Sunday, September 28, 2025

My Messy Mistake: Dying Taught Me I Feared Life More Than Death by Diana Kouprina


I met poet/writer Diana Kouprina at a meeting of my literary group the Bagel Bards, which meets every Saturday at Cafe Zing in Porter Square. She has had a hardscrabble background, but has overcome this and now she is a prolific writer and social media personality.


 My Messy Mistake: Dying Taught Me I Feared Life More Than Death

It wasn’t supposed to happen that way. I wasn’t suicidal, per se — I just didn’t mind if I died. There was nothing to live for, my life at the time was stuck in a survival loop. I was a “high-functioning addict.”I had convinced myself that snorting heroin wasn’t addiction—it was medicine which I needed to sustain myself, especially when my prescription to benzodiazepine was just not doing the trick.

At the time, I worked retail and was going to school at Suffolk University. The paychecks couldn’t cover the drugs my ex-husband and I consumed. To make ends meet, I turned to escorting. That was my double life: folded sweaters and bright store lights by day, quiet transactions and blurred nights by necessity. All of it in service to an addiction I kept convincing myself wasn’t real.

One ordinary day in 2007, at 23, I wanted to unleash my creative spark. I was preparing an assignment for a creative English class. I remember how the words were hard to access. I wrote best when I was high or drunk. I preferred to write high. It started like a slow progression sneaking over to the safe, punching in the code, taking out the little plastic container and taking a tiny sip, then putting it back, going to the computer, trying to write, voice not coming through, needing more and repeating this process over and over again until, I had poured almost all of my ex-husband’s 200 mg cherry-flavored methadone into myself. I wrote furiously, believing I was channeling Hemingway. When I finished, I crawled into bed, floating in euphoria. To make the high last, I popped a few benzos. I thought I was going to sleep. Instead, I slipped into death.

What happened next is hard to describe, because it felt more real than any dream or reality I have lived in. It felt like my soul returning home consumed by a magnitude of feelings. My great-grandmother, who had passed in 1994, was there. So was my Babushka Hasmik, who had died just a few years earlier. I never had a chance to say goodbye to either of them, since my arrival in the U.S. at the age of nine from the Former Soviet Union and although I entered the country legally, I didn’t have permission to travel outside the U.S.. Thus, I never had closure from their deaths; instead, their absence had left a wound inside me, which had consumed me into a bubble made up of fear of abandonment.

And now, there they were. In my death, I saw them. I felt them. It was as though I had just woken from a nightmare and in my purest form, surrounded by love.

In that moment, I realized something shocking: I didn’t fear death. I feared life.

Waking up was the terrifying part. Cold fluorescent lights. The sharp, sterile smell of the ER. My body was shaking uncontrollably, as though it had frozen stiff while I was gone, and now that I was back inside myself, I couldn’t get warm. Doctors and nurses hovered, their voices clipped and urgent. One said it was nothing short of a miracle that I had come back.

When the machines were finally removed from me, I asked for more blankets with chattering teeth, when they offered me ice chips for my throat.

I didn’t feel like a miracle. I felt ripped away. Ripped from love, from peace, from the only place I had ever felt completely safe. Coming back to life meant being dragged once again into the weight of my shame, my addiction, my trauma. It was not relief I felt in those first moments, but grief.

Yet, though I didn’t know it then, something had shifted. In death, a seed of light had been planted in me. Slowly, stubbornly, it pushed me toward transformation. The losses, the addictions, the trauma, the abuse—all of it became essential material for a long and brutal process of self-reclamation. Reflecting now, it is hard to even understand how I did it all on my own, that type of healing capacity and rewiring could have only occurred because of divine intervention.

Recovery wasn’t linear, but neither is life. There were jagged moments, relapses, and heartbreak. I had to lose people, illusions, and versions of myself I thought I couldn’t survive without. But every loss became necessary for healing—past the drug addiction, past sexual abuse, past the deep trauma that had kept me caged.

