream!

Down, down forever in bubbles, then buoyant, silent,

We are carp pulling ourselves up through the water.

We burst back into heat, hollowing out triumphant bellows.

Poetry of the People with Loli Molina Munoz

This week's Poet of the People is Loli Molina Munoz. Loli openly shares her otherliness and in the sharing becomes one of us.  Diaspora of a Spanish Tortilla (Recipe and Poem); is exquisitely simple in telling complex emotions.

IT’S THANKSGIVING AND I AM NOT AMERICAN

It’s Thanksgiving and I’m not American.

I have cooked turkey, mashed potatoes, 
collard greens, cranberry sauce, and stuffing. 

My husband has dressed up the house
with fall colors and he is not American. 

A friend has come to share this rainy
day and he is not American.

The dog is staring at us hoping to
get some table food and he is not American.

We have toasted and remembered some
old friends who are not American. 

We are thankful for having each other 
and we are not American. 

I HAVE AN ACCENT

I have an accent

When I go to the grocery store
and they ask me if I found everything I needed 
I answer “yes”
they say: you have an accent!

This accent is my grandmother’s sewing for the rich 
and waiting from my grandfather to return from Venezuela.

When I order a tall decaf coffee with milk 
and I spell my name
they say: you have an accent!

This accent is my mother’s cleaning houses
so I could fly abroad and improve my English.

When I read a poem 
and your faces change trying to understand 
what I say and 
you think: she has an accent!

This accent is their braided hands delivering the fruit
that I will place in your still empty basket. 

THE GOOD DISHES

“But they are grounded
in their God and their families 
they are grounded in their hearts and minds.”
-Nikki Giovanni

my mother keeps the
good dishes in an old
cabinet after fifty 

years hoping I have 
them someday, she also 
holds onto a coffee 

set and a quilt she
made before she got 
married, your dowry

she says while she shows 
one of her few smiles 
buried in a deep wide


hole digged by my father
covered with her dreams
and my nightmares

long lasting nightmares
my mother possesses 
the first and the last 

of my days, the 
first and the last of
my nights, the fist 

and the last of 
my 
thoughts. 

ON ALL SAINTS DAY

Don’t leave me.

Those were your last
words. 

And we left you.

We closed the door
and we went home. 

Your eyes were begging for more 
time with us, more time alive.

But we left you
abuela Lola.

And the morning after
you were gone.

And the memories became 
a attempt to order the chaos.

My chaos. 

Diaspora of a Spanish Tortilla

(Recipe and poem)

I
Ingredients for 4 people
2 cups of Spanish extra-virgin olive oil
2 tablespoons of Spanish extra-virgin olive oil
1 pound of potatoes
6 eggs
Salt

II
My mothers tells me it’s time to go to bed before the Three Wise Men come with the presents. I have to cook the tortilla for them, she says, and I think it’s not fair I don’t get to taste the mixture before being cooked. I close my eyes and I think about the smell of the potatoes and the eggs before jumping into the pan. 

III
Heat 2 cups of olive oil in a medium pan, slowly fry the potatoes until beautiful golden brown. Drain the potatoes on a paper towel. 

IV
It’s 1997 and I am an exchange student in Coventry, England. The first week someone organizes a party at our house. I don’t remember who. It wasn’t me. Everyone brings something for their countries. I cooked tortilla the same way my mother taught me. We eat, we drink, and we sing songs that we all know. 

V
Beat the eggs in a bowl with 1 teaspoon of salt. Add the cooked potatoes to the beaten eggs and let stir for 1 minute. 

VI
Last night I went early to bed as my mother told me and this morning Melchior came home with a present for me. It was the doll I wanted. Her tortilla must have been really good this year. 

VII
Heat the remaining 2 tablespoons of olive oil in a 6-inch pan over high heat. Once the oil is hot, pour the egg-potato mixture and reduce the heat to low. 

VIII
Last week I cooked a tortilla for lunch and he smiled when he saw it. This is so good, he said. You are even better, I thought. 

IX
Once it begins to set and the edges turn golden brown, place a plate over the pan and flip the pan and the plate so the tortilla ends up on the plate, uncooked side down. 

X
Wisconsin was cold, too cold for a Southern Spaniard used to the sun and the scent of the Mediterranean. Someone asked me to make a tortilla but this time it didn’t flip right. I had to go back to Spain. 

XI
Once the tortilla set, flip the tortilla again and transfer to a platter. Season with salt and cut into wedges to serve.

XII
In 2006 my mother confessed that she never cooked tortilla for the Three Wise Men. I was so disappointed that I cried. I was 32. I was 32 and I cried. And I never stopped making tortillas. 

 Bio

Loli Molina Muñoz is a Spanish teacher in Lexington, SC, with a Phd in Modern Languages. Her poetry has appeared in different Spanish and American publications and anthologies like VoZes, Label Me Latin and Jasper Fall Lines. In 2019, she published an essay on gender and sex identity in feminist science fiction as part of an anthology called Infiltradas. This anthology was awarded as Best Essays Anthology by the Spanish Science Fiction Society Awards in 2020.

REVIEW – The Legend of Georgia McBride at Longstreet Theatre

The show runs from November 10-17 starting at 8p.m. with matinees on the 11th and 12th at 3 p.m.


Georgia McBride opens on Casey, performing his Elvis impersonation act at Cleo’s, a dive bar in Panama City FL. Casey is a rather decent “Elvis” (though Casey’s estimation of his skill is higher than mine). Casey, bless his heart, believes he is on the proverbial cusp of stardom. So certain is he of his impending fame that he purchases a new white jumpsuit befitting The King. After the show Casey heads home to his wife, Jo, only to have his excitement flattened by her pronouncement that the rent check bounced – again – because of Casey’s propensity to use the debit card before checks have cleared. The young couple is threatened with eviction. Not only are they unable to make ends meet, they aren’t able to make those ends wave at each other. Jo unleashes her frustration on Casey and storms out of the room. She returns moments later to announce, proof in hand, that she’s pregnant. Casey is over the moon happy and exuberantly embraces Jo, proclaiming that they will be the best parents “since Mary and Joseph”. Jo reminds him that “their kid died”…

Casey returns to Cleo’s the next night and performs for the usual small house. Afterwards the club owner, Eddie, tells Casey that the club is going in a new direction in an effort to increase business. Eddie has hired his cousin Bobby to be the nightly performer. Casey pleads for another chance which Eddie cannot/will not give. Enter Bobby, aka Miss Tracy Mills - a tall, gorgeous, awe-inspiring drag queen, followed by her co-star, Rexy (full name Anorexia Nervosa. She’s Italian.) Casey is devastated. Tracy suggests he stay on as bartender, which he grudgingly agrees to do. After all, he now has a family to support. In an unsurprising twist, Rexy gets absolutely totally thoroughly and completely wasted before going onstage. Eddie storms in and demands that Casey go on in her place – not as “Elvis”, but as Rexy’s “Edith Piaf”. Casey has never heard of Piaf. Quelle surprise.

