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Look Behind You
Books of Poetry
Available at Local Bookstores and Amazon.com:
Look Behind You
The Heart is a Nursery for Hope
Cover art by Diane KremmerOther Publications:
~ Three Drops in the Cauldron has just published one of my poems in their Winter issue.~ The Paddock Review featuring A Poem by Elaine Reardon~ My poem, Maria Elena in Brooklyn has been published by NatureWriting.~ Poppy Road Review is publishing some of my poems, including The Healer.~ My poem, Cape Anne Earthquake, is a Poem of the Moment at MassPoetry.org!~ My poem, The Coming Time, will be the featured post at the literary ezine Stanzaic Stylings, edited by Joanne Oliverie. It will be published January first, to start off the new year.Residencies
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My New Chapbook is available
Hello All,
I’m delighted that my new chapbook is now available for pre-order from the publisher. It is on sale for a few dollars less at this link.
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Lady Moon Sails
Magic and myth are above us, telling us stories every night that we look to the heavens.
Lady Fate
No moon sails alone in the sky
the Weaver sits
baskets at her feet
a creel of silk at hand
Not one to need company
she adjusts and readjusts
her lengths of silk
eternally balancing
Do not come without your incantation
Do not come without an offering
Spinning life and beyond
measured hanks of silk woven
now and in-between
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Magic Carpets
For many Armenians, Oriental carpets are in their genetic code. We are drawn to them. Handmade carpets are artwork that can tell a story, can teach about history and culture, all the while keeping your feet warm. This poem tells the story of one carpet I fell in love with.
Persian Carpet
The carpet seduces like
an old lover come to visit
I lift a corner and light
shivers blue and silver from the weave
sheep that jumped and spun the
mountain air near
Shiraz transformed
Life pulses deep within the weaving
alive and woven into time
heart opens to the story this Gabbeh tells
Hands wove and knotted the telling
then open up to let the story go
May your day be graced with beauty.
Best,
Elaine
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Small Kitchen Appliances
I’m sharing this poem as I know several marriages that are ending. While that is not what one wishes for, it can be of benefit. I wrote this poem a while back when I had to toss out my toaster.
The Toaster
The toaster, a sleek new model in 1998
lasted longer than the marriage
gleaming new on the counter it pinged
for hot crunchy bagels
for thick slices of homemade bread
and leftover pizza
after that, it heated up leftovers for one
at times it smoked and then
small internal fires took their toll
it didn’t perform in a reliable way
I had to stay with it–hovering
so it wouldn’t burn and bellow smoke
Finally too much of a safety hazard
I let it go
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Deer families come out of the forest in the morning and return at night. Their mealtime coincides with mine in late March and April. Luckily, this time of year the snow melts quickly. This poem is written in the pantoum style, with particular lines repeating.
Early Morning
From the kitchen window, I watch deer
emerging from trees along the stream.
A doe wanders up the hillside, sniffing.
She digs to reveal snow-crusted juniper.
Emerging by the trees along the stream,
a fawn follows, soundless in the snowy field.
She digs to reveal snow-crusted juniper.
I watch from the warm side of the window.
A fawn follows, soundless in the snowy field
The deer startles at the sound of my mug set down
I watch from the warm side of the window.
My guests eat dry grass and juniper; I have coffee.
They look up at the sound of my mug on the table.
The doe wanders up the hillside, sniffing.
My guests eat dry grass and juniper; I have coffee.
From the kitchen window, I watch deer.
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Fiddler From Sligo
This Fiddler and I met when we shared the same house in a small Donegal town that has a renowned Fiddle Week every August. Liam was overcome by emotion at being back in this town. No one in his family had returned since the time of the famine. During the hunger time, many churches would feed hungry Catholic families soup from huge cauldrons. Some took the soup. Other families, whole towns, starved. When you took the soup, you’d not be Catholic anymore. The cauldron in the picture below was used in this town and fed Liam’s family the soup. They lived.
