Muse, the first full-length collection from poet Susan Aizenberg, brings together poems of personal history, elegy, and the complex lives of artists, writers, and “ordinary” people, in an exploration of the relationship between art and life, esthetics and ethics. She is sharp-eyed in purpose, trying to understand “what love is” in a continual shifting between loss and knowledge. While “there is no other world than this one” for Aizenberg, nevertheless she finds a world of affirmation. Aizenberg sings elegant blues, keeps a perfect balance between elaboration and restraint with formal skill that is both impressive and consoling, reminding us that poetry is a form of intelligence in which music creates a world full of mystery and depth.
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Susan Aizenberg is the coeditor (with Erin Belieu) of The Extraordinary Tide: New Poetry by American Women, a contributing editor to the Nebraska Review, and author of a chapbook-length collection of poems, Peru, which appears in Take Three: 2: AGNI New Poets Series. Her poems have appeared and are forthcoming in the Journal, AGNI, Chelsea, Prairie Schooner, the Philadelphia Inquirer, and many other publications. She is an assistant professor of English and creative writing at Creighton University in Omaha, Nebraska.
Cortland, 1970
Always Monday, light October drizzle
misting our hair, wet-
wool musk of our peacoats.
Remember your father's library?
Three-for-a-buck novels,
all the rosy headlights
he could dream, group-gropes he couldn't.
Breakfast was beer in a jelly
glass. Then the ten-block walk,
hardscrabble shacks
imploding, to swing shift
at Smith Corona. I still have the scar
acid etched through my jeans
that first night. Peeling them down
in the ladies' room, I found a black
circle the size of a quarter.
In May we married between small claims
and traffic courts, my mother
sweating in cheap mink, the best man
sniffling, aching to get straight.
Twenty-Five Years from Anywhere Like That
Shoulder, hip, and heel, I sprint
faster in my wingless Nikes, circling the Boys Town
track as Bonnie Raitt's roadhouse wail
and slide guitar snake wire.
Cottonwoods blur like a hypnotist's
watch until the track disappears and I'm back
in the third row of the Fillmore East,
where Janis Joplin, too wasted
to sing, slugged honeyed mash
from a high-tipped bottle. We sang "Ball and Chain"
a cappella on the D train, grinding
high notes breaking the national anthem
as the subway rocked the sour dark,
red and blue lights strobing.
That year, we traded up to barefoot rides
in limousines, four-way sunshine
for breakfast: onion grass
looney-tuning into little green men.
Now teenage girls from Boys Town pass me
quick, a middle-aged woman
they can't imagine seventeen, running away,
that burnt-out place
on Rickard Street, a bare mattress under
the corona of shot gun holes
left there for the landlord
by a flute player who cared for no one
but sent his clear notes
up the fire escape anyway.
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