Dying was my messy mistake. But living—choosing to keep living—became my revolution.

I don’t romanticize the chaos. I don’t call it beautiful. But I acknowledge its role. Without those mistakes, I wouldn’t be here. Without death and return, I wouldn’t understand how precious life is—or how fiercely transformation can happen.

There was no one mistake that led me to my fall. As much as I always wanted to pinpoint to one moment it is not possible. My mistakes were created out of immense self hate, I believed myself to be a worthless human. It has been a journey of reclaiming myself, my worth and my confidence. I am learning now to stop questioning myself, and the universe in doubt. I am embracing the fact that my life is a mosaic of mistakes. In my death, I learned about the value of my life lived steeped in purpose from within.


About, Letting Go

I have hang ups, I hold on too tight,

A broken record playing on the loop,

I seek to find my flaw, my fault, my failure.

I play it all on repeat mode inside my brain.

Always too terrified to seek the truth

Thinking it’s me,

the problem,

the flaw,

the failure.

Believing that I am the monster in the mirror,

Too scared to look and see, of what I would find staring back at me.

But, it’s over now, I hope. I let it go, I broke the cycle of repetition.

I rinsed the dread out of my hair,

I felt the truth, the fault, the flaw, the failure

It wasn’t me it was someone else I had tried so hard to be.

I let it go, I know my fault,

I was naïve, a frightened child with no love to feel.

I trusted easily, always believing everyone else was better off than me.

As the years would passed, rolling into one season after another,

I remained caged in, to escape the prison, I was forced to see,

My choices made of terror, had tarnished me complete.

To revert back to me, to wash the tar out off my body,

I had to see, my mistakes were mine to own,

Mine to learn from and to let go,

Only then did the windows of my prison began to open letting in an airy breeze

Within this healing road I’ve chosen, of loving me complete.


C’est La Vie

This is life, I am forty-one,

I pedal one sandaled foot after another, pushing down on flower pedals, in shape of petals

The number frightens my mind made up of stress, awakening my fear of loss.

Luckily my soul is there to provide solace to the mind, I trust the words,

That a little voice utters from within,

Age is just a number, what matters most is hidden from the eyes to see.

The freeing feeling takes on flight, as my mind retires and my soul takes charge,

C’est la vie, I like this life, I am grateful for the second chance,

To be past the brinks of death

I ride my bike, I pedal on,

I unclench my grip from leather handle bars,

Blue and white flowers all over, woven wicker basket in the front, propel me on.

I go back in time of childhood self, of bikes and friends, of reading books,

never free, mistrusting the body, and the soul, as shame and guilt ate away at me,

All before my teenage self was able to emerge, a perfect child I forced myself to be.

I know it doesn’t matter, what age I turn this year,

The enchantment with perfection is not a part of this life I lead,

I ride my bike, I pedal on, pushing down in confident stride,

Making my way through the color scented leaves of fall,

Past the bunnies jumping through the yards

Through the tree tunnels made up of branches

I find my wings, I take on flight,

I soar through the moonlit nights listening to crickets chirp their lust

.

I feel it now, this is life, a fluid soul traveling between realms, of past, of present and future self,

Within the vastness of the universe,

Always knowing what matters most is hidden from the eyes to see.

C’est la vie, I tell myself, I feel it now.

---

Author Bio (for submission):

Diana Kouprina is the author of Borderline: A Poetic Memoir (Wild Press, 2025). She writes about statelessness, survival, and self-reclamation. She is the host and producer of W.I.L.D the Podcast

Friday, September 26, 2025

Red Letter Poem #270

 Red Letter Poem #270

 

 

 

 



Summer Dusk


for Lisa and Whitney



The three of us look up

over darkening rooftops,

our eyes six chalices

poised to receive

the sacramental wine of Night.

