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Today I saw the surgeon/Who’d sliced into my hands/To help my hand health burgeon/And sculpt as clay demands.

The good doctor says that the healing meets expectations and will likely continue for the rest of the year.  After a year, he says, I can’t expect any more improvement. As of now, the only two symptoms of significance are a slight stiffness in my right middle finger and continued tingling of the fingers of my left hand.

I set the wheel to spinning/And formed a mug or two/With confidence a-ginning/And symbiosis true.

The clay body, Ironstone by name, was wonderfully supple and cooperative, and results felt more collaborative than solo-showish.

The serviceable Wareboard/Took on the two with glee/Then Thusséd and then Therefored/”Three fourths of Four is Three.”

The sound of the wheel’s motor augmented with the earcup-like acoustics of the splash tray can sometimes seem like the hum of the Cosmos itself. It is a lovely Alpha Wave maker when the wheel-throwing is smooth sailing.

Alas, the Fourth went sideways/A clay wall bent, then tore./The Clay Gods’ sometimes snide ways/So humble Potter’s core.

Here is when Failure and Success prove they are brother and sister. Big Bro says “Ah well, three out of four beats a poke in the eye with a sharp stick.” But Little Sis whispers, “Let’s take the scrap clay, which is plenty enough for another mug, to the wedging table and reconstitute it better than new. It’s a good exercise, and it’s also good exercise.”

The scrap clay resurrected/Was centered, shaped, and trimmed/And Gloom was redirected/With Wareboard’s glee undimmed.

“Try, Try Again” is ancient wisdom well suited to artisans. Every effort, be it success, failure, or “learning experience” mix, is another rung on the “ladder to the stars” that Bob Dylan sang of in the song “Forever Young.”

Now wrap them, keeping moistness/For handle-adds tomorrow./You’re happy, and your poisedness/Is free from theft and borrow.

The clunky last lines reflect giddiness and satisfaction. Time well spent is truly priceless.

Driving to work/A piano piece by Johannes Sebastian Bach plays/On K-Bach Radio/89.5 on the FM dial/The cultivated- and accented-voiced Charlotte Wilson presiding

I know little more than crap about music/But that doesn’t stop me from thinking about this composition

I do know about prolificty/And I know that to keep the rocket-burner fires burning/The creators must surprise themselves, entertain themselves, delight themselves first

And in this piece Bach seems to lull and then startle his audience/Building his tone structures with logic/Then opening up a trapdoor of slight dissonant strangeness/Then adjusting the off-putting with new structural logic/To put things right again

He keeps making and breaking these patterns/And in the end he breaks the pattern-breaking too/And ends his tinkling journey with a perfect landing

Joe, I tell his vagabond spirit, that was a party and a half. Thanks.

cup, bird, bird, and mug await the fire,

a squadlet facing fate. alas, all will not survive. worse, it is the bird

with the eggs, the one on whom the highest hopes were pinned, that will suffer

decapitation.

irreparable.

.

the sculptor is philosophical. if i make another version of this one, it will be better.

then a sigh. it will not be as alive.

then a shrug. plenty of fish in the sea and on the plate. plenty of birds in the wind and in the clay.

there is a moment of silence. so long old pal.

****

Afterword: Grateful acknowledgment to Fannie Flagg, author of Fried Green Tomatoes at the Whistle Stop Café, for the last four words of the poem above.

a potter a sponge an x-acto knife a potter’s wheel a wire tool a needle tool a bucket of water a trimming tool and five pounds of white sandless clay

made a globular vase form let it firm up cut it free from the wheel head turned the vase upside down carefully centered and buttressed with a thick clay roll

trimmed away excess clay righted the vase centered and buttressed it again

and then the needle tool made guidelines the x-acto knife sliced the form into segments and the clay segments were baked in a kiln

and the potter took the fired-clay segments and tried several arrangements and arrived at one that felt super-right but needed something

and the search for that something amid already-fired oddments yielded a tiny egg shape and a corpuscular micronest for it to perch on

and the arrangement zinged

Lately I make a living as a prep cook for SSP America, a restaurant-management firm. Since May of 2023 I have cut onions, portioned sauces and refried beans and turkey slices and many other foodstuffs, used a paddle to mix 200 pounds’ worth of diced potatoes and oil and salt/pepper mix, assembled spring rolls and enchiladas and burritos and yogurt parfaits, fished chicken wings out of congealed grease, and performed many other production tasks. But since late last year, my main job has been to use a hand slicer to subdivide tomatoes, discard the slices unfit to eat, arrange the edited tomatoes into aluminum steam pans, and seal them for delivery with 24″ plastic film, with a label that includes creation date and use-by date.

Over the months I have gotten better at the subtasks of tomato slicing. Chef Adam Rosewicz himself once complimented me on how “pretty” my finished trays were. And my boss Don Williams has called me “Tomatoman.” I take pride in my workmanship and my dependability. The all-day-long repetition suits my temperament as a former marathoner and semipro potter for whom a three-hour session almost always ends too soon.

And as someone who has worked earnestly on all forms of poetry for more than 17 years, a job that involves mostly muscle memory is a Godsend. My mind is free to play with ideas for poems, with unique phrasing, with the little nagging business of a poem that had been written and posted but wasn’t quite right. The hours pass quickly when I have a good tomato-slicing rhythm going and I keep getting good word-notions. Realizing that Lenticular and Perpendicular rhyme can make my day.