Rexy’s binge results in Miss Tracy Mills’ split-second funny clever and “how the hell did she do that” transformation of Casey from Florida cracker to drag queen. Using padding, pantyhose, false eyelashes, a wig, and non-stop performance tips, Tracy deftly “creates” Edith Piaf (well…sort of….). (The last time I saw a transformation like that was watching Jim E. Quick and John Erlanger in Greater Tune at Longstreet.).

Casey is not thrilled with doing drag. He is after all a straight white guy from rural Florida. He has no firsthand knowledge of the art of drag or of the gay community. However, he manages to stumble through his act and somehow the audience buys it. He starts bringing home enough money to pay all their expenses with money left over.

He is embarrassed by what he’s doing and so does not tell Jo.  As far as she knows he has a really good bartending gig.  He is caught out in the lie but I’m not giving up any spoilers there.

This show could easily have been a contrived caricature. In the deft hands of Jessica Fichter and Terrance Henderson (Director and Choreographer/Drag Consultant, respectively), Matthew López’s script is a study in not just the art of Drag (and it is an art) but in humanity.  Casey treats this as an “act” only. Tracy explains that it’s far more than an act for her and for Rexy and for countless other drag queens. When Rexy re-enters, she gives an explosive monologue on the true meaning of the art; “Drag is a Protest”. (Ms. Fichter’s director’s notes in your program explain the historical importance of drag far better than I can here. Read it.)

I saw the show’s preview. There were some halting deliveries at the beginning but those few were quickly smoothed out as the show progressed. Every member of the cast deserves kudos. Terrance Henderson (Miss Tracy Mills) is a gift. He creates a Tracy who is sharp-tongued, witty, and acerbic but who is also caring, empathetic, and (dare I say) motherly. Keyontaye Allison is Rexy, a most bodacious, assertive, fractious drag queen. Rexy’s monologue (mentioned above) is fierce. Anyone who listens to that speech will never again treat drag as “fluff”. Dear Jo, Casey’s truly long-suffering wife, is played by Morgan Passley. Her Jo is frustrated, but she is married to a human bubble machine. Being the only “adult” member of a marriage is a thankless task, but Ms. Passley’s Jo is also funny, clever, and kind. John Ballard plays Jason, the landlord/neighbor/friend faced with evicting Jo and Casey. He balances his conflicting “roles” beautifully. (He also really knows how to fall off the arm of a sofa.) David Britt either had an absolute blast playing Eddie, or he’s an even better actor than I know him to be. His character grows and transforms as much as Casey’s. And Casey, the reluctant drag queen. In the hands of Koby Hall Cayce goes from head-in-the-clouds, youthful Elvis impersonator to a splendid Georgia McBride. His “ah-ha!” moment when he suddenly recognizes his drag “persona” is wonderful to see. 

Brava to Ashley Jensen, Lindsay K. Wilkinson, Lorna Young, Danielle Wilson, Makenzie Payne, Marybeth Gorman. Lamont Gleason, Valerie Pruett, and Lisa Gavaletz. Every aspect of this production deserves applause. I’d forgotten how much I love Longstreet Theatre. Ms. Jensen’s set design utilizes the levels and the voms and takes advantage of every corner of the space. Costumes, makeup, lights, sound, and traffic direction were spot on. A very special thanks to Terrance Henderson. He and Ms. Fichter make a formidable team. I truly don’t know how this show could’ve been produced without the two of them. (If you missed their “Little Shop of Horrors” at Trustus earlier this year, I hate it for you.)

This show was just delightful. And thought-provoking. And gorgeous. Don’t miss it. 

Notes: There is considerable construction going on along Main Street between Greene and College Streets, so those on-street parking spots are gone. There is after-hours parking in the Wardlaw College lot next to Drayton Hall. The production runs about 2 hours with no intermission, so keep that in mind whilst having another cocktail before the show.

OPEN CALL FOR LOCAL ARTISTS: CAE is Now Accepting Submissions for the 2024 – 2025 Art in the Airport Program

Calling all professional artists! The Columbia Metropolitan Airport (CAE) is now accepting submissions for the 2024 – 2025 Art in the Airport program.

Now in its fifth year, the wildly popular program showcases the artistic talents of four artists selected from across the Columbia region. Each artist will have the opportunity to display their work in the busiest part of the airport for roughly three months.

The Art in the Airport program not only enhances the passengers’ experience while traveling through CAE, but it also creates an immediate sense of place to those visiting Columbia, SC. Once a traveler lands at CAE, these pieces of art are the first creative and cultural touchpoints they see as a connection to the region.

Would you like your artwork to be considered for this prestigious program? Below are details on how an artist can submit artwork and the guidelines associated with the program.

Submission Requirements:

To apply for CAE’s Art in the Airport program, please email the following information to submissions@flycae.com by November 30, 2023 at 5 p.m.

  • Name, address, phone, email, website (if applicable)

  • Artist bio

  • Artist statement

  • At least five images representing the type of artwork anticipated to be on display.

  • *Note: Artists must reside in one of the following Midlands counties: Calhoun, Fairfield, Kershaw, Lexington, Orangeburg, Richland, Saluda, Sumter, Lee, Clarendon, Newberry, and Aiken.

Selection Process:

Submissions will be reviewed by CAE’s selection committee. Artists selected for the rotating art exhibit will be notified December 15th with a public announcement on December 19th.

