"Every few months or so, I turn into a rock. First, my joints stiffen as if there’s weather coming. Then, I get the urge to read some doorstop novel. Finally, I become a rock. A smallish one, usually. My wife isn’t surprised anymore."
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paperweight by Ryan Teitman
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"Hard Prayer," Ryan Teitman
I walk home through the city.
The stars wait behind the clouds
like an orchestra for a conductor
and windows yawn open
all through the neighborhood.
Streetlights die off.
Storefronts clap shut. I stop
at a pearing tree, whose branches
curtsy with fruit. Saint Francis
carried two pears in his cupped hands
for months, until the sweetness
of rot called down hundreds of birds.
They perched across his body,
and he wore the flock like a coat
to survive the winter. My jacket
keeps out the chill. I walk home
though streets as quiet as confessionals.
Traffic lights shepherd nothing
but wind. I want to live
inside this silence—and ruin it.
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Ryan Teitman, "Paperweight"
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mr nathaniel i’m sure u have answered this before i was just wondering (because u have such good taste and are a beauuuuutiful writer) your favorite poems of all time / of the moment. 😗 with love and power to defend off rude anons
Here is a very incomplete list of favorites:
Ephesians and The Cabinet of Things Swallowed by Ryan Teitman (“Litany for the City”)
After Abraham Mourns, He Requests Another Son by Mark Conway (“Any Holy City”)
Where is the Lake of Dreams? by Molly Fisk (“Listening to Winter”)
Elegy for the Left Hand by James Richardson (“Reservations”)
The Black Hen by Robert Bly (“Out of the Rolling Ocean”)
On Earth We’re Briefly Gorgeous by Ocean Vuong (“Night Sky with Exit Wounds”)
Poem Set in the Day and in the Night by Max Ritvo (“Four Reincarnations”)
The Noisiness of Sleep by Ada Limón (“Bright Dead Things”)
The Unseen Hand of Zombie Jesus by Jamaal May (“The Big Book of Exit Strategies”)
Sleeping with the Dead by W. D. Ehrhart (“Sleeping with the Dead”)
The Sinclair Gift Emporium by Michael Bazzet (“You Must Remember This”)
Watson and the Shark by Colin Cheney (“here be monsters”)
the month of the vintage by Zulema Renee Summerfield (“everything faces all ways at once”)
The Birdman of Nogales by Alberto Ríos (“The Smallest Muscle in the Human Body”)
Marrying the Hangman and The Man with a Hole in his Throat by Margaret Atwood (“Two-Headed Poems”)
In the Desert by Stephen Crane (“The Black Riders and Other Lines”)
Hands by Donald Justice (“Night Light”)
Wishbone by Richard Siken (“Crush”)
Having a Coke with You by Frank O’Hara
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hey can u give us a foot-long rec list of poems? your writing is so lovely that i wonder what you like to read
Here is a very incomplete list of favorites:
Ephesians by Ryan Teitman (“Litany for the City”)
From the same book, The Cabinet of Things Swallowed
After Abraham Mourns, He Requests Another Son by Mark Conway (“Any Holy City”)
Where is the Lake of Dreams? by Molly Fisk (“Listening to Winter”)
Elegy for the Left Hand by James Richardson (“Reservations”)
The Black Hen by Robert Bly (“Out of the Rolling Ocean”)
On Earth We’re Briefly Gorgeous by Ocean Vuong (“Night Sky with Exit Wounds”)
Poem Set in the Day and in the Night by Max Ritvo (“Four Reincarnations”)
The Noisiness of Sleep by Ada Limón (“Bright Dead Things”)
The Unseen Hand of Zombie Jesus by Jamaal May (“The Big Book of Exit Strategies”)
Sleeping with the Dead by W. D. Ehrhart (“Sleeping with the Dead”)
The Sinclair Gift Emporium by Michael Bazzet (“You Must Remember This”)
Watson and the Shark by Colin Cheney (“here be monsters”)
the month of the vintage by Zulema Renee Summerfield (“everything faces all ways at once”)
The Birdman of Nogales by Alberto Ríos (“The Smallest Muscle in the Human Body”)
Marrying the Hangman by Margaret Atwood (“Two-Headed Poems”)
From the same book, The Man with a Hole in his Throat
In the Desert by Stephen Crane (“The Black Riders and Other Lines”)
Hands by Donald Justice (“Night Light”)
Wishbone by Richard Siken
From the same book:
Little Beast
Scheherazade
You Are Jeff
Saying Your Names
From Siken’s book “War of the Foxes”
Portrait of Fryderyk in Shifting Light
Birds Hover the Trampled Field
War of the Foxes
Landscape with Fruit Rot and Millipede
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Circles, Ryan Teitman
Let what begins
continue. Let
your dog turn
up his nose at
the plate of vegetables
you delicately
smashed on the floor.
