PoetryMagazine.com
Since 1996 Volume XXI Lynne Barnes
Lynne Barnes was born in Georgia and moved to New York
City in 1968 with a front row ticket to Hair, before
migrating to San Francisco in 1969, two years after the
Summer of Love. She was part of a commune that thrived for
twenty years in the Haight Ashbury. She has worked as a
nurse on psych emergency units and oncology wards, and as a
librarian in San Francisco's Public Libraries. Her
collection of poetry, Falling Into Flowers, is from
Blue Light Press and, according to publisher Diane Frank,
she “writes poems that sing like ballads. Her language is
gorgeous and devastating.” Lynne’s book was the recipient of
the 2017 Rainbow Award for Best Gay and Lesbian Poetry and a
finalist for the 2018 Eric Hoffer Book Award. Lynne lives
with her beloved artist partner, Carole, who created the
cover art for her book.
The Poet at Five
after Larry Levis (“The
Poet at Seventeen,” from Winter Stars)
My childhood? I see it from
beneath
the sunk down brim of my
granddaddy’s
sweat-scented, World War
I-era wool cap,
borrowed for a morning that
opens in neon black:
electric first-morning-ever
rising before the sun,
a morning I can still touch
after over sixty years,
morning when his hat
protects me from splinters
of light as they begin to
break from the sky’s edge.
The strap my grandmother
has sewn onto a flour sack
hangs across my shoulder
and chest
like a military sash; my
sack is a miniature
of the long, trailing bags
the adults wear.
Blackberry grenades explode
on my tongue, and wet
green leaves slap my cheeks
as we walk single file
down a footpath through the
woods, with honeysuckle
aromas dissolving in cool
Spanish moss mist.
At the end of our journey,
a white field shimmers
through the trees, and the
sky is Mercurochrome;
my imagination is lit: I
hear bluebells tinkle
as they brush against my
legs.
From the cool oak and pine
spires, into the oven of cotton field:
July flies screech as I pry
tufts from dry, brown fists that draw blood.
I sit down in the dirt at
the end of the first row,
taste salt trickling down
my face, feel
the weightlessness of the
treasure in my sack, watch
the deep pains my mother
and my grandparents take
with the plants on the land
I do not know they do not own
as they bend, burn, pick,
bleed, sweat, thirst: Georgia 1951.
The Call of the West
We are homesick most for the
places we have never known.
White fingers of fog grasp
the bridge
as if to lift it from its moorings along the headlands of Marin and San Francisco— the strait named Golden Gate, once home of the Ohlone, place where white, shark-fin sails slice the water’s blues and grays, and in the distance, a miles-long, hump-backed whale of thick mist rolls over hills beneath which humans teem like krill.
In salty air fog horns keen
outside walls
where poets lift their voices over beer sitting next to gas log fireplaces, and sweethearts hear symphonies after fragrant, wine-splashed meals, where cold winds of street canyons carry sounds of homeless pleading for coins and kindness between raw coughs and schizophrenic outbursts, as they stand in line for meals at Glide and St. Anthony’s; where Monterey cypresses green a golden park, where bullets suddenly rip the air, where gays have married.
Up close, where fog chills
or sunbeams heat its soft winds,
this people-plashed cove at the edge of creation holds all colors, all stripes, all ages, all tongues in its tender St. Francis embrace, its unconditional hippie hug.
Morning for Fin
I have not yet arrived home
where your note
lies inside its sealed
envelope on the kitchen table.
I am waking to deer
nibbling, with cocked ears,
on the spring green hills
of Mt. Diablo. The sun
is warm on my face for a
while before I open
my eyes to those deer, and
behind them pastel clouds
slowly blazing to white
against the oxygen-rich blue
sweep of the morning sky. I
am not thinking of you
now, but I will. It is just
past dawn—hours before
Bill and I will go home to
be with you again, you
with your harlequin hair,
your scimitar grin. I have not
yet driven across the
bridge back into the city at dusk,
where downtown buildings
begin to light
like evening stars. It is
before I climb the stairs to home
with camping gear and
wonder for the first time
where you are. Before the
note or the call to the morgue
when they say no,
put me on hold then sharply,
after a long time, say
yes they have a Jane Doe
from the top of the Hilton.
We have not yet driven
down to the refrigerated
room where the man
who learned we weren’t
family explained
that you split, nearly hit
the driver of a taxi
as he stepped out of his
cab at Ellis and Taylor.
It is not yet the time when
the numbness took hold,
when the man in the lab
coat pulled back the sheet,
showed us your egg shell
face, bloodless, no trace
of mirth. No, this moment
is not yet here. I am still
running in the warm air
along the deer traces
brushed by budding branches
of April trees.
Grief
Between grief and
nothing, I will take grief.
—William Faulkner
I.
Grief is discovering the
world is flat after all,
that people really do fall
off.
II.
Grief is a red-winged
blackbird
that startles when it lands
in empty, outstretched
hands—
delicate, feathery thing
that keeps coming back
in familiar patterns
like seasons, dreams.
Hold it tenderly when it
lights,
despite its sharp claws,
and it will sing you
to another world,
then bring you home.
G.R.I.T.S. ... Girls
Raised in the South
for my cousin Trudy
My yes sir, no ma'am Melanie longed to be your sneak out the bedroom window after Granny goes to sleep Scarlett. As I read Guideposts to the old couple across the street, you go out with a boy in a turquoise Chevy to the lock and dam and don't come home until just before midnight. In my Girl Scout green or peppermint pink striped uniforms I watch you slither into tight red skirts and twist to Chuck Berry. Nearly half a century later you are Melanie lifting your grandchildren, though it's bad for your back, reminding those around you, who never have, not to drink or smoke. You babysit with your grown kid’s kids, don't see movies yourself, and drive a mile up the road to tuck our 89-year-old Aunt Josephine into her bed at The Home, seven nights a week. After years living far away, I have become what you must only imagine as Scarlett, and you probably think some Rhett's frankly, my dear has made me the way I am. No, I have always loved women, and now I am just shimmying my way across the dance floor toward the gates of hell, in that green velvet dress pieced together
from those front window
drapes I finally ripped down.
Winter of Love
(Valentine’s Day San Francisco
2004)
At the front entrance of
City Hall, exultant couples
walk out through open glass
doors, holding hands
and licenses that flutter
in their grasp like flags.
A tiptoe rain mizzles red,
gold,
pink, lavender rose petals
quilting the palatial stone
steps;
multi-colored umbrellas
wait outside like limos.
The crowd cheers loudly
every few minutes all day long,
as pair after pair of
women, pair after pair of men
walks out through the
city’s gray mist
into rainbow, rainbow,
rainbow.
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