helen of troy cleans up after the barbecue
Maria Zoccola
smoke rose from the cooling grill in inconstant streams,
at times hazing around the mounted floodlight, at times indistinguishable
from the envelope of night. wild things from the woods
treated our home as their home, stealing among the sinks and rises
of the land my husband owned and making off
with what they found there; the fence, nearly finished, was new.
stars burrowed across a wool shroud, wet lines of vapor
tracking headlights in the road. i was bending at the knees
and rising again, gathering the white plates
from their separate pools of darkness, bringing them up
from cool and ant-filled grass. i didn't know i was a person
until i stopped being one. my mind held this thought only distantly
as i worked, the way a dog barking far-off
becomes to the ear a kind of metallic ringing.
the white plates glowed like scattered moons; i could choose
which one to kneel to next. hinges like birdcall:
the screen door slapping against its frame. my husband
on the patio, returning chairs to their ordered line.
it was early fall. the trees were changing, but the air still burned.
i wore nothing on my arms. neither did he.
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The lines here about wild things and the new fence were part of the very first notebook page I filled with Helen’s voice, giddy with the unexpected creative surge flowing through me, but it took over a year for them to slot into a completed poem. I’d try them here, try them there, and always take them back out. Finally, in this poem, they clicked right into place, a perfect fit.

Maria Zoccola on "helen of troy cleans up after the barbecue"
Ted Kooser
"A Q&A with Pulitzer Prize-Winning Poet Ted Kooser"

"I think my natural measure is anapestic or dactylic. I call it 'waltz time.' And I love waltzes, especially old back-country waltzes, played by fiddlers like Vassar Clements. Also, behind a lot of my poems is one John Crowe Ransom line, 'Go and tell Robin to bring the girls over from Sweetwater.' So natural, so conversational."

viaTHE POST AND COURIER
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Cover of Jennifer Chang's collection, An Authentic Life
What Sparks Poetry: Jennifer Chang on Drafts

"In truth, I misremembered the statue, I misrepresent it; in my poem, there is more than one enslaved person at Lincoln’s knees. But this is not the only reason I could not get the draft right. I wanted to capture the feeling of two friends wandering in a city, the ebb and flow of their conversation. Most of all, I wanted the poem to do what letters do: bridge a distance in geography and in time: the future, the past, Washington, D.C., Texas, the thaw that makes some late winter days feel like spring."
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