How far are we now
from the place
they sealed the boy
inside the well
when they couldn’t
figure out how
to save him?
They didn’t want to
hear his cries anymore.
So they boarded up
the mouth and continued
with the picnic,
even as their children
grew wet with rain.
This summer,
tornadoes will
circle our town,
a runaway will
circle her final
destination on a map,
and dogs will
stalk circles around
a wounded deer.
I couldn’t tell
you how to dress
that leg. You’ve never
been alone before,
but I forget that
sometimes. I know
how to make bandages
from bedsheets;
my grandmother told me
stories from the war,
how her garden was
full of scrap metal,
how she served tomatoes
dressed in oil and rust,
yet sweeter than before.
She’d say, let what begins
continue, and gesture
vaguely at the sky,
as if the sky was where
everything happened.
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FINISHING LINE PRESS CHAPBOOK OF THE DAY: What Do You Do? by Kathryn Donohue $14.99, paper https://www.finishinglinepress.com/product/what-do-you-do-by-kathryn-donohue/ Kathryn Donohue is a writer and teacher who lives in Ithaca, New York with her husband and daughter. Her poems have appeared in journals including American Chordata, Gettysburg Review, Newtown Literary, and Typo Magazine. The poems in Kate Donohue’s debut are not about her life — instead, they question what having a life really means. They are not about where she is from — they question what it means to come from somewhere. They are not about inheritance, either — they question how to construct our lives and our generation from an inherited language and history: “We’ll use the words we’ve been given” — and if we follow her lead, we’ll see the importance of recording details that often go unrecorded: “An old priest/ told my brother// he loved Scranton, because the mountains made him think of an island.” Here, any ordinary shred of experience opens up a possibility for poetry, and Donohue’s poetry, intimate and worldly at once, is also deeply generous precisely because of its unwavering honesty. “What Do You Do?” is not about what is done but about what response to the world — given the baffling, raw, and chaotic thing it is — will suffice. This work comes from that rare and real place where pain and confusion can transform into art. Hopefully, this chapbook is just the beginning of what Donohue will give us. –Sarah V. Schweig “Kate Donohue writes a rare kind of poem: sharp as a dart, but restorative as a salve. “I want to be the one who wins / and the one who cleans the wounds,” she writes. While her poems are framed by questions, they offer something much richer than mere answers: they offer intelligence, honesty, and language wielded like a surgeon’s scalpel. Every time I read these poems, I find something new to admire.” –Ryan Teitman RESERVE YOUR COPY TODAY PREORDER SHIPS OCTOBER 5, 2018 https://www.finishinglinepress.com/product/what-do-you-do-by-kathryn-donohue/#poetry
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The songbird that escapes
from a burning house
will build its nest
in the shape of a cage.
Ryan Teitman
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Tweeted
I had the incredible good fortune to interview the multi-talented @patrickmcoleman about his book Fire Season. https://t.co/jIiUG6Spqz
— Ryan Teitman (@RyanTeitman) February 10, 2019
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“Prayer to Saint Anthony, Finder of Lost Things” - Ryan Teitman
I have lost: churches cupped in my hands, the moon drowned in a glass, pocket watches tied to tree stumps, watchdogs swimming in lakes of whiskey, hungry fingers to the night saw’s teeth.
