Solid Quarter

Visit Trembling Pillow Press for poetry books, broadsides, chapbooks, and Solid Quarter Magazine.

Visit New Orleans Poetry Fest for the annual 4 day poetry festival directed by Bill Lavender and Megan Burns.

Megan Burns' Poeticsofbone&city project on Tumblr



Showing posts with label Herbert Kearney. Show all posts
Showing posts with label Herbert Kearney. Show all posts

Monday, May 03, 2021

All Mothers are Boats

 

All Mothers are Boats by Herbert Kearney


All Mothers are Boats 

-For Herbie Kearney

i.

Yes, and we stood four mothers 

In each direction tending the fire on the levee

Enclosed by stones set heavy

By one who loves you & gathered

Us to say good bye, howling

To the skies, rent by time 

You flew from us, twenty seven minutes, she says 

While she waited down the hall, machines silencing 

Angel number of compassion, “for god damn

Humanity” you’d say, is what it burns down to

Our hearts flung open by breaking 

The measure of any line is who is listening 

Benevolent light you called them, as they danced

Near you, ejected from the sensory deprivation tank 

You built - “a failed experiment” —naked and trembling, babe

Trying in one life to give birth continuously, and to know 

It is the work that matters

That the work will get done 


ii.

the shores we arrive upon are always strange

yet feel familiar, edge of water to land

beyond death you speak, let go of hope & hold

on to faith—this ship of the dead 

you gifted us, oh, we have gathered there for years

& said good bye to love that leaves too soon, & now, now



dreamer— we sing for you

                          shorn of suffering     new born 

    the truth that even temporary         the spark created here shifts

           the whole plane of manifested life    

                            the work we do alone is us 

                                            & trembles through the universe

                                            & none of us, none of us leave

           this threading 

                             without shaping the whole net   







 










Saturday, August 08, 2020

Do we send the kids to school?





Day 8:

A Naming:

Arlene, Bret, Cindy, Dennis, Emily, Franklin, Gert, Harvey, Irene, Jose, Katrina, Lee, Maria, Nate, Ophelia, Phillippe, Rita, Stan, Tammy, Vince, Wilma, Alpha, Beta, Gamma, Delta, Epsilon, Zeta

After the season had ended, the World Meteorological Organization's hurricane committee retired five names: Dennis, Katrina, Rita, Stan and Wilma and replaced them with Don, Katia, Rina, Sean and Whitney for the 2011 season.



*******************************************

Process Notes:


but love, do not ask me the secrets
the dead keep
do not ask me of strangers' tongues
slipping in a no mouth

you self assemble into a shape
called consciousness
in response to a universe
vibrating to a specific spiral
helixing in you

place your fate against another
and what can you ever know of distance
when my love leaves my heart
till when it reaches you

do not speak grief to me
if your belief is still in separation
in ending, in death

An untold number of kids—probably numbering in the tens of thousands—missed weeks, months, even years of school after Katrina. Only now, a decade later, are advocates and researchers beginning to grasp the lasting effects of this post-storm duress. Increasingly, they believe the same lower-income teens who waded through the city’s floodwaters and spent several rootless years afterward may now be helping drive a surging need for GED programs and entry-level job-training programs in the city. It’s no coincidence, they say, that Louisiana has the nation’s highest rate of young adults not in school or working.
Source: https://www.theatlantic.com/education/archive/2015/04/the-lost-children-of-katrina/389345/


Photograph:

Train tracks by Holt Cemetery
Latitude: 29° 59' 4.1496'' N
Longitude: 90° 6' 20.7972'' W

Holt Cemetery is a potter's field cemetery in New Orleans, Louisiana. It is located next to Delgado Community College, behind the right field fence of the college's baseball facility, Kirsch-Rooney Stadium. The cemetery is named after Dr. Joseph Holt, an official of the New Orleans Board of Health (famously involved with city health issues concerning Storyville, the Red-light district of New Orleans) who officially established the cemetery in the 19th century. Holt Cemetery is one of the Historic Cemeteries of New Orleans.

