Matthew Nadelson

Barber Shop Poem, Riverside, California

I run my hand along the scars across the back
of my neck, and I’m fifteen again
in the barber’s chair,
his clippers hacking at my cysts.
He tells me barbers used to be doctors,
with their barbed brushes
and blunt scalpels, but I don’t buy it.
The ritual scalping over,
I glanced to my shoulders, sure the future
rested somewhere there in the red
blood trickling down,
buried beneath this husk
of flesh and bone. I shrugged it off,
fearing the future
was as inevitable as hair
or heat-bumps, as the barber called my cysts,
fruit of my teenage loneliness and fear,
the roots of desperation and despair.

Sheela Free

Open White Magnolia

In Memoriam
My Daughter
My Father (Physician, Healer, Soldier, UN Peace Keeper)
9/11

Open white magnolia
sweet smelling as the June gloom
that etherizes all of Socal right about now
that I fought to get planted in memoriam
open white magnolia
dominating my kitchen window in every way
just as you did all those up and down years ago
just as your sweet memory does today
all these 23 years later when you came to be
all these 12 years later when you ceased to be
physically, only,
you fill every nook and cranny, every rafter
with your sparkling laughter
allowing me to mourn you, grieve you, celebrate you
to my heart’s content.

Open white magnolia
spilling its myriad tiny yellow red tipped stamens
everywhere, to spread its fragrant life all over CA
innately, softly just as you did,
spilling, spilling, spilling
its stamens all the time, every day,
unseen, unheard
just as your memory does now,
piercing the June gloom
leaving me agog, gasping even
at its relentless force, its raw edginess,
its jagged truth, its grasp.

Open white sweet magnolia
only for a day or two
sweet surrender to your life force
is all but inevitable, so I do
with a thousand sparkling tears
staining my smiles,
gathering the greatest solace
that you do matter,
that your sweet memory does too
etched in those ever spilling stamens
just for a day or two, spilling, spilling.

Flowers are sacred,
so the Vedas say,
so are you-now, in the guts of the open white magnolia.

~

YouTube video credits (Link to view on Table of Contents):

Technical, props, and the whole making of the MP3 from start to finish, to even the posting of it to YouTube so it would be compressed and easy to transmit, Professor Joe Notarangelo, and for ideas, props, time, and support Professor Diane Hunter. Without them, none of this would have been possible.

Mark Cox

Palm Springs

Imploding casket of leisure and skin cancer,
Bobsled of vanity, autopsy table
Of the dead marriage and midlife crisis–
Could the sun-gods tracked by shadow and angle
Across temple courtyards,

Could they have imagined the tanning bed,
Or how, here, in the endless operatic
Hospice piano lounge of our world,
We worship selves we want, but cannot be–
Intravenous drips of bile and self-pity–

Until the transplant ice chest opens
And the bartender scoops out the viscera,
Offering it once more, in the name of love,
To the body. Can someone explain to me why,
Once we have lain down in our self-made beds,

We choose to get up?
Why, having been divorced and jettisoned,
We insist on being useful again–
Each flagellant helping his neighbor,
Bringing, as it were, his expertise to bear–

Until each visitor is escorted, sedated,
From the asylum ward, committed again
To line dances and speed dating?
Fountains of perpetual joy and anguish,
We are but skin poured forth,

Caressed, and poured again.
The magician, whose wife has sawed
All he owned in half;
The physician whose husband has his ear
To the heart of the babysitter;

The field commander calling in the coordinates
Of his own suburban home;
The hanged suicide denied the kiss
Of his bludgeoned wife;
The voyeur cabbie, nibbling lettuce in his shell,

For whom dawn is a Dollar Store place setting
Minus a beloved to breakfast with.
Though, there are (or were), for all
The spa’s pleasures: crystal healing, mud masks,
The vaguely urinous hot mineral springs,

And, of course, the tanning bed:
That flaming stretcher
On which we are borne narrowly along
Each wanton trench
To glory.

