Enid Dame, Poet: Woman’s First Breath

enid1 from internet

Enid Dame (1943-2003) was an upbeat Post-Beat feminist poet. Her satire lacked the cynicism that defeats its purpose, and her good-humored,  tongue-in-cheek sensibility made her work unique. Her poetry often brought Biblical characters, especially women, to life.    

Her poem, Lilith, showcases her humor and spirit. When she read it with her Brooklyn accent the effect was effervescent. One reviewer said of her book, On the Road to Damascus, Maryland, that it was “a book of illuminations, conversions, and the hauntingly contemporary voices of Biblical heroines.”

For 25 years, with her husband, the poet Donald Lev, Enid published Home Planet News, the voice of taxi driver and worker poets, road poets and café poets, and multi-everything poets. The duo ran the late night readings in the 1970s at the Cedar Tavern in Greenwich Village with just the right mix of order and disorder. A long polished bar and chairs and tables glittered beneath the plate glass sky roof and windows on the street gave the place a dark glamorous look. It was legendary as a watering hole in the 1950s and 1960s for Gregory Corso, Jack Kerouac and other Beat poets, along with Jackson Pollock, Andy Warhol and other modern artists.

Enid taught composition at the New Jersey Institute of Technology and creative writing at Rutgers University in New Jersey.  She was a scholar of Jewish women’s poetry and midrashic writing, lecturing at the Institute for Contemporary Midrash, for the Religious Diversity Seminars of the New Jersey Council for the Humanities. She co-edited the anthology Which Lilith?: Feminist Writers Re-Create the World’s First Woman (1998). Enid had seven volumes of poetry published, including Riding the D Train, Lilith, Lilith’s New Career, and Anything You Don’t See.

But what I remember most about her was her smile, her generosity, her passionate, amiable courage, as well as her intelligent, insightful poetry. 

Enid Dame on Wikipedia

More about Enid Dame on Rain Taxi

Enid Dame Reads Lilith (1989)

Interview with Enid Dame and Donald Lev

Home Planet News Marathon Reading Flyer

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Children of Light: Live for the Holidays!

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Poetry of the spirit

Reviews

Mary Clark has brought us an achingly beautiful chain of poems that both watch and listen: the sun, the sea, the darkness, the light, the passing of time—and the people who live among them.
Reverend Barbara Crafton, Episcopal priest and author

and:

As we know, poetry remains the best way to communicate our most fundamental ideas. In Children of Light, a modern tale of adversity and transcendence set in the unique natural environment and human history of Florida’s Gulf Coast, three children go on a journey that leads them to explore their true characters, their relationship to one another, and to society. 

The children’s journey, set in modern times, deals with questions of good and evil and how we can be guided by those who generate light. The author believes we can learn to exercise and develop our innate goodness, and in this tale, she shows how this can happen.

Reading this fascinating story told in poetic form to find out is a truly rewarding experience that one won’t easily forget.
— Bradford Dov Lewis, for the Liberal Minyan of Hell’s Kitchen/Chelsea, NYC

Kindle ebook of Children of Light, a poetry novel

Paperback of Children of Light

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Cornelius Eady, Poetry of Compassion and Truth

Cornelius Eady at St ClementsCornelius Eady is the author of eight books of poetry, including Hardheaded Weather: New and Selected Poems (Putnam, April 2008). His second book, Victims of the Latest Dance Craze, won the Lamont Prize from the Academy of American Poets in 1985. The Gathering of My Name  was nominated for a Pulitzer Prize in 1991. Brutal Imagination was a 2001 finalist for the National Book Award.

His theater work includes the play, “Brutal Imagination,” based on the Susan Smith story of her children being kidnapped by an African-American man. He collaborated with Diedre Murray on the libretto for the opera, “Running Man,” a finalist for the Pulitzer Prize in Drama in 1999.

In 1996 he co-founded Cave Canem with Toi Derricotte, a summer workshop/retreat for African American poets. He has taught at the University of Missouri and SUNY Stonybrook, Southampton, New York.

