In poetry class, you are writing odes, odes to soap, music, somebody’s distant cousin–even the sound S makes as you assemble an alliterative sentence. You are crafting tributes to colors and memories and all of the things you love in the world.
You are in front of the classroom describing how the gray blue tile you hold between your fingertips, a color you have named dad’s truck blue, a sort of primer blue hue, reminds you of dad’s old Chevy Apache. And, you explain how when you initially see this shade it reminds you of your first sleeping bag, but it is, in fact, more the shade of the vehicle that was dramatically flattened under a ginormous tamarisk in the late 70s. Decades later, this tint can still evoke the explosive sound of the tree untethering from the earth just outside the chickens’ coop.
You read recently about Polish idioms, that Polish people don’t daydream. Instead, they think of blue almonds. They don’t speak bluntly. Rather, they tell it straight from the bridge. They don’t beat around the bush; they wrap the truth in cotton. And, you think this is the poet’s work; you spend entire days thinking of blue almonds, lecturing from bridges, and softening the truth.
You think about all of the odes there are left to write: salutes to Warsaw traffic, praise for pickled eggs and beets and herring, testimony for trust and faith and lust, homages to the lost, to the sky streaked with coal, to drunk people falling softly in snow, to every gilded representation of Jesus, to meeting your husband’s relatives who don’t speak your language–still they look into your face and love, love, love you anyway.
- You read about a new form, the anti-ode, and you think of the catalogue of those you have in you, too. Writing an anti-ode in the vein of Dean Young’s “Sean Penn Anti-Ode” https://www.poetryfoundation.org/poetrymagazine/poems/48664/sean-penn-anti-ode allows the mean side of your tongue tremendous joy.