Exhibit Requirements:

The exhibition location will be in the connector of the terminal, the walkway between the security checkpoint and the departure/arrival gates. Selected exhibits must contain a minimum of twelve pieces as there are twelve wall columns in the location, six on each side of the walkway. (Multiple images/clustered pieces of work can be arranged on one column if desired/space allows).

CAE will provide labels for each piece in the exhibit to include artists’ name, contact information and the title, dimensions, type of medium and selling price of the piece. CAE will also provide signage for the exhibit to include the artist’s bio and/or statement.

Exhibitions must be physically suited to the space, allowing for uninterrupted traffic flow. If selected, artists agree to suitably frame, wire and install their artwork at their own expense. Artists must be willing to sign CAE’s Artwork Loan and Hold Harmless Agreement.

Selected artists are welcome to preview the exhibit location by contacting Samantha Kingsmore, Marketing Manager, at S.Kingsmore@flycae.com, as a staff escort is required to access the location.

Insurance:

Art displayed at CAE is insured by the Columbia Metropolitan Airport while on site; however, the transportation to and from the airport is not covered. Prior to installation, the selected artists will provide CAE with a description of the exhibit pieces to include the title and value of each piece.

Things to Know:

CAE does not charge artists to exhibit their work but will require a 5% commission on all pieces sold. This commission will be reinvested into the CAE Art in the Airport program – enhancing display opportunities and required signage. All art transactions must be conducted between CAE, the artist, and the purchaser.

Vista Lights at Stormwater Studios

Thursday, November 16, 2023
6 PM to 9 PM

Join Stormwater Studios for an evening of art, lights, and entertainment during the 38th
Annual Vista Lights.

This evening will mark the opening of Stormwater Resident Artists’ Semi-Annual Exhibition in our gallery. In addition to a live performance from local drummers, Namu Drum Company, underneath our massive Christmas tree, and you can view our new container adorned with lights.

Their neighbors Lewis + Clark and One Eared Cow Glass will also be participating in this event. Their spaces will be open for everyone to see where they create using metal and flames.

You will be able to stop at all of these locations to see a variety of creative workspaces, meet local artists, and purchase the perfect present, an original piece of art.

You don’t want to miss out on this great family event. All are welcome. Please invite your friends, family, and community to 413 Pendleton Street, Columbia, SC 29201.

Art on the Pond features Bailey, Thornley, and Smoak - November 11th

Saturday, November 11; 10:00 am - 4:00 pm: Art on the Pond, Lucy Bailey Studio, 320 Wateree Creek Road, Irmo, SC 29063 / Rain or shine

Join us for our 3rd annual open studio and sale of artwork and artful gifts by Lucy Bailey, Rick Smoak, and K Wayne Thornley.

Paintings - Collage - Photography - Ceramics - Jewelry - Mixed Media - Assemblage - Sculpture

Come to shop, visit, talk art, and meet friends! Google Maps should get you here, but other navigation systems may not. You can only get here via Carrie Shealy Road so check your route. (Holladay Road will NOT get you here!) Drive slowly on these dirt roads and watch for other cars entering and exiting. We look forward to seeing you at the pond!

For Opus and the Frequencies, “All Frequencies Welcome,” is More Than a Motto

This article was originally featured in the Fall 2023 issue of Jasper Magazine. That version incorrectly attributed Kirk Barnes’s quotes to another band member. This is remedied in the version below. Our apologies to Barnes and Opus and the Frequencies for this error.

Genre-bending and categorically defiant, Opus and the Frequencies has  emerged as a force to be reckoned with in the local music scene. Behind the name are four people with an innate love for music, anchored by a desire for storytelling, vulnerability, and authenticity.

The core of the band is the eponymous Opus (vocals, keys, saxophone, clarinet, and more), who originally did not want to be a musician. It was a challenge from a band director to play the saxophone—band itself a simple mix-up in his middle school schedule—that eventually led to music being his driving force. As soon as he found music, Opus became dedicated to creating unique sounds, a journey that eventually led him to the Frequencies.

Columbia is rife with talented musicians, but Opus was not interested in just sound. What he was looking for was raw emotion, something unspeakable and intangible. All at different times, he got the opportunity to hear Jesse Tortorella (drums), Steven Tapia-Macias (bass), and Kirk Barnes (guitar) play. As Opus recalls it: “I wanted the boys that we have now. Luckily, the universe gave me exactly what I asked.”

Today, nearly seven years after forming, Opus and the Frequencies have found their identity as an eclectic group with an eclectic sound. Though Barnes says their genre is best described as “a mixture of rock and funk,” the band sees it as a point of pride that they do not sound like anybody else—sometimes even themselves.

“Everybody always asks, what's your genre? And it's like, I don’t think we have one. We're all over the place,” Opus says, “My music taste is all over the place, so why shouldn’t the music I play be? I feel like what we do should be all over the place because I don't like being limited, sticking to one sound or genre.”

This inherent variation is echoed in their live performances as well. A band has to be intuitive, to read an audience, and, as Barnes says, “play what feels right in the moment.” Opus indicates that there is a current that runs throughout the room during a show, a charge that keeps the energy moving, and everyone has to be connected for it to work. As the front man, Opus directs energy into the rest of the band, which comes back through him and into the crowd, circling back into him—and the cycle repeats.

“I want the audience to know when we play that, yes, obviously if you paid to see the show, it's for you, but the show is not for you,” Opus asserts, “The show is for the band to enjoy, and we love it and give that energy out, and that’s what then makes the audience enjoy it so much.” 

Tapping into this is what has led to two of the band’s notable ‘we made it moments’: their first time playing at New Brooklyn Tavern and their recent July tribute to James Brown. These are the experiences that provide them the fuel to work on their own music, particularly their first EP, “You’re Trash, Kid,” which was released in January of 2023.

The EP consists of five songs, a vibrant mix of sound and emotion where, around each corner is an unexpected turn. Almost all the songs are created collaboratively; take, for instance, “Jesse’s Song.” When Barnes played his hand-written tune (one oft-requested by a college friend) for the band, they all immediately felt a connection After hearing it, Opus penned lyrics about missing old friends, and the four honed it sonically into its final version—and named it after the college friend that first heard it.

Reflecting on their journey, the group sees Columbia as having been vital to the ways they have blossomed. However, as they ruminate on their future—which includes new music coming in 2024—they recognize that significant growth must take place to shore up the city as a supportive space for all artists.