The cemetery was established in 1879 to inter the bodies of poor or indigent residents of the city. Funeral processions to Holt Cemetery were generally around, rather than through, the city. The original cemetery was 5.5 acres, and it was expanded in 1909 to 7 acres. Nearly all of the tombs are in-ground burials. As established, ownership of the graves at Holt Cemetery were given to the families of the deceased for the cost of digging the grave and subsequent maintenance of the plot.

Most of the graves and tombs at Holt Cemetery were not commercially or professionally produced but were instead fabricated by families of the deceased, giving the cemetery a strong personal touch.
Source: Wikipedia

holt (həʊlt) n
(Physical Geography) archaic or poetic a wood or wooded hill
[Old English holt; related to Old Norse holt, Old High German holz, Old Slavonic kladũ log, Greek klados twig]
Source: https://www.thefreedictionary.com/holt



When we were kids, we would jump the broken fences to cross Holt Cemetery. It was so neglected then it was common to see bones surfaced.




After Katrina, coffins washed ashore on the train tracks near our house. You could tell by the coffins that they had come from the wealthier cemeteries nearby.













We never learned anything in school about death. Everything about death you learned on the streets, in whispers, from your friends, and in the city. After Katrina, there was so much we knew about dying and how they would let us die. And now here we torque on the knowing: America.

How long will you suffer as we have? How did you think you could ever escape our fate?


Imagine a world where instead of being caged by the fear of death, we actually embraced stepping through the portal. Imagine how we would value life if we could learn to hold that truth.


You will know the intelligence of any species by how they handle their dead. And if they put it far away to not be seen, if they hide and ignore death, if they fear and run from it: Woe to the species that would speak of life thinking they can halve reality and not pay the cost of that sacrifice.

This dance is chaos. Come along...


Plague Journal:

5.25.20

you're gonna be changed whether you want to or not. the way a disaster swims inside the time line of all that touches you. you have now inherited before and after. the way we are dissimilar and similar, paradox the wheel that belief sits on. how to be a suicide to the living dead handbook. how do you survive in your suicide mind. i've been here forever. let me draw you a map. you have all of these days and hours now. make something to break against. make something beautiful. don't let any part of your life go uncharted just because the vessel suffers. just because we are made of shattering bodies is no reason to slip the light too. take all of your love and suffering and pain and fear and hold it against your genius heart. pull up the radical imagination that keeps you here when the only real solution to being human is to leave the stage. tie a red string round your wrist for every time you fail to keep the echthroi out. it's not anyone else's job to keep you safe. you will pass each chamber as you are ready. and what we call a night: well, now tell me how long that lasts now in the bardo we call pandemic.

tell me of this bardo's language. the way time shifts. and also, how do you taste under such a lack of touch.

life was a temporary, and what we call death is not something one can do to another. death was the only thing we carried in. it's the only thing you have ever held here. don't you recall this song?


Maps from the Channel: 



Resource:

We're Only Sleeping by Herbert Kearney


Friday, October 21, 2011

Live Painting and Poetry at the Healing Center: Saturday, Oct. 22

Fatoush Restaurant, Coffee Shop, and Juice Bar in the Healing Center, (at St. Claude and St. Roch) hosts a live painting and poetry reading this Saturday, October 22 at 6PM.

Painter and Poet Herbert Kearney will be putting the finishing touches on the wall mural: "All Mothers are Boats" which is the image on the cover of Dr. Jerry Ward's The Katrina Papers (UNO Press). Dr. Ward will read from his book as Kearney paints. Kearney and Poet Megan Burns (yep, that's me) will read from their water healing collaboration poem written and first performed at 17 Poets! in March 2011. Dave Brinks will also read and there will be music from John Spuzzillo.

Please join us for a tribute to water and healing in the aptly named Healing Center.

                                                              Artist Herbert Kearney

The Katrina Papers: A Journal of Trauma and Recovery by Dr. Jerry Ward, Jr. 
Dr. Jerry Ward

Friday, December 03, 2010

Trembling Pillow Press Broadside Poetry and Art Display

Trembling Pillow Press will be displaying Broadsides from local New Orleans poets at an upcoming Artfully Aware Art Show. These broadsides represent over 10 years of publishing poets in New Orleans and include poets such as John Sinclair, Lee Grue, Bill Lavender, Arturo Pfister, Kalamu Ya Salaam, Dennis Formento, Biljana Obradovic, Camille Martin, Megan Burns, Herbert Kearney, and B.J. Raineri, Jr.