I first met Cornelius at a reading of Home Planet News in 1980. In the audience, willowy Patricia Fillingham, a poet from suburban New Jersey, had found a home away from home on the New York poetry scene. With her Warthog Press, she published Breathe: An Anti-Smoking Anthology of poems, cartoons and songs, edited by Shel Horowitz, and Kartunes, a collection of poems by Cornelius Eady. I believe Kartunes was Cornelius’ first published book of poetry.

That fall, poets and actors performing poetry caravanned through the Poetry Festival. Cornelius Eady and Shelley Messing taped some of these events, as part of their work making audiotapes of poets for WBAI around the city. Always amiable, Cornelius was generous with his time and helped promote other poets.

Nocerino&EadyFlyer

Cornelius Eady and another poet, Kathryn Nocerino, appeared together at the Poetry Festival at St. Clement’s, 423 West 46th Street, NYC, several times between 1979 and 1983. One reading was on December 21, 1981. At one of these readings, in the large sanctuary and theater space upstairs in the church, I photographed Cornelius with his portable microphone. Tall and thin, he swayed like bamboo while he read. His poetry is compassionate with an edge that cuts into and through veils of ignorance. He fuses music with language about race, social issues, family, and love.

You can read more about him along with some of his poems at the Poetry Foundation.

 

Rochelle Ratner: A Living Narrative

TellingsThis is the first in a series of posts on Writers and Poets who were active in New York City in the late 1970s through the 1980s. One of these was Rochelle Ratner. She herself wondered whether her work was poetry or prose poetry, but whatever the category, it spoke to many people. Her long poem, “Tellings,” directed by Richard Spiegel, and performed by Barbara Fisher, was presented by the New York Poetry Festival at St. Clement’s, 423 West 46th Street, on Monday, April 6, 1979.

Rochelle Ratner, born in 1949 in Atlantic City, NJ, authored seventeen books, including Practicing to Be A Woman: New and Selected Poems (Scarecrow Press, 1982),  Someday Songs (BkMk Press, 1992), and Balancing Acts (Marsh Hawk Press). A novelist as well as a poet, Coffee House Press published two novels: Bobby’s Girl (1986) and The Lion’s Share (1991). 

She edited an anthology, Bearing Life: Women’s Writings on Childlessness, published in January 2000 by The Feminist Press. Her poetry and criticism appeared widely in literary journals, including Library Journal, Nation, Poetry Review, and Shenandoah.

Over the decades she contributed to literature, serving as an editor for a number of periodicals, including more than twenty-five years as Executive Editor or Associate Editor of American Book Review. Rochelle Ratner died after battling cancer on March 31, 2008.

Review of Someday Songs

“Personal and religious encounters provide the raw material for Ratner’s 13th collection of poetry. And the poems, which evoke Jewish ritual and communal life, are remarkable for their simplicity, clarity and depth of feeling. They are not so much “about” religious experience as they are moments of it …. The poems are declared imitations, representations, and as such gain their power from their exactness of observation and from the poet’s use of language as a mimetic tool.” – Publishers Weekly

Tellings, Rochelle Ratner, an excerpt

The voice is familiar
Power transferred to the brain
And then the heart
Or is the heart first?

Two weeks ago
mother asked what she’d taught me.
Hands twisting in her lap.
Sure she’d given nothing.

These are all her stories,
chants before bed
to make the shadows vanish
or on rainy days
to remember sun by.

I knew her childhood
better than my own.
Easy to get lost there

so that, some twenty years later,
we come back, join hands,
turn the light down.

She searches for her mother,
I search for my mother.
Is she under the bed,
beneath the glass of a picture,
in hair which even now
hasn’t lost its color?

I’ll recognize her on sight.
She looks like both of us.
She comes in, sits by the door,
loosens the scarf from her neck,
turns to her good ear, inclines her head.