Keep those. Please find my hearts, those thousand knotted plums fled from my body. Return the small one in the pit of my stomach, worn smooth as marble. Return the one in my left hand that beats with the stroke of a hammer. Return the cilia-pricked one in my ear that hears the memories of animals. Return the one in my knee that sings like a bellows. The one in my wrist that stutters my pulse like a skipping record. The one in my right hand that spins sand into glass. The one in my eye that plucks the streets from the city. The one in my tongue that shakes the sea from the shoreline. Return the one in my heart that builds ships in a bottle, with its small surgeon hands.
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A cathedral of bodies
opening to each other
on beds smooth as altars.
A cathedral of hands
unbuttoning the skin
of every prayer
within reach.
Ryan Teitman, from “Cathedrals” in Litany for the City
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one of my assignments for online school is to do a prepared reading of 390 - 450 words from a poem and I was wondering if you knew of any fairly long poems bc uhh that's a fair amount of words lmao
Oh Boy Do I! I generally like shorter poems better, but here are a handful of my favorite long ones:
Little Beast by Richard Siken
Marrying the Hangman by Margaret Atwood
Whoever You Are Holding Me Now in Hand by Walt Whitman
On Earth We’re Briefly Gorgeous by Ocean Vuong
What The Angels Left by Marie Howe [page one] [page two]
In the City in Which I Love You by Li-Young Lee
I also really like “Ephesians” by Ryan T. Teitman (from his book Litany for the City), but I couldn’t find it online and unfortunately my copy is in California. It’s worth checking out if it’s in your library, though!
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Ryan Teitman, "Ode to a Hawk with Wings Burning"
When our eyes can’t adjust
to the fog of late light burning
off under a heat of darkness,
a black flower blooms
for a single minute,
and the bees waiting for its nectar
die of thirst. They drop one by one
into a furry pile around the stem,
not knowing that the scarcity
of its opening fails to make the juice
any sweeter. We lie when we think
that the rare and the sacred
are like twin, unborn colts—legs tangled
as they float in the barrel
of their mother’s belly. A girl keeps
a halved pear in a jar by her bedside
and says that it’s her dead puppy’s ear,
so everyone believes her
when she kisses the glass container
goodnight, and carries it on walks
around the neighborhood. You can learn
the most horrible things, if you listen
in the moment between night and day.
I would name that moment, but to name it
would make it grow, would give old women
the leisure to kneel at the altar and light
candle after candle to ward it all away.
I won’t let it have a cadence
of the commonplace. I won’t let
my mother’s botany book grow any bigger.
I won’t let the neighborhood kids catch
another creature from my dreams,
like the day two boys
dipped a hawk in gasoline,
and tossed it into the night
with its wings still burning.
We didn’t know what to do when the deer
tangled his antlers in the rusty spokes
of the landfill bicycle at the edge
of town, so we rode
from street to street, leaving
baskets of baby fish
at the doors of every church
we could find. Pray for the filly
with the lame leg. Pray for the father
with the iron burn on his thigh.
Pray for the moon to float down
like a lost paper lantern
that finds a midnight funeral
and settles—still smoldering—
on the bare, burning branches
that cradle the ashes of a hawk.
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Work
Some mornings, the clouds
settle rooftop low,
holding us in place
like a specimen slide.
I spend my days
wondering how a hammer
weighs the hand
that holds it,
or how the starlings apron
the stoplights
at Alcatraz
and Adeline.
A glassworker told me once
that she could tell
by the scars
who bandages their fingers
and who kisses closed
the wounds. I don't
know how
my father woke
hours before sunrise
each morning and worked
until long past sunset.
Sleep was a country
to retire to, an Ecuador.
I live where the light is
thin, and clothes us
like linen.
In the hills above town,
a black snake scrawls
across the path
like a signature.
I still have countries
left to discover, and ballets
of work
for my hands to learn.
RYAN TEITMAN
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