The show is Dec 11, 6-10 PM at 2822 St. Claude Ave. in the St. Claude Arts District and part of the second Saturday Art Gallery Tours.

For more info. visit:
http://artfullyaware.wordpress.com/

For more info about Trembling Pillow Press: tremblingpillowpress.com

Sunday, August 22, 2010

What We Need to Revist this Katrina Anniversary

The Katrina Papers: A Journal of Trauma and Recovery
by Dr. Jerry Ward, Jr.

Published by UNO Press (2007)
ISBN: 0972814337
233 pgs, paperback
Cover Art: Herbert Kearney

This journal begins on Sept. 2, 2005 and ends August 29, 2006 containing a year of the author's struggles, defeats, and triumphs in the face of the destruction of his city and home. In a larger and more poignant sense, Dr. Ward tackles the destruction of one's faith in the face of disaster, a faith beyond the borders of religious ideals, it's a simple faith in the way that the world should work, in the way that the day should hold its shape. There are so many beautiful insights, so many heartbreaking truths laid bare on the page. The journal is a gumbo, a composite of the professor in his academic world, a man breaking bread with his friend, an African-Amercian responding to the coded speak of those who hold forth in the recovery of New Orleans. Dr. Ward pours it all in: the suffocating days exiled in the shelter, the catalogue of things lost to water, the anger, the depression, the weight of trying to move forward into the next actual entry in the journal's progression. In there as well lies the keen eye poised on literature and what it teaches us; Dr. Ward shares peer reviews, colleague emails, letters of recommendations and advice to young teachers. His schedule to appear and speak, to grant interviews and to be present civically in this tumultuous year is admirable and exhausting. There is a return again and again to the body, its need to slow down, and the mind, which cannot sit still long enough to let the sorrow seep in. Dr. Ward tends to his "post-Katrina" heart in the journal, aware of the tenuous thread anchoring him to the city and to the life he can lead within its recovery. He repsonds with the poet's declaration: "I elect... to exploit language and my own emotions" (38). This will be difficult to read if you were here, if you too have a post-Katrina heart. You will feel it in your skin, be it color or non colored, the prickly anxiety and fear that shadowed that first year back. You will be forced to recall the smells of your moldy possessions, the loss of your home, the sounds of the empty streets, the joy of each returning business and neighbor, the frustration of insurance contacts and FEMA paperwork, the endless lines, and the falling asleep truly not knowing what the next day would bring. You will be taking a strange boat like the one on the cover, "all mothers are boats," is its name, and you will be rowing toward an island where we keep these things tucked away for they never truly leave us. The mother in this case is your city, your survival; she weeps for you even as she turns her back. "The perpetual wonderment of tragedy is that we do not tire of looking into its fractured surface to see ourselves as we really are" (150).


Dr. Jerry Ward, Jr will be reading with us on August 29th, 5PM for our fundraiser at the Gold Mine Saloon. Visit 17poets.com for full schedule.



Here is a veritable treasure trove of everything Jerry Ward kept here at ChickenBones: A Journal





http://www.nathanielturner.com/jerrywwardjrtableandbio.htm

Saturday, August 02, 2008

Photo and Book Review

Here's an old photo of a collection of oddities. Painters and poets: (L to R, photo by poet Lenny Emmanuel) Painter William Warren, Poet Danny Kerwick, Painters Tasha Robbins and Herbert Kearney, Poet Dave Brinks, Painter Romano Zamprioli and Poet Jimmy Nolan. As the small date indicates, one year before Dave and I even met. And now nearly half of the artists in this photo gone from New Orleans and sorely missed. I'm posting it to show the wonderful host of this evening's art opening Danny Kerwick who opened up his studio, Simpatico Studios on Magazine to showcase some beautiful artwork by Pat Kaschalk and handmade books by himself. Dave and I made a nice purchase, an image I will share soon.



My review of Kristin Prevallet's I, Afterlife: Essays in Mourning Time is up at Tarpaulin Sky.
They are also reading chapbook manuscripts now, so check it out and submit to an awesome press.