“I think we need more connection between the art scenes; there's not enough communication from the inner circle to the outer circle,” Opus argues. “Right now, there's a centralized group of musicians that more or less control the scene. Fortunately, we’re blessed to be a part of that group, but there are newcomers trying to get into the group who can’t and people who have already been here that don't get recognized—I know this because I used to be on the outside.”

Barnes echoes this, noting that while “it is not any one person’s fault, … there is a lot of socialized power here” that can only be remedied by larger, established venues dedicating themselves to local artists, versus just regional or national, as well as smaller, central venues taking chances on emerging artists.

These concerns are only reflections of the care the group has for the city. This is a place they are fully committed to continuing to grow in while also assisting in the growth of. It will take a village to fortify this community as the art-oriented space that so many creators desire it to be, but the embrace of the effervescent talent that is Opus and the Frequencies is proof we are already on the right track.

“This city, these venues are special. We've played a bunch of shows here, made friends here.” Opus says. “The people are what have made this place special. We've had a lot of good memories here, and we plan to keep that going.”

All Good Book Events Coming Up

One of the best things about having an independent bookstore in your hometown is the opportunities for community engagement it offers. Especially when the world feels off-kilter (can you remember when the world actually felt on-kilter?) it’s a joy to gather with other curious individuals to learn more about art, science, nature, life — pretty much anything that helps us understand why we are the way we are and why we do the things we do.

Luckily, Columbia has All Good Books now, located at 734 Harden Street. Bonus! Not only does AGB have convenient parking, it also has an excellent selection of coffee, vino, and books plus plenty of places to curl up for a conversation or a good sip and read, and now, there’s a lovely garden area out back where we can enjoy the fresh air and sun.

Thank you All Good Books!

Coming up at All Good Books

Walter Edgar’s Journal - LIVE Recording and BookNook RevealTuesday November 14th, 2023 @ 10:00AM - 12:30 PM

Walter Edgar will be recording his latest episode LIVE from AGB, and will reveal his new BookNook, featuring many of the books he has highlighted over the years, which will be available for purchase at AGB. The recording will be a ticketed event; more information coming soon, but you are welcome to email us at info@allgoodbooks.com or call us at 803-205-4139 if you are interested in attending and we will get back to you soon!

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Queer Writers of Columbia Publishing Strategy WorkshopWednesday November 15th, 2023 @ 6:00PM - 7:30 PM


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Cassie Premo Steele Book Launch PartyThursday November 16th, 2023 @ 6:00PM - 8:00 PM

Thursday, November 16th, at 6 pm, Cassie Premo Steele will be here to celebrate the release of her new book Beaver Girl.

Cassie Premo Steele is a lesbian, ecofeminist, mother, poet, novelist, and essayist whose writing focuses on the themes of trauma, healing, creativity, mindfulness and the environment. She holds a Ph.D. in Comparative Literature and Women's, Gender and Sexuality Studies from Emory University in Atlanta, Georgia. She is the author of 18 books, including 7 books of poetry and 3 novels. Her poetry has been nominated 6 times for the Pushcart Prize. She was a Finalist for the Rita Dove Poetry Award judged by the current US Poet Laureate Joy Harjo. She has also been awarded the John Edward Johnson Prize and the Carrie McCray Literary Award for Poetry. She is a recipient of the Archibald Rutledge Prize named after the first Poet Laureate of South Carolina, where she lives with her wife.

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Anthony Varallo Columbia Book Launch Party Friday November 17th, 2023 @ 6:00PM - 8:00 PM

Anthony Varallo is the author of What Did You Do Today?, winner of the Katherine Anne Porter Prize in Short Fiction, forthcoming from the University of North Texas Press in Fall 2023. His other books include a novel, The Lines (University of Iowa Press), as well as four previous short story collections: This Day in History, winner of the John Simmons Short Fiction Award; Out Loud, winner of the Drue Heinz Literature Prize; Think of Me and I’ll Know (Northwestern University Press); and Everyone Was There, winner of the Elixir Press Fiction Award. He is a professor of English at the College of Charleston in Charleston, SC, where he directs the MFA Program in Creative Writing and serves as fiction editor of swamp pink literary journal.

Midlands Light Opera

Midlands Light Opera Society is thrilled to announce the Love, Laughter and Light Opera Cabaret on Saturday, November 18 at The Living Room. The program will begin at 7:30.

You will enjoy love songs and comedic numbers from golden age musicals and operettas including HMS Pinafore, The Mikado, and Die Fledermaus. There will be some golden oldies, new takes on familiar pieces, AND special sneak peeks of Gilbert and Sullivan’s Patience, which we will perform in February, and an original horror-inspired opera that will premier in summer of 2024. 

Singers include Nikki Anderson, Greer Arcomona, Michael Brown, Jason Collins, Lilith Clary, Evelyn Clary, Abraham Hardy, Laura Hutchins, Roddey Smith, and Felicia Torres, who will be accompanied by Mary Ann Clary and Ashleigh Morse on keyboard. Ann Benson and David Bankston, who have enjoyed international operatic careers, will serve as our emcees.

Midlands Light Opera Society is in its first year, and its twofold mission is to bring fully staged live operetta to the midlands, and to give local performers of all ages, backgrounds and experience levels the opportunity to perform these works. 


Tickets for adults will be $20. Tickets for those under 18 are $10. Tickets may be purchased at the door with cash or card. We do not accept checks. The Living Room is located at 6729 Two Notch Rd in Columbia, right next to Very’s Restaurant.

Poetry of the People with Cassie Premo Steele

This week's Poet of the People is the indomitable Cassie Premo Steele. Cassie is an Earth mother to many poets and writers. Her poetry invites you to take a walk with her in a forest to her safe place for an intimate poetry salon with the denizens of nature. A Daughter of Light, she leads you back to the city refreshed and remade.

~~~~

Cassie Premo Steele is a lesbian ecofeminist poet and novelist and the author of 18 books. She will be reading from Swimming in Gilead, her seventh book of poetry, at Simple Gifts on November 7, and the launch party for her third novel, Beaver Girl, will be at All Good Books on November 16. Her poetry has won numerous awards, including the Archibald Rutledge Prize named after the first Poet Laureate of South Carolina, where she lives with her wife. She is currently running a Kickstarter project to fund the Beaver Girl Book Tour:

Poems from Swimming in Gilead, Yellow Arrow Publishing, 2023

~~~~~

Let Us Begin Again

 

Be very quiet. Make it dawn.

