The Poem that is the Love Child of Our Literal Tryst
Lean in. Give yourself to this as if I were the paper to your pen. Begin to end the thoughts I cannot finish. Let me rest the aching of my forehead to your chest. Press me with the beautiful ideas of your flesh so our minds mesh like lips that kiss slip-twisting out of breath. Come! Meet me in the rushing whim of this! Look into and through my eyes trace along the valleys of yourself my lines can marry with your conscience so it carries mine. These words like scribbled salve to doubts will fill the blanks within each sentence can begin to move with you the way your pupils move is moving my script to this candor that exists between myself and you become my punctuation and the rhythm I pursue a sense for symbols too abstract that’s drafted from a dream which I can’t seem to pen where all the syllables collapse to only one. And after all our poetry is done, remember if I give myself to you must give me yourself too, for while it’s true that I’ve been writing it for you are half of this conception.
-Carrie Danaher Hoyt
4-30-2019
A Personal Note from the Poet:
Thank you. It’s been an awesome ride with TN this month! I thank you for the challenge & the joy of creating & sharing together. For my last poem, I thought I’d share [“The Poem that is the Love Child of Our Literal Tryst”]. I’ve worked on it off & on for sometime. It’s sort of tongue-in-cheek, a little silly, a little risque. But in the end, it’s really about the interaction between the poet and the reader. The reader cannot but interpret a poem in the unique context of the reader’s own story. This is something that has always fascinated me about poetry. It is profoundly personal, even intimate.
Writing a poem is wonderful. Having it read is more wonderful.
A huge thank you to Twitterization Nation for sharing my words this month, and a huge thank you also to all of the wonderful people who took the time to read my words this month.
-Carrie Danaher Hoyt
Click on the link below to view the poem in PDF format for a clearer view and see the poet’s intended formatting:
Conversion How I pray today though many words remain the same is changing Before I sat for Mass on Saturday I genuflected and checked for nearest exits When I knelt I craned my neck to check the space beneath the pew (enough room to hide one child, maybe two) I decided if I needed to I could take the chancel steps by twos to reach my sons Then, depending on the type of gun we could shield behind the altar or try to run This was in my head as my boys rang the bells and brought the wine & bread the priest would bless to transform into the body and the blood of You And I wondered: if the shooter comes to shoot after the priest is through turning sustenance into You Might the shooter dine with us? Might You help us love and feed him, too?
-Carrie Danaher Hoyt
4-29-2019
NOTE FROM POET TO EDITOR:
This poem is, I’m sad to say, autobiographical. My daughter, along with nearly 100 other young people, made Confirmation this past Saturday. The recent horror on Easter Sunday in Sri Lanka was still fresh in my mind when my family and I entered the packed church for this very special occasion. I did, indeed, take note of the exits and consider the location of my two sons who were altar serving. During his homily, the Bishop spoke about evil in the world today. He spoke of the need to meet evil, not with further evil, but with Love. When evil meets love, there is the possibility of “conversion.” Not conversion in the sense of changing religions, but rather, turning from darkness to light. The Bishop referenced the recent violence and horrors that have been visited upon places of worship of all religions. He mentioned attacks such as those in Sri Lanka, the Tree of Life Synagogue in Pittsburgh, the mosques in Christchurch New Zealand, and the church in Charleston, South Carolina. He asked for prayers, for love, if ever such evil is to be converted to good.
Ode to the Immigrant Poet (Inspired by Bola Opaleke) I wonder as I read your poems do you still dream in your native tongue? I hear echos of the richness of language learned when you were young. And when you write your poetry where does the translation begin? In your heart or in your head? Or only with your pen?