“A René Magritte sky,”

as it pleases Lisa to call it,

but I can’t remember

a painting of his looking

quite like what’s above us:

stripe of evanescent light

almost reachable by hand,

with here and there a cloud

of muted blue, each one a sigh

offered up to a higher Heaven

who answers by revealing

(shyly at first, then lavishly)

her fathomless trove of stars.


––Thomas DeFreitas


Gentle Reader, I do my best to vary the style, voice, and subject matter of my Red Letter offerings, hoping to both challenge and refresh, to soothe and surprise. I’ve come to regard these electronic pages as ‘a poetry anthology evolving in real time’––and because I’m able to issue these timely installments about fifty times a year, I have the freedom to respond to the temporal, political, and societal weathers we are experiencing together. So after George Kalogeris’ embattled memories of “Tomatoes,” and the angst of last Friday’s “My Bad Day” by Kathleen Aguero, perhaps you too are feeling the need for some literary balm––here, as cherished summer begins to fade in the rearview and the first days of autumn arrive on brisk winds. I have just the thing: Thomas DeFreitas’ rhapsody to the diminuendo of a summer evening and the closeness of friends with whom we might share it.



Even before he specifically mentions “A René Magritte sky,” it was apparent that this is a ‘painterly’ poem, attempting to capture the delicate impression of a simple moment at the close of day. But in these vespers, Thomas blends both his Impressionist and Surrealist impulses. Take lines like “stripe of evanescent light/ almost reachable by hand” (did you, too, feel in your own hand the childlike impulse to reach?); and “with here and there a cloud/ of muted blue, each one a sigh/ offered up to a higher Heaven”: these are lush and romantic descriptives­­––deep hues of emotion daubed across his canvas. But the Surrealist Magritte himself might admire “our eyes six chalices” (I love the immediacy of the phrase, not even pausing to make room for the verb are). The motion catches up with us, though, and we see just what is about to fill those brimming pupils: “poised to receive/ the sacramental wine of Night.” Ah: deep sigh indeed––whose very purpose is to allow us a moment of real attention so we might appreciate what is moving within us and without. A poet like William Blake might have appreciated that appeal to higher powers (both Night and Heaven accorded those capitalized initials.) Wide-eyed, along with the poet’s close friends, we too await the grand finale of this celestial performance: the revelation of Night’s “fathomless trove of stars.” The relationships are never detailed, but I felt this as a kind of emotional back-pressure, between the lines. If nothing else, it seemed clear to me that without his compatriots to witness this moment together, even Heaven would have been less remarkable.



A true devotee, for whom poetry has long been something like an article of faith, Thomas has been a frequent contributor to the Letters. He has published four poetry collections, all with Kelsay Books, including this year’s Walking Between the Raindrops. A chapbook, Elegies & Devotions is forthcoming. Because he is so conscious of the beloved antecedents we poets rely on––if only as the sturdy foundation upon which our own individual structures may rise––I’ve heard echoes of Blake and Wordsworth in Thomas’s verse as well as Frank O’Hara and Seamus Heaney. Most often, Thomas sets his poems in the urban landscape most of us share; a poem like “Summer Dusk” is about as far removed from the contemporary scene as I’ve read from this poet. I wonder if he (like me, like you) has been feeling so inundated and distressed by the daily upheavals, by the political and cultural ground quaking beneath our feet, he took refuge in an older mood and a cherished memory––a retreat from the bitter demands of 21st-century America. Sometimes we simply need to “get away from earth awhile/ And then come back to it and begin over” (as another New England bard once suggested.) If so, I’m glad Thomas invited us up to the rooftop along with Lisa and Whitney, to watch a summer day giving way to night. Hopefully, when we all come back down, we’ll feel fortified, ready to cope with whatever the world is about to throw at us.