Rise from bed. Walk on the lawn.

Wait for it. The sun is coming.

It’s a new one. It’s beginning.

You don’t believe me, you say

this happens every day, there’s

nothing new under the sun and

certainly not the sun itself.

Put your doubts on a shelf,

I say to you. Hush now.

Listen to the birds singing.

Watch the blue ones feeding

their babies. See the heron

heading south for fishing.

Look at the egrets catching

pink light in their white wings.

Faith is made of things like

these, everyday movements,

sights and sounds that you

usually ignore, and today,

since you’ve told me you’re

tired of life and wanting something

more, I’ve shown you how to do it,

and now that you know,

come, let us begin again.


The Woman Speaks of Bicycles 

I’ve known bicycles:

I’ve known bicycles new as my skin and older than my dried blood

from my womb.

 

I’ve known bicycles:

Reliable rubber and metal bicycles.

My body has grown strong like bicycles.

 

I rode along the Minnesota roads when constant motion was my freedom.

I got off my bike and walked the sugar bluffs, puffing with each step.

I looked upon the Mississippi and had a vision of finally flowing away.

I heard the wheels of my bike whizzing downhill at the end of the day.

 

I’ve known bicycles:

Reliable rubber and metal bicycles.

My body has grown strong like bicycles.

 

I rode in Carolina when children waited for me back home.

I got off my bike and walked the hilly edge of Covenant Road.

I looked upon the Congaree River and knew I would always stay.

I heard the music of my own voice saying I could live a different way.

 

My body has grown strong like bicycles.

  

This Is How We 

I once knew a Native woman,

Eastern Cherokee, who taught me

that in order to fix a rip in a basket,

you can’t just go in after it.

You have to unwind the fibers until

it’s pinestraw and sweetgrass again.

This is how we begin again.

 

I once injured my left knee

and the physical therapist,

a Latina from Texas, showed

me how a lack of stability

in my right hip had caused it.

The body crosses like this,

she said. It’s all connected.

This is how we heal again.

 

I once lay on my bed for hours

on end, as a child in Minnesota,

reading book after book while

my body disappeared, and so

did the pain and fear, until

I was just a mind in a story.

It took me years to invite

my body back into the party.

This is how we move again.

 

I once stayed in endless motion

of serving and cleaning, cooking

and feeding, wiping and washing,

drying and folding, until my mind,

always so strong, broke hard

and long, and for the first time,

I told the truth in therapy.

This is how we feel again.

 

I once heard a song that felt

like it was singing all that had

gone wrong, and I thought

it had been written just for

me, and then a pandemic broke

the globe and I realized everybody

knows the melody of tragedy.

This is how we begin to be together for the first time really.

 

Sun Loving 

Just before the day ends, I look up

and the sun is in drag, orange lipstick

and purple fingernails, red hair,

peach high heels, and I say, Hey, girl,

Where you headed? And she says,

Off to bed. Alone? I ask. You know

better than that, she laughs, and

as she sashays away, I see the moon

and stars take her by the hand

and lead her downstairs to a ballroom

for a final dance before kisses and

all the love she has ever deserved.

 

Under a Full Moon 

What must be done is a gathering

of women under a full moon,

each one holding in her hands

a leaf or bud or flower, blade

of grass, and together we say

the names of these plants,

and the list transforms into

a poem, a prayer, a spell, an

incantation, a chant and belief

in peace, peace, peace, peace.

 

And when our throats go sore

and voices tire, we take our

empty hands and make a chain

to keep the violence from crashing

into bodies any longer, and

dream that war will cease.

  

Seeds 

I spent years diving and digging

and bringing coral and diamonds

up into the light with my palms,

but the sun had dimmed so much

that my gifts were invisible, and I

mourned the bodies and voices

of women and girls I’d wanted

to crown with orange and bright

jewels who had all gone down

underground in a collective action

of mutual survival, and so I let

what I wanted to give away

drop to the ground and walked

so long up a mountain that I could

look back and see the seeds had

buried themselves back into the

earth to be trees. Tall were their

trunks and the leaves sang green

songs to bring the girls and woman

back to me and back into the castles

and courts we ruled over again in

this land where we’d always belonged.

  

Tuesday Afternoon 

I walk with my fingers on the page and

I dance with my hips on the stage I have

made in my room where bluebirds take

turns with me playing the parts of star

and audience and I hear the silence filled

with breath and electric hum and a neighbor’s

rake and I touch my dog’s fur and think

about origins and species and know that

nothing the mind does brings as much joy

as an animal can and I laugh while

remembering my grandson’s voice after he

knocked my chin with a stick in the garden

and asked me, Are you okay, Gaga?

and I wonder what would have happened

if God had been more like this boy in Eden

and instead of rules and banishment, we’d

been met in our mistakes and our pain

with a question and compassion.

 

Georgia McBride at USC’s Longstreet Theatre a Fiercely Funny Celebration of the Art of Drag

From our friends at USC Theatre and Dance —

USC’s historic Longstreet Theatre is about to get even more legendary as the theatre program presents the fiercely funny Off-Broadway hit The Legend of Georgia McBride, November 10-17.

Show times are 8 p.m. Tuesday through Saturday, with additional 3 p.m. matinee performances on Saturday, November 11 and Sunday, November 12.  Admission is $15 for students, $20 for UofSC faculty/staff, military, and seniors 60+, and $22 for the public. Tickets may be purchased online at sc.universitytickets.com. Longstreet Theatre is located at 1300 Greene St.  Enter from the rear breezeway off Sumter St. The Legend of Georgia McBride contains adult themes and mature language, and is not suitable for children.

Tony®-winning playwright Matthew Lopez’ hit Off-Broadway comedy is a glittering, music-filled story of identity and acceptance, described as “stitch-in-your-side funny” (The New York Times) and “a glorious tribute to the art of drag” (Variety). Lopez’s story centers on Casey, an aspiring Elvis impersonator struggling to make it in showbiz.  He’s broke, facing eviction, and just found out his wife is pregnant. To make matters worse, he’s about to lose his only gig at a local dive bar to a much more successful drag act. The only way he can survive? Ditch “The King” and learn to embrace his inner Queen!

