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Pattiann Rogers

Pattiann Rogers Books

Poet

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“Seeing the God statement Suppose the statement Blessed Are the pure in heart, for they shall see God were placed like a wreath of violets, Lilies, laurel, and olive, blossoms strung together Like words in a sentence, a garland Launched, set out on a flowing creek Imagine that wreath carried Down the frothy rapids, tossed, floating Slipping over water-smooth, moss-colored Boulders, in and out of slow, dark pools, Through poplar and willow shadows. It dips, Sinks momentarily, emerges, travels, maitains Its ring, its declaration and syntax. At times it widens in a broad, deep Current, makes sense as a gift. The pure becomes inclusive, spatial, Generous. God and heart are two Spread wings of one open reading. And at times it narrows, restricts. Violets and heart entangle With God. The blessed braces, Overlaps lilies and laurel. Still, at any point you might reach down yourself, catch that ring of blossoms, lift it up, wear its beauty and blooming distinction across your forehead. Look into a mirror. See what you can see.”

“The Estate of Solemnity By right, it reigns in its places- in long beards Of spanish moss hanging from a live oak On a windless evening, and in the chill of new Icicles rigidly, imperceptibly lengthening. Cavern Stalagmites are almost majestic with solemnity. The black morel and the tree ear mushroom Are solemn without grief, solemn without joy, Solemn without reverence, without a single Flicker of green or lift of a wing or cry. But the most solemn, most stalwart, the least Wavering are the tors and crags, the towering desert Spires and carved pinnacles, the devoted ascents And sharp, raw rims of boulders and bluffs, the maw Of a distant cave I saw yesterday and the day before, And the grave echo there of the day and the before. Mystics and divines have always sought the pure, White-rock serenity of the silent, solemn moon Bound in its flight alone far above the peaks, far Above the earth, surrounded there forever by bevies Of giddy stars, all asparkling, all aglow.”

“Grand Sky/Grand Prairie Both harbor the vastness of space. One holds the space Of starlight, thunder snow, rock and icy comets, scrolls Of clouds; the other the spaces inside see heart and ovum, Root webs, spider webs, budded blossoms. They lean together tightly day and night, pressing One into the other, each creating the horizon of the other. They exchange themselves. At evening one becomes The steady night in which the other lives. Yet witness How the moon first rises from the body of the prairie Into the height of the sky that then possesses it. Their horizons are persistent illusion.”

“In I Praise My Destroyer, Diane Ackerman demonstrates once again her love for the specific language that rises from the juncture of self and the natural world, and her skillful use of that language. Whether she turns her attention to the act of eating an apricot 'the color of shame and dawn,' or to 'the omnipotence of light,' or to grief when 'All the greens of summer have blown apart,' her linking of unique images, her energetic wit and whimsy, her compassionate investment in life, always bring new pleasures and perceptions to the reader.”

“Straight up from this road Away from the fitted particles of frost Coating the hull of each chick pea, And the stiff archer bug making its way In the morning dark, toe hair by toe hair, Up the stem of the trillim, Straight up through the sky above this road right now, The galaxies of the Cygnus A cluster Are colliding with each other in a massive swarm Of interpenetrating and exploding catastrophes. I try to remember that.”