  

 

 

 

The Red Letters

 

* If you would like to receive these poems every Friday in your own in-box – or would like to write in with comments or submissions – send correspondence to:

steven.arlingtonlaureate@gmail.com

 

 

To learn more about the origins of the Red Letter Project, check out an essay I wrote for Arrowsmith Magazine:

https://www.arrowsmithpress.com/community-of-voices

 

and the Boston Area Small Press and Poetry Scene

http://dougholder.blogspot.com

 

For updates and announcements about Red Letter projects and poetry readings, please follow me on BlueSky

@stevenratiner.bsky.social

and on Twitter          

@StevenRatiner

 

And coming soon:

a new website to house all the Red Letter archives at StevenRatiner.com


Tuesday, September 23, 2025

In the Play “My First Ex-Husband” Ex-Wives Discover Their Superpower

 


In the Play “My First Ex-Husband” Ex-Wives Discover Their Superpower

Joy Behar exposes marital complexities with caustic & hilarious wit at the Huntington Calderwood BCA September 12 - Sept. 28


By Jacques Fleury


Joy Behar, legendary comedienne and co-host of The View, gives us an intrepid and authentic adaptation of true stories with serrated comicality--minus any sort of politically correct filters. The play is an introspective of the often-muddled hysterical realities of love, sex, and relationships. Whether you’re joyfully united, guardedly devoted, or considering altering the locks, relationships are intricate—and collectively associable. These stories could be all our stories, except wittier. The basic premise of the show is every weekend, an ensemble of four stars from theatre, television, and film join the show, bringing their inimitable dispositions to voice these tales that may be uncannily familiar to you or someone you know. Shocking yet profoundly germane to the times, this show will reverberate with anyone who has piloted the tempestuous and often prickling seas of love. In addition to other titillating surprises, the show contests and questions ideologies of patriarchal authority, blind loyalty, self-esteem, physical and psychological abuse, gaslighting, subservience, physical and emotional constraints, lack of respect and more…

“The stories are very relatable,” utters playwright Joy Behar. “Even if you never got a divorce, you still have problems with in-laws…or sex, or kids, or money… Marriage is a work in process all the time.” Behar was emphatic about how "true" the ex-husband stories are but said that they were admittedly tweaked for dramatic effects...A touchy yet facetious aspect of the play was when members of the “Ex-Husband” ensemble related tales of how their husbands used to cause them to feel insecure by poking fun at their weight, or “subtly hinting” that they need to improve their appearances to fit their husband’s standards of beauty. The fat jokes scored big and landed like a hilarious thud with audience members.

My First Ex-Husband is a visceral emotionally charged experience that explores and shatters any preconceived notions of marital uniformity. It extrapolates on the gradations, conceptions and misconceptions of marriage lore. With her signature brand of dynamic caustic and facetious wit, Joy Behar "brought it" to the Calderwood Pavilion stage at Boston Center for the Arts along with three of her equally funny female cohorts: Veanne Cox, Judy Gold, and Tonya Pinkins.

When you are embarking on the often symbiotic and potentially precarious journey of marriage, the core of you are could pose as a barrier or asset depending on who you married and your ever evolving marital circumstances. The play “My First Ex-Husband” can serve as a cautionary tale when entering marriage or any type of relationships in your lifetime. Times Square Chronicle declares that My First Ex-Husband “appeals to men, women, and anyone who has ever been in a relationship.” And I couldn’t agree more…

We are entering the dawn of a post “Me Too Movement” era, where women find personal freedom to discover their own versions of their authentic selves while redefining their own notion of beauty, not what their husbands or patriarchal society's vision of what they think beautiful should be... In the grand scheme of things, I think until you get to know yourself and find out what your source of power is, you'll be disconnected from the world hence you would only be moved by external circumstances, not discovering that you're the one who makes things happen. In “My First Ex-Husband," the women discover not only that their super power is self-love and self-respect but also that “true love” is one that frees not imprisons.

“My First Ex-Husband” has prodigious comic timing and socially conscious substance suitable to the times... A witty, emotionally charged and colorful artistic theatrical brush stroke of daring dramedy! I give this in-your-face smartly premeditated rumpus a 5 out of 5 stars!