Two guest artists are leading the production. Jessica Francis Fichter, Executive Director of Columbia’s Trustus Theatre, returns to the USC stage as director, having recently helmed USC’s production of Little Shop of Horrors. Terrance Henderson, an award-winning theatre and dance artist, director, teacher and Equity Advisor, is choreographing, while also consulting the company on the art of drag. He’s additionally embodying the onstage role of Miss Tracy Mills, the seasoned performer who guides Casey on his journey to legendary queendom. 

“It’s super meta,” says Henderson, a veteran drag performer, of his dual roles in the production. “I appreciate that in the play we get to see Tracy take Casey through the basics of drag performance, and that a lot of the things I’m teaching the actors are being spoken about in the play.”

For Henderson, at the heart of drag is the art of theatre.  “It’s like a mini play in six minutes,” he says. “I’m using all these devices of the body, physicality, choreography, costume, make-up, props…It’s all storytelling.”

“It’s an art form that needs to be celebrated,” says Fichter, “and deserves respect at this moment in time. This play is even more timely now than when it was written in 2014.”

Joining Henderson in the cast are undergraduate actors Koby Hall (as Casey), Keyontaye Allison, John Ballard, and Morgan Passley. David Britt, a senior theatre instructor at USC, is taking on the role of bar owner Eddie. Designers for the production are MFA theatre design students Ashley Jensen (scenic), Lindsay Wilkinson (costume), and Lorna Young (lighting), with undergraduate Makenzie Payne designing make-up and guest artist Danielle Wilson designing sound.

“This play is, first and foremost, a comedy,” says Fichter. “The one-liners, the banter between the characters, the 20-minute drag show in the middle of the play… if you are a lover of theatre or art, and a lover of fun, dancing, and joy, this is a really good play for you.”

“You get to witness these drag performances while also experiencing the evolution of someone’s drag journey up front and in person,” adds Henderson. “It’s a visceral experience that lifts the story and drag itself, too.”

For more information on The Legend of Georgia McBride or the theatre program at the University of South Carolina, contact Kevin Bush by phone at 803-777-9353 or via email at bushk@mailbox.sc.edu. 

 

Reminder - Get your original scripts in for the 2024 Play Right Series

Play Right Series: 2024 Call for Submissions

The Jasper Project announces the fourth cycle of its Play Right Series, a collaboration between area theatre artists and Jasper Community Producers—or theater aficionados, supporters and even newcomers. The project will culminate in summer 2024 with the staged reading of a brand-new South Carolina play. 

Submitting A Play

The play submission window is now open. 

  • Playwrights must be natives or residents of South Carolina.

  • The winning playwright must be present for development sessions with Community Producers in Columbia during the summer, 2024 (specific dates to be determined later), and must agree to offer program credit to The Jasper Project at any subsequent productions or publications.

  • Plays may address any topic, using language appropriate to the subject matter; we are not, however, considering musicals or children’s plays. 

  • Submissions must be one-act plays, 45-75 minutes in length, typed according to industry-standard format (see our Sample Format). Collections of shorter revue sketches on a common theme will be considered.

  • Please include, as a cover sheet, a one-page bio of the playwright and description of the play, including cast size and any unusual technical demands, bearing in mind that smaller and fewer are usually preferable.

  • One submission per playwright, please.

  • Please submit your play no later than January 31, 2024,  to playrightseries@jasperproject.org

 

Play Selection

When the submission window closes on January 31, 2024, the Play Right Series committee will read and select a play for development through the spring and summer.  “Development,” in this case, means round-table readings with paid actors and directors and attended by Community Producers and Professional Others, followed in the summer by rehearsals and presentation at Trustus Theatre’s Side Door stage. 

The process will be facilitated by Jasper Community Producers—audience members invested in the development process and supportive of the state’s literary talent. In exchange for a modest financial contribution Jasper Community Producers will be offered insider views of the steps and processes inherent in creating theatrical art by attending readings and rehearsals, and informative talks and presentations including conversations with the actors, director, playwright, stage manager, costumer, and sound and lighting designer. The result: Community Producers learn about the extensive process of producing a play and become invested personally in the production and success of the play and its cast and crew, thereby becoming diplomats of theatre arts.

 


Announcing Frightmare on Main Street’s Pumpkin Carving Contest Winners!

Last Friday, the Jasper Project and Black Nerd Mafia hosted Frightmare on Main Street. The event boasted music from Death Ray Robin, a costume contest, a horror panel and trivia, and Jasper’s second annual pumpkin carving contest.  

10 local artists carved pumpkins (provided by Gardener’s Outpost) and brought out their creations for the competition: Ija Charles, Adam Corbett, Michael Krajewski, Cait Maloney, Cynthia Maxwell, Roxanne Mockabee, Taryn Shekitka, Michael Shepard, Keith Tolen, and Thomas Washington. 

A judging committee made of Jasper and Black Nerd Mafia members selected winners in three categories—Scariest Pumpkin, Funniest Pumpkin, and Most Innovative Pumpkin—as well as an Honorable Mention. The final prize—People’s Choice—was voted on by the people in attendance and came with a medal and glass-blown pumpkin trophy that will be passed down to future winners of the award. 

By a look at the number of candy pieces in each pumpkin’s bag, it’s clear all the pumpkins were loved, and at the end of the night, all pumpkins had a bid and went home to decorate several Cola porches. Want to know who took home the night’s biggest pumpkin prizes? Keep reading!

 

Honorable Mention: Cynthia Maxwell

Judges loved the double layers and the beautiful crow.

 Funniest Pumpkin: Roxanne Mockabee

Who hasn’t felt like “Anita” at the end of a Halloween party before?

Scariest Pumpkin: Michael Krajewski

So scary you want to look away, but so cool you can’t. 

Most Innovative Pumpkin: Cait Maloney

Whether Rocky Horror or Mario inspired, the way these pumpkins were carved totally transforms their appearance. 

People’s Choice: Taryn Shekitka 

With the beautiful center image, the level of detail, and the use of props, it’s easy to see why this was a crowd favorite! 

