Where then, Karl?This section of Blue Mound exemplifies Cycholl's work to expand personal space and history with the larger sphere of public, recorded history: what's here, what's there, which side has been chosen and which path taken and why.
the Iron Cross for bravery
in combat (no one else would
go up, artillery-spotting in a balloon,
you said) some union business you,
the radio, and Augusta, eating cherries
from a green plastic bowl something
about a lawyer
I'm tryin' to establish
a pattern of behavior here!
words or yours? Where, in or out of place?
the long kitchen reeking of half-cooked
onion and burned potatoes left by the men
last night Chrysler Imperial backseat-
children asking, "what did you do in the
jazz age, Grandpa?"
place is nothing
(like jazz is madeSo the idea of jazz, a creative endeavor being made in a particular place be it practice space, studio or smoky bar, mirrors the poetic act creating the poem of a particular place in that place or another, incorporating other things into that specificity, which mirrors the circular motions in the poem as the its particulars circulate around the specificity of locations and namings. It's an act of creative sleight of hand, being in the present moment but also in the there-ness of another time and/or place simultaneously.
out of what else
but other things in
the specificity of
sinkhole ponds dissolved andThe alliterative and consonant "s" sounds, of course, exhibit Cycholl's gift with jazzing language, even including scientific Latin and borrowed or synthetic language into the mix, adding a subtle and refreshing newness to this style of lyric-investigative blended poetry.
fallen cave roofs ill-tempered
snakes seeking limestone
shortleaf pines swamp loose-
strife and sourgums in insolation
spring peepers and spotted
salamanders "the historical
association of populations all
fucked up" carex brachyglossa--
veins stalk inot dry spikes miles
from any coast
of these ponds is needed."
*Reviewer's Note: Blue Mound to 161 lacks page numbers.