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Archive for the ‘Poems by Charles Pierre’ Category

 

Under the Coney Island boardwalk. c. 1960. By Bruce Davidson ©

Under the Coney Island boardwalk. c. 1959. By Bruce Davidson ©

 

 

BOARDWALK

 

By Charles Pierre.

 

This splintered swath

with its burning masses,

where nothing can grow,

 

hides a cool path

of sand and grasses

directly below,

 

a place of laughs

and eager kisses

only the teens know.

 

From the author’s 2014 collection Coastal Moments, Hayland Press, New York.

 

k.d. lang

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Beachfront Sunrise. By Paul Goldfinger. Ocean Grove. Blogfinger.net ©

 

Hi Paul:

Greetings from Manhattan. I was struck by your quietly beautiful photo, “Beachfront Sunrise,” (posted recently on Blogfinger), and your statement that you preferred sunrises to sunsets because “beginnings are happier than endings.”

Here is the poem, “Dawn,” from my 2008 collection, Father of Water.

 

Best wishes,

Charles Pierre

 

 

Dawn

By Charles Pierre

 

The first hint of morning on the ocean

is a trembling of shadows,

 

a dark hovering of muted tones

that moves with imperceptible pace,

 

a vanishing medium through which

the day brightens and widens,

 

the new light going on for miles and miles

in the shine of emerging surf.

 

BILL FRISELL. “Across the Universe.”

 

 

 

 

 

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Charles Pierre. 2009. By Marcella Kerr.

Charles Pierre. 2009. By Marcella Kerr.

Hi Paul,
Greetings from Manhattan. At this time of year, as temperatures warm along the coast, one can see sailboats being moved from winter storage on land to their berths at marinas. And as the wind picks up, one can hear their rigging striking the masts. Here is the poem “Tuning Forks,” from my 2008 collection, Father of Water.

Best wishes,

Charles Pierre

 

 

St. Thomas, USVI. Paul Goldfinger photo.

St. Thomas, USVI. Paul Goldfinger photo.  Click once to enlarge.

 

 

Tuning Forks

 

By Charles Pierre:

It is past midnight, and the sailboats
float side by side at a sheltered marina,
in stillness so complete that not even
a lapping against the hulls can be heard.
Yet high above the water, at the tops
of the mastheads, the rigging of each craft
starts to ring aloud in a rising wind,
the ropes and cables striking the masts,
sounding possible routes to new lands.
The musical tones, in random clusters,
sailing out from the crowded harbor
toward an uncharted ocean of dark.

 

JESSICA MOLASKEY with Stephen Foster’s “Beautiful Dreamer.”  From Jessica’s album Pentimento

 

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Hi Paul:

Greetings from Manhattan and Happy New Year. We’re having our first snowfall of the year, and it comes as a welcome relief after the hectic rush of the holidays. There is nothing that so quickly changes the tenor of life in the city as a covering of the white stuff. Here is “Manhattan Snow” from my 2008 poetry collection, Father of Water.

Best wishes,

Charles Pierre,

January 6, 2015.

 

André Kertész, NYC, 1954. Washington Square Park.©

André Kertész, NYC, 1954. Washington Square Park.©

 

Manhattan Snow

By Charles Pierre:

 

The hard edges of the city are softened now.

Buildings shimmer in speckled mist, streets

lie buried and still, and the crackle of talk

at each corner is silenced from river to river.

Tonight, no human walks, no vehicle moves,

no noise vibrates across the white landscape.

From our window, an arabesque of lampposts

lends an elegance to the empty, unshovelled

steps and pathways below: a gentle curve

of pendant lights encircles the frosted trunks

and limbs of trees, the drifted-over benches

and trash cans, and the silver tips of bushes.

The island this moment has a numinous shine,

and in the quiet ease of evening, we can hear

our own muffled breathing, the only sound

in the air, as edgeless as snow, hovering above

yet deepening the softness of this winter scene.

 

JAMES  NEWTON HOWARD  “Snowstorm”  from the film Snow Falling on Cedars.

 

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Hi Paul:

Greetings from Manhattan. Over fifty years ago, my grandmother said a few things to me shortly before she died that I knew would eventually find their way into a poem. Here is “Grandmother’s Note” from my 2008 collection, Father of Water.

Best wishes,

Charles Pierre

 

 

Paris. By Paul Goldfinger ©

Paris. By Paul Goldfinger ©  Click to enlarge.

 

Grandmother’s Note

By Charles Pierre

 

Looking for less with each added year,

I’ve begun to live in the small space

that surrounds me now, in the shadows

 

that gather at my feet and follow

as I walk along, and in the breezes

that take my shape for an instant,

 

leaving nothing but gentle creases

in my hair and a cool ripple

over my skin. Expecting little,

 

I go where my handwriting leads me –

become just a sound, a word, a phrase,

part of the impression on the page

 

for a moment, not an old woman

with the obvious lines of age, but

a clear thought in this surrounding space

 

CAL TJADER: “The Night We Called it a Day”

 

 

Charles Pierre. Photograph by Marcella Kerr. ©

Charles Pierre. Photograph by Marcella Kerr. ©

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Upper East Side, New York City. August.2014, By Paul Goldfinger ©

Upper East Side, New York City. August.  2014.   Photo by Paul Goldfinger. Blogfinger.net.   Click to enlarge

 

 

A Couple

By Charles Pierre

 

That man and woman walking side by side

almost glide together through the evening,

parting the oncoming crowd with a singleness

of rhythm that erases the differences in height

and stride. Palm to palm, with fingers entwined

and arms swinging between them, they keep

their shoulders straight and eyes fixed forward,

talking without turning aside, letting the words

swirl around them in a cloak of conversation.