*

I will be doing a series of posts on Writers and Poets who were active in New York City in the late 1970s through the 1980s. Why, do you ask, is this of any importance? I’d answer that this era was a time of transformation, and that every era has its vitality, its moments of contribution and destruction, and its value to the universal flow of human endeavor.

For several years I assisted Richard Spiegel (poet and small press publisher) with the New York Poetry Festival at St. Clement’s on Manhattan’s midtown West Side. Many poets and writers came there as readers or to have their works performed by others.

A Visit to Monticello: Two Poems

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Thomas Jefferson’s Monticello

Monticello’s Dome

Was it 200, or 400,
or 600 unsung voices
I heard singing
in the bell
of Monticello’s dome?

Why is it closed off?
Why is everything so orchestrated
As if Jefferson felt he could direct
The course of nations
More easily than his legacy
Like a pair of doors that close
Together in accord by his hand

Ode to 1441

whoopersm

We opened the pens and let them out
On the Florida prairie, the young whooping cranes,
They were so beautiful in that early light,
As I watched them walk into an amber mist,
Their cinnamon and beige feathers melding with
The delicate reds and golds of the marsh grass,
Before they disappeared in the morning glimmer
That flashed like sparks from the lake

My mother raised me and my older brother
After my father died, teaching me the ways
Of the wild she had learned over a decade,
Having been born in captivity, released from a pen,
A one year old with no survival skills,
A small instinctual handbook carried beneath her wings,
And she taught me and my brother to be wary,
Look both ways, and stay close by her side

I loved to stalk through the marsh, and romp
In the prairie grass, splash in the swamp,
Fly with my brother, hang ten
With the Sandhills coming in to evening roost
And my mother said they looked like our shadows,
Friendly ghosts, who would help keep away the terror
That comes in the night, but when I was six
The terror came and took my brother

My mother and brother built a nest
And we were surrounded by eyes cold
With moonlight, as he stood with wings outspread
To defend us, and the nest, our future,
But they lept and dragged him away.
Soon after I saw the large figures scrambling around
The marsh, and then they cried out
And took away his body

You can’t imagine the surprise my pilot and I felt
When we flew over a marsh by Lake Okeechobee
The little plane making a small insignificant shadow
On the vast expanse of water and marshlands,
And saw two cranes nesting in the wildest
Of wild places, and when we landed we saw
The older female, and with her, a younger female
By a decimated nest

Okeechobee is not a safe place to be, to nest,
To thrive, and we found the young male
Or what was left of him, thanks to the transmitter
And as we left we hoped the other two
Would abandon this place, and fly north
To the ranches and preserves of Osceola County,
And again we agonized over the death toll
Of this experimental flock

My mother and I flew back and forth from the big lake
To the smaller one, and spent our days feeding
From the troughs alongside the cattle, in spite of the odor,
And whenever the large figures would appear,
Holding black objects and huddling or darting around,
Sometimes my mother would say, ignore them,
And other times, let’s go,
They’re getting on my nerves

I watched the cranes for another five years,
The older female was over 20, a good
Long life for a captive-raised crane in the wild,
And her daughter, 1441, was over 10,
Without a mate and only her mother
For a companion; sparks of crimson
And brilliant white
In the tall green grass at sunset

And then I saw her, alone, on Canoe Creek Road
Radiant on the ranches and farms of Lake Kissimmee,
The younger female, now in her prime,
And I went home, only to wake up in the dead
Of night, and think of that whooping crane:
How people who see her will whoop
With pride at having seen her in the wild,
And how resilient she is, and how vulnerable

And what does it matter, one lonely bird
On one lonely road
When there are people dying in Syria,
When there’s the scourge of cancer,
When children are caught in the crossfire?
But I can’t help thinking of you,
1441,
On this dark night

Copyright 2017 by Mary A. Clark

289 whooping cranes were released into the wild in Central Florida between 1993 and 2004 in an effort to create a non-migratory flock. In 2008 about 30 were still alive. The project was ended due to the high mortality and lack of success raising chicks. As of 2017 only fourteen survive. Four chicks born in the wild survived to adulthood. 1441 is one of them.