*********************************************************************************

Jacques Fleury is a Boston Globe featured Haitian-American Poet, Educator, Author of four books and literary arts student at Harvard University online. His latest publication “You Are Enough: The Journey to Accepting Your Authentic Self” & other titles are available at Public Libraries, the University of Massachusetts Healey Library, Wyoming University, Askews and Holts in the United Kingdom, The Harvard Book Store, amazon etc. His works appeared in publications such as Wilderness House Literary Review, Muddy River Poetry Review, Litterateur Redefining World anthologies out of India, the Cornell University Press anthology Class Lives: Stories from Our Economic Divide among others. Visit him at:http://www.authorsden.com/jacquesfleury

Friday, September 19, 2025

Red Letter Poem #269

 The Red Letters

 

 

In ancient Rome, feast days were indicated on the calendar by red letters.

To my mind, all poetry and art serves as a reminder that every day we wake together beneath the sun is a red-letter day.

 

––Steven Ratiner

 

 

 

 

 

 

 

Red Letter Poem #269

 

 

 

 The Red Letters

 

 

In ancient Rome, feast days were indicated on the calendar by red letters.

To my mind, all poetry and art serves as a reminder that every day we wake together beneath the sun is a red-letter day.

 

––Steven Ratiner

 

 

 

 

 

 

 

Red Letter Poem #269

 

 

 

 

My Bad Day

 

What I took to be true love turned out to be a tattered paper doily.

Where I expected my reflection, I found yours.

 

What I thought just an hour turned out to be a day.  Then another and another.

A morning protest turned into a slow murder

 

and the rubber boot lying on the floor stood up like an urn,

the ashes of a lost year waiting to be scattered.

 

I thought I was running late but I was standing still in the rain.

What I took to be a mirage turned out to be the world on fire.

 

What I thought was St. Francis was actually a birdbath.

What I took to be a fire hydrant was something not even a dog would pee on

 

and that ghost dog haunted me.  The spare rib I pulled from

the pot soaking turned out to be a drowned mouse.

 

What I took to be a long wait on a long line turned out to be my life.

What I took to be Whitman’s handkerchief of the Lord turned out to be Astroturf,

 

and I what I took to be the end of the road was, in fact, the end of the road.

 

 

                                                           ––Kathleen Aguero

 

 

 

 

 



It’s not a case of ‘misery loves company,’ but more like that strange situation where someone else’s distress sometimes lessens our own or, at least, places it in a new perspective. And though certainly no one would wish for any affliction, physical or emotional, we’ve all learned this difficult lesson over time: pain often becomes one of our most profound teachers. It has a way of reminding us of some essential truths concerning the very nature of human consciousness and mortal fragility. These bodies we travel around inside bring us both suffering as well as joy, and we must either learn to navigate the shifts in that emotional weather or be washed away by every storm. And so I took it, not as criticism but as a kindness, when my post-college roommate Carolee bought me a copy of Judith Viorst’s children’s classic Alexander and the Terrible, Horrible, No Good, Very Bad Day (though some might say it was a book intended for ‘children’ who already have decades under their belt). If somehow you’ve missed this delightful tale, a summary is simple: everything that could go wrong for young Alexander does (in spades) during one unfortunate 24-hour period. Of course, his child-sized troubles (gum in his hair, sibling rivalry, classroom disappointment) are meant to seem small when compared to our own––but the book makes us remember how monumental those griefs seemed at the time. Perhaps we’re even prompted to wonder whether our ‘grown-up’ troubles might also shrink in hindsight. Unlike Alexander, who is constantly threatening to move to Australia, we understand that misery is portable and adheres to us no matter where we go.