Fiddler From Sligo
I put the kettle on to boil when
the stranger turned to me and said
‘Hello, I’m Liam. I used to live here”.
We were guests sharing this Donegal house
for a week. He tuned his fiddle and looked
out the window to the old soup cauldron.
My family lived here, I meant. They lived in this
village, but they took the soup. They drank the
soup, then we had to go away. We couldn’t stay.
His tears fell. We looked to the famine pot, used
during the hunger times when families made
choices, when starvation was endured.
Some families took the thin soup and lived,
other families refused it. The last things they
had dominion over were their faith and lives.
Liam said We left here after
we drank the soup. We took their soup.
Then we had to go away.
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Earthquakes in Massachusetts
The Cape Anne Earthquake happened in 1755, and it was fuel to the many preachers of the time. Here’s a link if you’d like to know more.
Cape Anne Earthquake
Strong Puritan measures,
judgments against
frivolity and paganism,
snaked into each household
and held on tightly to what was
regarded as God’s law—
until the earth could
no longer uphold this structure.
Earth unlaced her corset strings,
untied her boots,
and began to dance,
unheeding everything aside for
the need to break restrictions.
Earth rumbled awake,
danced down chimneys
and churches to the last steeple.
Trees swayed to the percussion.
Deep in their woody bones they pulled
back their roots from searing heat
and tossed their leaves
in the scorching winds.
The worshippers held on
or they fell,
flabbergasted,
frightened.
Who has never sinned?
Who has never danced?
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Bulging with the Moon’s Pull
Bulging With The Moon’s Pull
Today’s blog is a treat. I love the imagery of Majella’s poetry, and there’s hopefully more of Majella’s poetry in the future for us. We begin with a short interview.
What gave you the idea for this poem? My time traveling in Australia near KataTjuta (the Olgas) – at the dead centre.
What got you into writing in this genre? I was housebound for several years and was given a book of poetry “99 poems in translation”. From that time on I started to write down a couple of lines in a notebook every so often and over time these turned into poems.
How long have you been writing? Do you do something else for work? I have been writing for about 14/15 years. I did work many years ago but had to stop due to ill health.
Tell us about your past work. I have only ever written poetry. I tend to push imagery in my work and am off-center in my take on things. I do think there is a darkness lurking in the worlds I create.
What is the writing process like for you? What is your writing day like? At the moment I have a fortnightly workshop where we present poems from a prompt. So for the first few days, I didn’t write but mulled over the prompt. Then I use an app to record and transcribe any random thoughts, or ideas that surface. I start to write from these recordings and spend at least 3 days editing whatever comes out of this process.
What have been the biggest influences on your writing? The poetry of Paul Celan and other Eastern European poets.
What is one of your favorite books, and why? At the moment I’m reading Colonies by the Polish contemporary poet Tomasz Różycki, a book dealing with history and travel using vivid imagery. Another is – A Stay in a Sanatorium by Zbyněk Hejda, which has great structure and range to it. He was one of the poets banned in Czechoslovakia during communism.
How do you think your writing has evolved? Today I still use a lot of imagery in my work but feel more confident working in both long and short formats.
What supports your writing, and how do you come to your final product? I am lucky to be sharing a house with only one other person so I have space to work. Also, the feedback I get from other poets really keeps me going without that I still would be writing poetry but may not have experimented as much.
BIO: Majella Haugh is a poet living with disability in Limerick, Ireland. Her writing has given her a sense of purpose and joy, especially during the pandemic. She has been published at home in the UK and the US and was a finalist in the Desmond O’Grady International Poetry Competition.
Here in this Wasteland
This dead centre where
earthworms dream of streams
and dark stains
the smell of winter gone forever
This fierceness
day on day blueness huge
rocks creaking
under the weight of desiccation
the night unrecognisable sparkling with campfires
Without our polar light to guide us
through, too too near the guts
of the equator
Bulging with moon’s pull
Majella Haugh
Best,
Elaine
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