The answer to the question “Tomato-slicing poet, or poetic tomato slicer?” is, of course, both. I am proud to turn the work of my hands into a good income. I am only slightly prouder of being a poet who keeps pushing at, and changing, his limitations.

Jimmie the Dog and Jessica the Woman were the best of companions. Alas, Jimmie crossed the Rainbow Bridge, as they say, leaving Jessica bereft. A short time later Jessica, a stellar poet and my friend for more than twelve years, asked me if I did commissioned artwork, and provided me with some photos of her and Jimmie. I told her it would be an honor to try.

Then about a year and a half went by. I kept making attempts and falling on my face. Every so often I’d let Jessica know I hadn’t forgotten and was still trying.

Today I was able to send her the image of my final draft. She stuck a Love emoji on my image and is graciously allowing me to share it with my One with Clay readers/viewers.

Here are the words:


Jimmie & Jessie

Jaunty as a Rock & Roll DJ
Innocent & cuddly as can be
Melting hearts & icecream cones some days
Making bliss & breezes in the trees
In the noise & haste & stale ennui
Every Dog & Woman ought be FREE


What sometimes happens when I take on a project like this is I care about it so much that I choke. I overwork the drawing, I overjudge the work in progress, and then I get overwhelmed, tear up my effort, and start over. My advice to anyone who goes through that themselves is Relax, walk around the block, slow down and stop worrying about a result you haven’t got yet. Today I put my worries aside and knew that my heart was in the effort, and trusted the result would reveal the heart. At minimum anyone who sees this page will know that two of Earth’s creatures loved each other deeply.

Tuesday, January 10, 2023

I’m working on my Magnum Opus THE ACROSTIKON now. Today I’ll do a ground-up demo of how I create an acrostic poem.

The first step is to decide what kind of acrostic to do. The overwhelming majority of acrostics are single acrostics, which means the poem will have all the letters on the left spell something meaningful. The most famous example is Lewis Carroll’s poem to the real-life girl who inspired Alice’s Adventures in Wonderland. Carroll wrote a lilting account of Alice and at least one sister on a boat, and the first line was “All in the golden afternoon.” The leftmost letters of the lines in the poem spelled Alice Pleasance Liddell, which was Alice’s full name before she married a man named Hargreaves.

Let’s make ours a double acrostic of five lines, and have the leftmost and rightmost letters spell Start Small.

We won’t start with Start because one of the secrets to writing a double acrostic is that the last words of the lines ought to be decided first, since we want them to make a rhyme scheme.

S
M
A
L
L

Let’s see. Most plurals end with S. So a close rhyme with S and M end-letters might be Gems and Stem. We can try again if it doesn’t work out.

gemS
steM
A
L
L

A nifty way to “cheat” when a line ends with an A is to use A as the de facto first word of the next line, but leave it where it is. So we can turn a couplet into a triplet by de-facto ending line 3 with a word rhyming with Stem, then add period, space, A, thus:

gemS
steM
diadem. A
L
L

The last two lines end with L, so they will easily serve as a couplet.

gemS
steM
diadem. A
you’lL
jeweL.

Since gems and “diadems” appear earlier, it occurred to me that Jewel would possibly make a good fit, and “you’ll” is a good word to involve the reader.

Now to tackle the “innards.”

S………………….gemS
T……………………steM
A……………diadem. A
R…………………..you’lL
T……………………jewel

Let’s do the final couplet first. Then we’ll have three lines to set the tone for it. But remember, Line 4 actually starts at the end of Line 3 with A. Hmmm. “A little something something some and you’ll” is, what do you know, good old Iambic Pentameter. Now turn the Something’s and Some into something else: “A riff of beadwork and a clasp and you’ll” is a line describing jewelry-making, and then the last line is a simple puzzle to solve: “Turn browlines into Settings for a Jewel.” The jewel is the lady wearing the diadem.

So now we have

S………………….gemS
T……………………steM
A……………diadem. A
Riff of beadwork and a clasp and you’lL
Turn Browline into Setting for a JeweL

Now we invent a setup. S suggests Sapphire, but Sapphire is trochaic. Luckily Star Sapphire, though not strictly iambic, will work.

“Star Sapphire, most celestial of gemS”

Now continue the sentence with the second line…

“Takes breath away like orchids on a steM”

..and complete the thought on the third line:

“And sparks your work-in-progress diadem. A”

Holy smokes–we are done!!

Star Sapphire, most celestial of gemS
Takes breath away like orchids on a steM
And sparks your work-in-progress diadem. A
Riff of beadwork and a clasp and you’lL
Turn Browline into Setting for a JeweL.

Now you try, Friends! My advice is to Start Small. 🙂

NOTE: as it says on the page, this demo first appeared in the Facebook group Poets All Call.

This morning I had a fine meal at Matt’s Big Breakfast, but before I really dug in I arranged cutlery, condiments and cuisine to make what I thought was a solid composition, and took a picture. When I posted the image on Facebook I expressed my intention to use the photo as basis of a work of art to be submitted to an art show whose call for entries is close to the end of the year. A nice friend of mine posted an encouraging comment, and I answered that I’d give her first look at the first thing I created. As soon as I’d done the above sketch I texted her and attached the sketch image, which is strictly a learning exercise, full of drawing mistakes and slapdash execution. I’m hopeful that Part 2 and beyond will reveal an evolution of the handling of the image, and that the last post in this series will include a photo of the final stage of the piece. Please stay tuned!