Which brings me to Kathleen Aguero’s own terrible, horrible litany and her very different way of responding. Her suffering may be triggered by an affair of the heart, broader societal angst, or old-fashioned existential dread––it’s never made clear in the poem and, because of that, we are free to pour our own ample supply of woe into her protracted lines. But we realize slowly what she is doing: she is dreaming-while-awake (though nightmaring might be closer to the truth.) She is allowing language to tease out internal states of being by reflecting them in the material. “What I took to be true love turned out to be a tattered paper doily.” The painful connotations abound, especially if you recall those arts and crafts projects from elementary school, pasting our red paper hearts onto the lacy backing, hoping our secret Valentine might reciprocate. But the poet pairs this with: “Where I expected my reflection, I found yours.”––and suddenly love’s disillusionment becomes more dire. And what she thought might be an hour’s dilemma “turned out to be a day. Then another and another.” It seems the mesmerizing sounds of her lines are conjuring the content––“A morning protest turned into a slow murder.” How we grieve for that solitary boot filled with the ashes of the speaker’s expectations. Like any dream, the poem possesses its own internal logic which we are only too happy to accept, carried along by the musicality of the verse and the surprising shifts in context.



Winner of the Firman Houghton Award from the New England Poetry Club as well as grants from the Massachusetts Cultural Council and the Elgin-Cox Foundation, Kathleen Aguero is the author of a half-dozen poetry collections, the most recent being World Happiness Index from Tiger Bark Books. She is Faculty-at-Large in the Solstice low-residency M.F.A. program at Lasell University––and also teaches in ‘Changing Lives through Literature,’ an alternative sentencing program in our judicial system which (and I don’t mean to be flip) is designed to use the written word as a potent vehicle for changing some really terrible, horrible days into an improved tomorrow. Kathleen’s poem feels so utterly empowered, it can take the balm of St. Francis and morph it into a bird bath, fire hydrant, and a ghost-dog’s disdain. My favorite of all the couplets: “What I took to be a long wait on a long line turned out to be my life./ What I took to be Whitman’s handkerchief of the Lord turned out to be Astroturf,” (biting our lips with those f-endings)––and, for a moment, it seems not even poetry can rescue this poor speaker from her shattered illusions. At last, the poem ends with a final ‘couplet’ that cannot even secure a partner. But while the poet pens “the end of the road,” the momentum of the poem has been transferred to our own minds, and we can’t help imagining the next day’s possibilities, or the day after that. Pieces like this remind me that poetry is, as some have called it, serious play––the kind of cerebral experimentation that engenders possibilities. And keep in mind: putting pen to paper is a good deal cheaper than moving to Australia.

 

 

 

   

 

 

The Red Letters

 

* If you would like to receive these poems every Friday in your own in-box – or would like to write in with comments or submissions – send correspondence to:

steven.arlingtonlaureate@gmail.com

 

 

To learn more about the origins of the Red Letter Project, check out an essay I wrote for Arrowsmith Magazine:

https://www.arrowsmithpress.com/community-of-voices

 

and the Boston Area Small Press and Poetry Scene

http://dougholder.blogspot.com

 

For updates and announcements about Red Letter projects and poetry readings, please follow me on BlueSky

@stevenratiner.bsky.social

and on Twitter          

@StevenRatiner

 

And coming soon:

a new website to house all the Red Letter archives at StevenRatiner.com


 

 

 

 

 

It’s not a case of ‘misery loves company,’ but more like that strange situation where someone else’s distress sometimes lessens our own or, at least, places it in a new perspective.  And though certainly no one would wish for any affliction, physical or emotional, we’ve all learned this difficult lesson over time: pain often becomes one of our most profound teachers.  It has a way of reminding us of some essential truths concerning the very nature of human consciousness and mortal fragility.  These bodies we travel around inside bring us both suffering as well as joy, and we must either learn to navigate the shifts in that emotional weather or be washed away by every storm.  And so I took it, not as criticism but as a kindness, when my post-college roommate Carolee bought me a copy of Judith Viorst’s children’s classic Alexander and the Terrible, Horrible, No Good, Very Bad Day (though some might say it was a book intended for ‘children’ who already have decades under their belt).  If somehow you’ve missed this delightful tale, a summary is simple: everything that could go wrong for young Alexander does (in spades) during one unfortunate 24-hour period.  Of course, his child-sized troubles (gum in his hair, sibling rivalry, classroom disappointment) are meant to seem small when compared to our own––but the book makes us remember how monumental those griefs seemed at the time.  Perhaps we’re even prompted to wonder whether our ‘grown-up’ troubles might also shrink in hindsight.  Unlike Alexander, who is constantly threatening to move to Australia, we understand that misery is portable and adheres to us no matter where we go.