His left to her right, they reflect one another,

both wanting an equal partner but remaining

self-possessed, the emptiness of darkest space

less a threat than if each were facing it alone,

though their need for connection goes mostly

unconfessed: a solitary pair accustomed

to the same pace, limbs moving in unison

through the rush of wind leading night’s advance.

 

 

Frank Vignola plays Gershwin.   “Our Love is Here to Stay.”

 

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Hi Paul:

Greetings from Manhattan. There is a common aid to navigation — often used in coastal waters — that has always had a special meaning for me as a poet. Here is “The Bell Buoy,” a poem from my 2008 collection, Father of Water.

Best wishes,

Charles Pierre

Shivering Sand. Photogravure by Wylie. Undated

“Shivering Sand.”     Photogravure by Wylie. Undated. Click once  to see the bell buoy more clearly.  Reposted this poem from 2015 Blogfinger.net. ©

 

BELL BUOY

 

By Charles Pierre.

 

There is something singular in the rhythms

of the bell buoy, as it rings in the wake

of an unknown vessel already passing

on to its destination. The restless gestures

of this solitaire, anchored in the routine

of the sea, are a directing presence,

even in this hostile chopping,

metal on metal clanging from its heart,

clanging down the chain to the muddy anchor,

clanging out above the waves, creating

a point in the pointless sea, echoing out

to another, its clanging a song

of hope through these splintered waters,

a hard human song in an inhuman place,

something with a ringing truth to it

of who we are, something to sustain us,

wherever this imagined drifting leads.

 

 

Sounds:  bell buoy ringing; waves hitting boat:

 

 

Music on the water, from the film  The Sand Pebbles  (1966) with Steve McQueen.:

MATT MONROE

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Bob Bowné.  Winter Ocean Grove. 2015. ©

 

SCULPTURE

 

By Charles Pierre

 

In winter, my tongue

and teeth chinker

through cracked lips,

 

each poem a carving

of white breath

without marble’s heft—-

 

the chiseled lines

dying to silence,

shrouded in mist.

 

 

HOLLY CONLAN   “Winter”

 

 

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Late November garden in Ocean Grove. Paul Goldfinger photograph. ©

 

 

Reprieve

By Charles Pierre

From a rusted nail
on the south wall

of an old boathouse
weathered to gray,

a small pail of
red impatiens

swings in the mild
November sun,

where the rush
of stark sea wind

has yet to dim
the arc of lush color.

 

 

EVA CASSIDY

From her album Songbird.

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1954 by André Kertesz. Greenwich Village from his apartment window.

 

 

By Charles Pierre:

 

Speck

 

When the blizzard passed,
a holly amid ocean dunes

shook in the March wind,
as mounds of snow

slid from its peak
in a silent rush,

exposing a branch
where one red berry,

shriveled and pitted
in spots, yet whole,

clings to its stem —
the only speck of color

on this stark white shore,
edged with ashen surf.

 

 

 

RENEE OLSTEAD:

 

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Ocean Grove. Sept. 2010. Two years prior to Sandy. Paul Goldfinger photo



Absence

A poem by Charles Pierre

Of what was written down
or spoken aloud onshore,
eye and ear find scant remains

A few letters in the sand
or murmurs on the salt wind
show, not who was here,

but how the sea
swallows up
most human traces.



LONDON SYMPHONY ORCHESTRA "Enigma Variations."

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Hi Paul:
     Greetings from Manhattan. When March ends, and the last few patches of snow melt from the yards, and ice disappears from the ponds, those of us who live along the coast shed our heavy coats and head for the shore. Here is the poem “Orient Point,” from my 2008 collection, Father of Water.

Best Wishes,

Charles Pierre

 

 

Early spring morning. Deal Lake. Ocean Township.  March 29, 2015,   By Paul Goldfinger ©  Click to enlarge.

 

 

Orient Point

By Charles Pierre

To find words again, after winter’s pause
and the stifled months of life ashore —
to hear voices, if none but the shrill sounds
of sailors boundless in April winds.
I slip from silence, English my ship and sea.
Speech as fresh as the first mild gusts of salt air
billows my cheeks, flying from my lips
to take me as far as sound can sail —
Speak, as if spring is all there is!

 

BEN PATERSON TRIO:  “Here, There, and Everywhere”   by Paul McCartney.

 

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Ocean Grove. November 28,  2014. Paul Goldfinger photo. ©

 

 

Toward Winter

 

By Charles Pierre.

 

In late November, after the abundance

of summer and early fall, when withered

vines and leaves deepen the solitude

of the land, one can walk almost unseen,

like the wind coursing through bare trees

or a dust mote crossing a shaft of sunlight.

In this diminished scene, the emptiness

can unburden, almost free, the self,

until one becomes aware of the season

but not the date, on an hourless afternoon,

neither mild nor cold, the slight stiffness

in the joints a certain sign of the short

clipped days and long crystalline nights

to come, as one walks the hardening earth,

with a hunger for less and less of the year,

into the devouring mouth of December.

 

 

 

BEVERLY KENNEY   from Sings For Johnny Smith

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