Congratulations to all our winning artists! And a big round of applause for the other five pumpkins in show, presented alphabetically:

 

Artist - Ija Charles

Artist - Adam Corbett

Artist - Michael Shepard

Artist -Keith Tolen

Artist - Thomas Washington

Jasper hopes to see you all at Frightmare next year for more spooky fun!

Special thank you to board member Kimber Carpenter for photography!

And a HUGE THANK You to

Sandra and Greg at Curiosity Coffee

for hosting us!

First Thursday with Barbie Mathis - Coming up November 2nd

Please join the Jasper Project as we welcome Barbie Mathis to First Thursday at Sound Bites Eatery on Thursday, November 2nd!

Barbie Mathis, a native of Columbia, SC, has been working as a professional artist since 1980. Over the years, she has evolved as an illustrator, designer and painter working in various media with her main emphasis being Watermedia (Acrylic and Watercolor) painting. Barbie’s primary focus has been on realistic florals and landscapes immersed in layers of colorful glazes, dramatic lighting and rich, natural backgrounds. She has also created her own artistic renditions of people and animals. Most recently, Mathis has been experimenting with a variety of realistic, abstracted and mixed-media styles in Acrylic Paint.

Mathis studied Fashion Design and Illustration at Bauder Fashion College in Atlanta, GA. She has since worked in advertising, graphic design and mat design for various newspapers, printing companies and art galleries. She has been published by Bentley House Publishing and currently self-publishes a limited number of fine art prints. Barbie was awarded her Signature Membership in the South Carolina Watermedia Society in 2006. She has exhibited and won awards in numerous shows, and her work is in both public and private collections around the country. Barbie was an adjunct instructor at Midlands Technical College for 9 years. And, she currently teaches painting at City Art Gallery in Columbia, SC. She also teaches private classes and workshops for individuals and art leagues in South Carolina and throughout the Southeast. Her work and contact information may be found on FB: Barbie Mathis Studio or IG: @BarbieMathisArt
__
Artist Statement:
“The Great Experiment,” a show of small, experimental Acrylic paintings by Barbie Mathis

My word for 2023 has been Experiment. Exploring Acrylic paint, and painting some of the many looks and styles that it can achieve has been my “Great Experiment”. This show represents a variety of ways that I have used Acrylic paint to look like Watercolors, Oils, Acrylics and Mixed-Media in all of its thick and thin, realistic to abstracted styles. I have also explored both hard and soft details and patterns in nature, shapes and artificial textures. It is my hope that the viewer will find pleasure in the differences.

Sergio Hudson at Columbia Museum of Art

The Columbia Museum of Art presents Sergio Hudson: Focused on the Fit, an exhibition showcasing the work of iconic fashion designer and Midlands native Sergio Hudson, on view Saturday, November 18, 2023, through Sunday, June 30, 2024. Organized by the CMA in partnership with Sergio Hudson Collections, LLC and community curator Megan Pinckney Rutherford, this exhibition showcases the remarkable moments of a designer who fell in love with fashion at 4 years old while living in Ridgeway, South Carolina, and has become one of the biggest names in the industry today.
 
“Many things are happening in my life that I could only dream of — this exhibition at the CMA is one of them,” says Hudson. “I feel very lucky, and I hope my story can inspire other young men in South Carolina to believe in themselves and follow their passion.”
 
Hudson and his colleagues Inga Beckham, co-owner of Sergio Hudson, and Charles Lynch, co-creative director of Sergio Hudson, will be at the CMA on November 18 for a special opening day program.
 
“We are honored Sergio Hudson is sharing his story and craft in his home state museum,” says CMA Executive Director Della Watkins. “Visitors will feel his extraordinary sense of glamorous style and passionate enthusiasm for making women feel confident and fabulous. This ascending artist is signature South Carolina special!”  
 
Born and raised in Ridgeway, Hudson has always taken inspiration from the strong women in his life, particularly his mother, Sheldon Hudson, who exposed him to sewing and fashion design. Since launching his first eponymous label in 2014, his fresh perspective on luxury American sportswear has taken the fashion world by storm. Hudson’s high-profile clients include Michelle Obama, Beyoncé, Serena Williams, Jessica Alba, Blake Lively, Rihanna, Kamala Harris, Kendall Jenner, Issa Rae, Jessica Chastain, Rachel Brosnahan, and Keke Palmer, a close friend whom he has called a muse.
 
“Sergio is an example of what it means to ignite a passion and never let go of the dream. Focused on the Fit is not only a show about fashion, but also a story of how one makes their mark in the world,” says CMA Director of Art and Learning Jackie Adams. “We are so proud to present Sergio’s work, and we hope this show will inspire and educate visitors about a creative visionary driven to make a difference in how we choose to show up in the world through fashion.”
 
Hudson’s philosophy is that fashion should be for everyone and include everyone. He designs to empower the wearer and often includes a nod to the ’90s of his youth. Exploring his journey from the early days winning Bravo’s Styled to Rock in 2013 up through the present day, Focused on the Fit features nearly 50 works — some 38 illustrations alongside 10 signature garments from key moments in Hudson’s revolutionary career, including Keke Palmer’s stunning ensemble from the 2023 Met Gala, Megan Rapinoe’s star-spangled suit from the 2021 Met Gala, a suit ensemble worn by Beyoncé in 2019, and a custom suit made for Issa Rae in 2018. Visitors get an opportunity to see the creativity and teamwork behind the building of a brand from concept to craft to collection in a holistic look at the design process.
 
“As a lifelong lover of fashion, I am thrilled to be the community curator behind this exhibition showcasing the incredible work of my dear friend, Sergio Hudson, a successful Black fashion designer that was born and bred right here in the Midlands and is well on his way to becoming the next iconic American designer,” says Rutherford. “I am honored to get to share his story with a community that inspired and supported him, and also with the next generation that I’m sure will be inspired by his familiar beginnings.” 
 
Sergio Hudson: Focused on the Fit overlaps with newly opened exhibition Lee Alexander McQueen & Ann Ray: Rendez-Vous, providing museumgoers two iconic fashion exhibitions to experience this fall and holiday season.
 
