Those Pesky Picas

Actually, it’s those pesky ornithologists.

Today, while researching another book, I found out that The Moon Cracks Open: A Field Guide to the Birds contains some faulty science. Fortunately, it’s a book of poetry, so the science is of questionable import anyway. However, my poem “Writing at Grizfork Studio” identifies the magpie as Pica pica. Turns out, it should be Pica hudsonia.

They (ornithologists, not the VanPatten’s) had thought, until recently, that the black-billed magpie of the western U.S. (and my poem) was the same species as the eurasian magpie. But now, the official word is nope. (Not a very official sounding word, I know.)

Anyway, here’s the new version of the poem, based on the latest science. If you’d like to read the original, unscientific version, you’ll have to buy the book.

Writing at Grizfork Studio (Pica Hudsonia)

Each day begins
w/ the conversations of magpies
who never run out of things to talk about

Each morning unfolds
w/ the fact of those mountains
who never feel the need to say a thing

I sit at my desk
w/ both of them and try
to grab hold of something that lies between the two

On a good day,
I come close.

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Regarding "October"

This month’s “Poem-of-the-Month” at CrowVoice.com is titled “October.” This may be the most poetic of months. Old T.S. may have April pegged as the cruelest, though I disagree, but there’s something about October, something pensive and sadly beautiful, that makes for putting pen to paper and filling it with sighs and longings.

The poem “October” is a bit of departure for me, in that it’s on the surface, a piece of fiction. The characters and events are made up. Fabricated. Imagined out of the hunger for poetry in a mood that can be best characterized as October. However, I agree with an e-mail I just received:

“I read your October poem…how real to me it felt. I was that woman and I was that man …”

We’ve all been there. Unwilling to admit the failure of a relationship. Unable to accept the truth. I had no one in mind when I wrote it. I had everyone in mind. I had you in mind.

I was looking out of the window at the bar. I was listening to quiet jazz. I was working at the gas station, watching the guy at the pay phone.

“And I’m lost in the window
I hide on the stairway
I hang in the curtain
I sleep in your hat
And no one brings anything
Small into a bar around here.”

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"Rwanda" by Faruq Z. Bey & The Northwoods Improvisers

There are lions and oribi roaming through the savannah during the opening mystery of this song. Dark birds of prey follow their movements.

Mike Gilmore, Nick Ashton and Mike Johnston create a percussive landscape filled with shadow and flashes of light. The flutes of Faruq Z. Bey and Mike Carey begin the journey like winds over the tall grasses and rolling hills, heading toward the volatile waters of Lake Kivu.

When the bass of Johnston thunders into being, you are moving across the surface of the lake, feeling each crest and trough of the blue-black waves of Kivu. The flutes are now calling the barefoot fishermen to dance, dreaming of barbel, catfish and tilapia.

The Tenor Sax of Bey first, and then Skeeter Shelton, pull you into two worlds: you’re still on that deep and dangerous African lake, but at the same time, you are now viewing the streets of Detroit from the backseat of a slow-moving Buick. It’s late summer and the windows are rolled down. The tires hiss and the streetlights flash across your face.

Gilmore’s marimba solo brings you back to that Rwandan plain. Though now you are the lion, stalking the oribi. The saxes come back in, this time with Carey joining the drive and leading the expedition.

Finally, your are returned to the opening mystery. The bass and percussion dissolve the water and land into ethereal winds, and those dark raptors rise in widening circles until they disappear into the silence.

[Faruq Z. Bey & the Northwoods Improvisers Website]

An excerpt of this song is featured in the book trailer for The Moon Cracks Open:

Find more videos like this on Book Marketing Network

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