Ruth Nolan

Freezer Burn

Palm Springs, 117 degrees

september isn’t
for ice cream

august cripples
the dogs

july sticks
to itself

june, a time
to lower blinds

we lived on
cool tile floors

four months
in a row last year

grocery shopping
at midnight,

sleeping
through the day

our love
boiled over

when the air
conditioner broke

down and the
frozen pizza thawed

you took my
car keys and

in slow-mo you
knocked over

three 
orange 
cones
then melted 
into the road

Dr. Harki Dhillon

Featured Inlandia Writers Workshop Participant
Nominated by workshop leader Ruth Nolan, M.A.
Downtown Riverside Workshop

The Desert Flower

I am parched
Let it rain
But
Not too much
I want to flower
And bloom
Not die

–originally published in Phantom Seed magazine, issue #4, 2010

Surgery

Hands move
In controlled ecstasy
Immersed in
Nature’s beauty gone wrong.

The depths are exposed
Illuminated by
Artificial light,
The wisdom of years.

The dance of the fingers
Choreographed by experience,
Synchronous
With the aim
Of initiating
A cure
For a malady
Inflicting this
Unfortunate body
Farewell

–originally published in Slouching Towards Mt. Rubidoux Manor, Issue #3, 2010

* * *

Dr. Harki Dhillon, a prominent Orthopedic Surgeon practicing in Riverside, and a Riverside resident, has been attending the Inlandia Riverside Writers Workshop since early 2009, and is cherished by his associates as a highly valued member of the group to this day. He was introduced to the workshop by his friend/associate and noted local writer/historian Mary Curtin, another workshop attendee, to work on his memoir, which focuses on his life’s journey starting in India and continuing with his work as a physician there and in the United States/Inland Empire area. Soon after joining the writer’s workshop, he was inspired by the synergy of the workshop and his peers to begin writing poetry for the first time. His poetry takes an in-depth look at his personal and professional life, and he has recently published his first full-length book of poems, Invisible Hands: A Book of Poetry, published on Amazon Books in July, 2011 (www.amazon.com.) Perhaps the words of local, highly-respected poet and Professor of Creative Writing at University of California, Riverside Maurya Simon, gives the best overview of the scope and magic of Dhillon’s work:

Spare and direct, Dr. Harki Dhillon’s poems in his debut book address a broad spectrum of compelling subjects related to being alive in the 21st century. Whether he’s contemplating the mysteries of the divine or of the Universe, lamenting the ubiquitous suffering in the world, or celebrating daily pleasures, his deeply personal poems resonate with pathos. Dr Dhillon’s experience as an eminent surgeon imbues many of these poems with a sense of the fragility and vulnerability of the human body, while they also emphasize our resiliency and capacity to overcome pain and adversity. Feelings of love, despair, desire, remorse, angst, nostalgia, disillusionment, hope, loneliness and joy pervade these poems – reminding us of the heart’s complexity and endurance.

Dr. Dhillon is continuing to work on his memoir, which he hopes to publish in the near future, as well as generating more poetry for publication.


Robbie Nester

Harvest

in memory of my father, Mish Kellman

Once, the fields and lots of this place
shone with star-bright blossoms,
the sweet air heavy with twilight
heralding the trees’ full load.
Drawn out to the silent
grove, dizzy with perfume,
I’d gaze up into the dark green depths
where secrets swelled. I’d peek
into the petticoats of leaves and reach
a hand to palm the nascent fruit,
mindful of proprietary farmers and their dogs.

In a month, as in a nebula light years away,
galaxies are born in bursts of brightness
no one can see, the perfect planetary globes
of lemons, grapefruits, and oranges would light
our moonless evenings, smooth-skinned and bright—
the Meyer lemon, rounder than the ordinary kind;
squat mandarin; pink grapefruit
blushing in the half light of the leaves
among the twisting rows of guardian eucalyptus.

In a place that’s galaxies apart, with only
one small square of rock-hard dirt,
my father made things grow
beneath a narrow
sky fretted with wires,
wondering all the while
at what he managed to bring forth.

Once transplanted here
where the wide skies stretch
for acres, sown with clouds,
he planted everything: the seeds
of pomegranate, star fruit, hand of Buddha,
red clay beneath his nails, along
the half-moon cuticles. Every week,
he wandered narrow aisles
of nursery and farmer’s market,
holding up each perfect berry,
burying his face in golden
bells of angel’s trumpet, nurturing
each sign of life. But though I tried,
I couldn’t do the same.

Since then, the air has lost its savor.
On nights like these, only
knot-hard stars will ripen
where the trees once stood.
No wonder that I haunt the farmer’s
markets Friday afternoons, taking in
the glistening peppers, pendulous tomatoes
like grandees, pebbled avocados,
that even I, a stranger to the soil,
now long to plant a seed.