 

Which brings me to Kathleen Aguero’s own terrible, horrible litany and her very different way of responding.  Her suffering may be triggered by an affair of the heart, broader societal angst, or old-fashioned existential dread––it’s never made clear in the poem and, because of that, we are free to pour our own ample supply of woe into her protracted lines.  But we realize slowly what she is doing: she is dreaming-while-awake (though nightmaring might be closer to the truth.)  She is allowing language to tease out internal states of being by reflecting them in the material.  “What I took to be true love turned out to be a tattered paper doily.”  The painful connotations abound, especially if you recall those arts and crafts projects from elementary school, pasting our red paper hearts onto the lacy backing, hoping our secret Valentine might reciprocate.  But the poet pairs this with: “Where I expected my reflection, I found yours.”––and suddenly love’s disillusionment becomes more dire.  And what she thought might be an hour’s dilemma “turned out to be a day.  Then another and another.”  It seems the mesmerizing sounds of her lines are conjuring the content––“A morning protest turned into a slow murder.” How we grieve for that solitary boot filled with the ashes of the speaker’s expectations.  Like any dream, the poem possesses its own internal logic which we are only too happy to accept, carried along by the musicality of the verse and the surprising shifts in context. 

 

Winner of the Firman Houghton Award from the New England Poetry Club as well as grants from the Massachusetts Cultural Council and the Elgin-Cox Foundation, Kathleen Aguero is the author of a half-dozen poetry collections, the most recent being World Happiness Index from Tiger Bark Books.  She is Faculty-at-Large in the Solstice low-residency M.F.A. program at Lasell University––and also teaches in ‘Changing Lives through Literature,’ an alternative sentencing program in our judicial system which (and I don’t mean to be flip) is designed to use the written word as a potent vehicle for changing some really terrible, horrible days into an improved tomorrow.  Kathleen’s poem feels so utterly empowered, it can take the balm of St. Francis and morph it into a bird bath, fire hydrant, and a ghost-dog’s disdain.  My favorite of all the couplets: “What I took to be a long wait on a long line turned out to be my life./ What I took to be Whitman’s handkerchief of the Lord turned out to be Astroturf,” (biting our lips with those f-endings)––and, for a moment, it seems not even poetry can rescue this poor speaker from her shattered illusions.  At last, the poem ends with a final ‘couplet’ that cannot even secure a partner.  But while the poet pens “the end of the road,” the momentum of the poem has been transferred to our own minds, and we can’t help imagining the next day’s possibilities, or the day after that.  Pieces like this remind me that poetry is, as some have called it, serious play––the kind of cerebral experimentation that engenders possibilities.  And keep in mind: putting pen to paper is a good deal cheaper than moving to Australia.

 

 

 

   

 

 

The Red Letters

 

* If you would like to receive these poems every Friday in your own in-box – or would like to write in with comments or submissions – send correspondence to:

steven.arlingtonlaureate@gmail.com

 

 

To learn more about the origins of the Red Letter Project, check out an essay I wrote for Arrowsmith Magazine:

https://www.arrowsmithpress.com/community-of-voices

 

and the Boston Area Small Press and Poetry Scene

http://dougholder.blogspot.com

 

For updates and announcements about Red Letter projects and poetry readings, please follow me on BlueSky

@stevenratiner.bsky.social

and on Twitter          

@StevenRatiner

 

And coming soon:

a new website to house all the Red Letter archives at StevenRatiner.com