Issue 2.2

Summer 2022
2.2 Heidi and George

George Farrah &
Heidi Farrah

Reflection

Within the lines--

full of

momentum and

hesitation--

like a perceptual

stuttering--

hope and fear

competing

 

We like Lyn Heinjan's notion

of perceptional unfolding as rhythm.



"The tension set up by the coexistence of beginning and end

at each point [of the line] excites the dynamics of the work,  and this tension

is vital to my thinking within it."

2.

pavers. a book

thread rope

a maze. memory

shift letters

clouds on these arched

buildings. sanction

and sanctuary

a moment

among 22 paces to your

smile I await

holding these 

readers and speakers

touchers dreamers

do not die

5.

to be brave. a rock open

frame as imposition

when all words curl

feet sun hands rain

speaking. speaking

skins is my glass or

then it is my world

a small hope

through days of nails gleaming

is enough. we came

to ourselves

fading into each other

over the river

holding these thoughts

and all the silk eyes

of your palm

George J. Farrah holds an MFA from Bard College, Milton Avery Graduate School of the Arts, NY.  He is the author of three full-length books of poetry, The Low Pouring Stars (Ravenna Press); Swans Through The House (Moria Books); and Relieved Of Their Whispers (Ravenna). He has also published a pamphlet, Insomniac Plum (Ravenna); a chapbook, Walking as a Wrinkle (Moria Books/Locofo Chaps.); is part of an anthology, This Space for Correspondence (Ravenna); and has drawings in Tripple No. 10 (Ravenna), with writings by Bethany Reid and Jayne Marek.

 

Heidi A. Howell has published poetry in literary magazines including SHANTIH, s/word, Psychic Meatloaf, The Eastern Iowa Review, Otoliths, la fovea, What Light, So To Speak: A Feminist Journal of Language and Art, and The Washington Review, which nominated her work for a Pushcart. She holds an MFA from George Mason University, Fairfax, VA.

George and Heidi's Book Recommendations

These poems are influenced by Basil Bunting's Brigg Flatts—short pithy musical lines—and Elizabeth Willis' New and Selected Poems—in both these writers, music of the word and line is paramount to the meaning of the poems.

They are also in response to the negative capability/uncertainty/doubts accepted in the poems we are feeling/reading in Rilke's Book of Hours and Frank Stafford's The Battlefield Where the Moon Says I Love You.