Kamakura Beach 1333: Artist’s choice in Rattle’s Ekphrastic Challenge

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I am both speechless and honored by the selection of my poem, “Kamakura Beach, 1333” as the artist’s choice of the October ekphrastic challenge by Rattle, one of the finest contemporary poetry journals. The artist/photographer is Ana Prundaru. My thanks go to Ana for selecting my poem for this challenge. I am deeply touched by her very thoughtful and generous comments.

 

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To read the poem or listen to the audio on Rattle, here is the link:

http://www.rattle.com/poetry/kamakura-beach-1333-by-mary-kendall/

Note: there is an audio of me reading the poem on the Rattle page but I’ll include it here as well:

~

Kamakura Beach, 1333                                          

 

The sea washed scarlet that night.

The tide rushed in—swelling and breaking—washing
all traces out to sea on the waves of Kamakura Beach.

You know nothing of this, you who long for adventure
and pleasure—youth who search desperately for meaning
in lives that are too rich, too busy, and still so poor.

Your small boats arrive in early evening, the carmine sunset
at your back, and you quickly gather driftwood, tinder, and
fallen black pine branches to burn. You light the fire.

A trail of smoke begins funneling up to the starry sky.
The fire burns hot and one by one, you feed it twigs, boughs,
pine cones bursting into streams of sparks and wild flames.

And in your wanton rambling, one girl grows silent—she alone
hears the hallowed chanting, the cries of battle, the shrieks
of arrows piercing skulls, the stench of life exiting too abruptly.

She wanders over shallow rocks, her hand touching stone,
knowing the pain hidden in the silence of eight hundred years.
The rest of you are unaware…you laugh too loudly, move

too fast, not noticing the shifting colors of the setting sun.
Listen and you will hear the shogun cries of warriors and farmers
that once shook the sacred sands of Kamakura Beach.

Can you smell the fierce fires, the burning buildings,
the blazing rafters crashing and lighting the darkening sky?
Can you hear the screams of those buried here long ago?

Time slipped by like swifts at dusk darting in the fading sky.
The fire raged on and on, and lives were ravished in a
single breath. It was our fate to die on Kamakura Beach.

With Samurai mind and clean, sharp blows, the sacred sword
was swift. One by one, we died…each of us choosing honor,
this bleak beach now strewn with bones, bodies and blood.

You who come to visit—feel the cool churning lapis blue water,
and see the late sun boldly brush red on sand, water and waves.
Remember us—we who lie buried on Kamakura Beach.

Let your fires roar, let them spark in comets to the stars.
Under the dark night skies long written in indigo and ink,
we will walk together here on Kamakura Beach.

Morning tide will come—swelling and breaking—washing
your presence out to sea— remembering our final night,
a night of fire and blood, bone and bodies on Kamakura Beach.

The sea washed scarlet that night.

 

~

Here is the broadside link:

Click to access EAOct2015.pdf

Rattle also posted a download of a broadside that includes poem and picture side by side. It is so beautifully done with the shadows of the boat creating a subtle image under the poem. Very appropriate to this particular poem, I think.

 

Swallows: Three Haiku

Today, on Ekphrastic: writing and art on art and writing,  as part of their 20 poem challenge, I have three haiku to go with a gorgeous picture of swallows.

To read the poems and see the art in the original publication, please click on this link:

http://www.ekphrastic.net/ekphrastic/swallows-by-mary-kendall

The artwork is  “Swallows” by Benjamin Chee Chee

Ekphrastic 2 Swallows

 

(1)

frail beauty—

scissoring the sky

on indigo wings

 

(2)

 

hope . . . soaring on wingless winds

 

(3)

 

taking leave—

gathering courage

as you fly

 

pocket_watch_buried_in_the_shallow_beach_AFR-IJ-14804

 

My thanks to editor, Lorette C. Luzajic, for including these haiku.

 

Almost Surrendered: On Being and Nothingness ~ An Ekphrastic Poem

 

So, what IS ekphrastic writing or art?

As many of you know, I love art. I love going to art museums, galleries and art shows. Art history has always been one of my passions, so it’s natural enough that ekphrastic art and writing has captured my interest. A very simple definition of ekphrastic poetry is writing a poem in response to a work of art. It can be descriptive or it can be a response of any sort to the piece. There are no restrictions, no limits, and that by itself is something that has great appeal. The same goes in reverse–an artist might create a piece in response to a written work. My own blog has poems written about ancient Greek mythology, and in each posting I’ve included beautiful works of art that are ekphrastic responses to the myths.

This particular poem was a response to a show of the artwork of Ronna S. Harris that was held at the Turchin Art Center at Appalachian State University in Boone, North Carolina. My husband and I fell in love with her work and this particular painting has haunted me for nine years. This poem is my response to it. My thanks to the artist for her permission to use this painting here and in the journal it was recently published in. I hope some of you will wander over to her own website to look at the gallery of paintings she has there. I still dream of owning one of her works of art.  Her website:  http://www.ronnaharris.com

 

Note:  My thanks to editor Lorette C. Luzajic for publishing this poem on September 13, 2015 in Ekphrastic: writing and art on art and writing:

http://www.ekphrastic.net/ekphrastic/almost-surrendered-on-being-and-nothingness-by-mary-kendall

 

small Almost Surrendered

Painting:  Almost Surrendered, by Rhonna S. Harris, 1992.
Picture used with permission of the artist.

 

Click the link below if you’d like to hear me read this poem. It takes a few seconds to load.

 

Almost Surrendered: On Being and Nothingness                                                  

 

The gallery was empty, the artist unknown to us.
Strangers to her work, we walked in quietly,
speaking in whispers about the way she painted
a rich purple aubergine or the clear, shimmering water
in blown-glass bottles. Illusion so real it was perfect.
Her paintings seemed direct but insinuated that
something might be hidden just beyond our view.

From fruits and windows, vegetables and doorways,
suddenly there was a room full of large paintings of figures,
mostly nudes with evocative names like “Pieta” or
“Architecture of the Perfect Man.”

We stopped in front of one called “The Marriage.
It showed two figures lost in thought, in separate worlds.
It reminded me of what marriage is like for some after
so many years together. Still, silence doesn’t always speak
of distance but of an understanding of hearts.

And there, on the left wall, was “Almost Surrendered.”
A pale naked woman with arms by her side, palms stretched up
in prayer or supplication. She was translucent, existing half here,
half there. Behind her was a closed window. She wore a gold chain.

Was she a memory, a body giving way to death or being reborn?
Or was this ghostly surrender all illusion, a message
to women who have given too much of themselves?
A woman who had lost herself in trying to be everything.

Could she be a dream?

You moved on to the next picture and then the next,
but I stood there staring at this vanishing woman and
wondered who it was who really had surrendered.

Was she any woman?

Could she be me?

You reappeared, and together we moved on.
This time round, I found myself thinking about windows
in pictures, of what lay beyond the glass the artist
drew, surrendering myself to what she didn’t show,
what she concealed in her mind like a stage curtain pulled back
just enough to hint that maybe others stood on the other
side, looking back at us from a completely different angle.

Would they study us closely, marveling at our verisimilitude?
the lovely glazes of color so skillfully applied, built up so
carefully to a level of opacity that suggested real inner depth?

Would they compare us to the other figures in the gallery
and wonder why we were not painted as a man and a woman
fading from view, surrendering to a love spoken in silence?

 

(c) The Guardian

(c) The Guardian