Richard Nester

How To Last

There are no poems as good as bones
for lasting underground. That which would live
with dust must be of dust. Words are too big,
too many cracks and seams, too much
contradiction, too much doubleness.

I’m never at a loss for dust.
Lay down a minute and it’s there,
like time, seeping in.

So it is with bones,
their slow-compounding particles,
the invisible mounting the invisible,
until there’s quite a stack.

No poem was ever made that way,
slow-cooked, hard. Bones admit
the winter cold. Poems guess.
Bones know.

My son learns Indians in school—
Juanenos and Gabrielinos—lost tribes
with names their people wouldn’t recognize.
One was found near Carlsbad recently,
his bones I mean, not him, not his poems.
His poems were gone—
bones with wings.

Karen Greenbaum-Maya

Hard-Boiled Egg

I was born with a hard-boiled egg in my mouth.  Of course I’d already peeled it, or I’d never have been passed.  Stuck in the dark of that red place, listening to muffled booms.  No Mozart.  Nothing to read.  Sooner or later my mother would have crunched and cinched herself to regain flat abs.  That would be my second chance.  I was born to hit the ground running, tuck and roll, but I was slow, so slow.  Like trying to learn to ride my bike, launched down a cement sidewalk.  I fell as I waited for magic to strike and keep me traveling.  I was born to wait for peaches to fill out, bring the smell of summer.  I washed them like a raccoon to get rid of the fuzz, I hid the pits behind the hose.  I was born to wait on the ocean floor, squinting up through weight of water, looking for faint dazzle of light, afraid of distant air.

Lucia Galloway

Cochineal

How we set ourselves apart.  How we projected, as halo,
blood and fire, the signatures of our humanity.  Found a coal
in the mineral-laden earth to make a line
of dyes from hematite, from cinnabar, and color with lean
bright orange our capes and winding cloths.  How the ache
in us persisted like a hunger for some choice
not yet presented, for a hue that we could hail
as shout, not merely tolerate as echo.
Here is a chain of story: how we came to cinch
our grandeur, display in triptych and tunic our élan.
How, fortunate, we found the color crimson that had lain
as pigment in tiny parasites that etched a kind of lace
on pads of nopal—that cactus wild and hale
in Mexico, Peru.  These insect bodies found their niche
as lading in Spanish ships, traded across an ocean.
How cochineal red became the crepe de Chine
of many merchants’ ventures. As if the ail-
ment of our evanescence would surely heal
if only we had, of red, sufficient cache.

 

Frankincense

From scraggly trunks of the Boswellia, a resin
flows when those who seek it slash its skin.
It weeps, and tears solidify.  Intrepid harvesters risk
danger from the venomous snake
living in those trees that eke
their life from sun and rock but little rain.
How is it that with tears, with snake and knife
we humans trace our shifts and turns?  The making of a scar.
Charred Boswellia resin ground to powder, pressed to cakes
of kohl. Cleopatra wore the eyeliner—black ink
to inscribe a chapter in the story of Rome’s imperial arc.
Matthew the gospel writer paints a different scene:
gifts borne from the East by men of rank—
congealed tears as homage to a baby born in an inn.
Aromas balsamic-spicy, lemony, hinting of conifer sink
into the mesh of history.  Along the Incense
Road from ancient Ubar, Franks
brought fragrant smoke to Europe’s censer,
salve to souls and bodies weary from the race.

 

Chalcedony

What other matriarch bears a load
of such extensive progeny?  Chance
named her after ancient Chalcedon.
Then, as favored stone for rulers’ seals she took the lead.
Cognomen for the fibrous quartz clan:
agate, carnelian, onyx, chrysoprase, heady
aventurine, green jasper, and heliotrope laced
with red or yellow.  This lustrous family clad
Moses’ brother in a breastplate of splendor and ado.
A jeweler’s yen for beads and bezels honed
merchants’ dreams, put caravans on every lane
of trade, while European carvers made from haloed
agate milky cameos.  And when the lode
of local rock ran thin, merchants could lade
the holds of ships with agate from Brazil. O halcyon
years of intaglio, of Florentine commesso!  Not cloyed,
although a tad complacent, these quartzes dance
through history—a fantasia, un dolce.