This exhibition is organized by the Columbia Museum of Art, South Carolina, in partnership with Sergio Hudson Collections, LLC and Community Curator Megan Pinckney Rutherford. Bronze Sponsors: First Citizens Bank; Dr. Suzanne R. Thorpe and Dr. John W. Baynes. Patron Sponsors: Gina Trippi and John Kerr; Barbara B. Boyd; Friends of African American Art & Culture. Friend Sponsors: Hotel Trundle. Grantors: City of Columbia; Experience Columbia SC; Richland County Government; South Carolina Arts Commission; Discover South Carolina; and a grant from the Coastal Community Foundation at the request of CMA member Bonnie Adams Kapp.
 
Sergio Hudson: Conversation with the Designer
Saturday, November 18 | Doors at 1:30 p.m. | Conversation 2:00 – 3:00 p.m.


Celebrate and learn about the remarkable moments of a designer who fell in love with fashion at 4 years old while living in Ridgeway, South Carolina, and has become one of the biggest names in the industry, designing for modern icons. On opening day of Sergio Hudson: Focused on the Fit, join Community Curator Megan Pinckney Rutherford for an intimate conversation with acclaimed designer Sergio Hudson along with Inga Beckham, co-owner of Sergio Hudson, and Charles Lynch, co-creative director of Sergio Hudson. Attendees receive a complimentary signed exhibition poster. Sparkling wine and sweet treats included. Registration required as space is limited. $100 / $75 for members.

Poetry of the People with Amy Drennan

This week's Poet of the People is Amy Drennan. To meet Amy is to walk into bright sunshine. She is Charleston's house mother of lost poets. She is a gifted writer and poet who feeds and houses poets who need a safe place to land and sacrifices her opportunity to shine to promote others. She is a gift and a treasure and my friend.

Amy Drennan was born and raised in Los Angeles CA. As a reluctant military spouse, she’s lived all over the states, and now calls Charleston SC, her permanent home. She is an advertising executive, an above-average wife, and mom to several exceptional humans, a scraggly dog, and anyone who finds themselves in need of some love. She enjoys writing, as her Irish heritage has rendered her impervious to traditional forms of therapy.

If You’d Tried 

It’s ok.

I’m a bit much.

Not everyone likes a woman

with a gap in her teeth

who cries

a lot.

 

Some can’t handle a bunch of words,

being fed all the time.

Some prefer hungry.

 

I’d just tell you

you’re beautiful every day.

You wouldn’t want to hear it,

couldn’t bear it,

already know and don’t need it.

Maybe you don’t have needs.

 

You may not like your name

when I say it.

I’ve whispered your name

into a few mouths.

Some don’t care for whispering.

Some don’t like their mouths.

 

There’s peach fuzz

at the base of my back.

It’s ok to dislike peaches

and my back.

The way I’d curl it into you.

The way I’d arch it in your honor.

Some prefer the front,

like to see what they’re dealing with.

 

I’d love you so softly,

so loudly,

you’d be sick of it by now.

 

Maybe heat isn’t your thing.

You’ve been burned,

had your fingertips singed off.

You don’t touch anything warm now,

you promised.

 

I have freckles on my freckles.

Maybe you don’t like freckles.

Maybe you’d learn to love them.

I’d have shaved my legs for you,

if you’d told me you were coming.

 

Do you like women in bathtubs?

What if they stay there

till sunrise,

writing and not sleeping,

writing about not sleeping?

Would you like to not sleep with me?

 

You wrote your number for me

on a notepad, a matchbook,

the back of my hand.

I didn’t keep it, it kept me.

 

I’m calling you from up North,

down South,

out East.

Somewhere you’ve never been,

have always wanted to go.

 

You might think I’m a firefly, a star,

Christmas lights in June.

From this distance there’s no telling.

 

We could be night sky.

Two blinks to navigate by.

Point A and point me.

The shortest distance between us,

a wish.

We could’ve found each other

if you’d tried.

 

 Kissing a man without lips

 

Last night I dreamt a tiny tooth

broken on your boyhood gums

sunk into the flesh

of my cellulite thigh,

my stretch marked hip,

my salt lick neck,

my all I have is yours,

if you’d like it.

 

The first time you planted in me

up came everything hardy,

hungry,

difficult to kill.

 

It’s peach season in the south.

You can travel there

without leaving the West.

You can wipe sticky sweet

from your chin,

eat till your belly hurts,

till Summer is an abomination.

 

I am a fire you set.

A sun plucked from its sky,

made brighter for shining

in dark places.

 

My memory is thick and unforgiving,

but yesterday you is forgotten.

I can’t recall you before you now.

Punch drink me,

and you a punch pourer.

 

A lover of your own reflection.

I make an awfully good mirror.

 

 What I will tell your daughter

who is old enough to ask

 

Your dad was maddening

and he was loved

 

He held his ear

to a glass

held the glass

to my chest

he listened

he listened harder than anyone

 

He heard pins drop

secrets spill

belly aches and butterflies

 

He heard pieces break

the push-pull

of stitching back together

 

He washed my hair once

I didn’t ask

but he heard me

always listening

 

He had the softest spots

the brokenest bits

he thought himself ugly

but he cried like music

when he cried

he was the bluest

most beautiful boy

 

 Not sorry

 

You are sorry not sorry

‘bout the fire you’ve become.

 

By the time you read this,

I’ll have flown the coop.

By the time you see this,

I’ll be blue eye disappeared.

 

I loved more

than either wing,

gave up flight for you,

stopped singing.

 

Each leaf I know

has turned color

and dropped.

Every leave I know

has left.

 

I’ve gone gone before.

Old news,

fresh ink,

ablaze in the end.

 

I wove you a bed

you’d never need,

stepped lightly over,

apologized never.

 

Don’t deliver the news of our deaths

 

Repeat after me.

We are ok.

It’s all ok.

 

We can breathe

don’t need to breathe

to be here. 

 

We don’t die,

we make room.

 

We are enough light

to fill a teacup,

a sky,

a memory full of here

and gone again.

 

Bushels of babies are born

while grievers grieve.

 

If we hold our ears

to them,

lay hands,

we can hear the whole ocean,

feel what made way.

 

We wish us

Hallelujah

each time we walk

through a door.

 

We wish us

a soft touch

a gentle goodbye

when it’s time.