elisem: (Default)
 Well, OK, it would still let me put up more things. But I have reached my goal of having 300 pieces in the shop for my birthday month sale. Whee!  Here is the shop:

www.etsy.com/shop/LionessElise

300 pieces is a lot. It was a big goal. A very big goal. But I am there.

To celebrate, yes, I did put up one more piece. Its name is a line from a poem of mine.  It can be seen here:

www.etsy.com/listing/4354661133/some-poems-are-strong-enough-to-bear

If you want to do something nice for my birthday, please point people at the sale, yes? It would be a great goodness. Also, there will be more markdowns coming, because you know how I get. <3
elisem: (Default)
A poet with paper and pen is in business. 
Don't let them know what you're doing.
Remember to keep your tools sharp.  
Brush up on your covert ops skills. 
 
Don't let them know what you're doing.
Poets know how to get past the borders. 
Brush up on your covert ops skills. 
It helps to look abstract, or pretty, or simple.
 
Poets know how to get past the borders. 
A poem can be a way of smuggling truth.
It helps to look abstract, or pretty, or simple; 
Some poems are strong enough to bear that.
 
A poem can be a way of smuggling truth.
Bones speak louder than official histories. 
Some poems are strong enough to bear that.
A poet can owe a debt of story to a bone.
 
Bones speak louder than official histories.
Some things demand that we tell how they happened. 
A poet can owe a debt of story to a bone 
Or a stick, a charred stub, white stones, blood. 
 
Some things demand that we tell how they happened.
A poet with paper and pen is in business, 
Or a stick, a charred stub, white stones, blood. 
Remember to keep your tools sharp. 
 
-- Elise Matthesen 
elisem: (Default)
 A poet with paper and pen is in business. 
Don't let them know what you're doing.
Remember to keep your tools sharp.  
Brush up on your covert ops skills. 

Don't let them know what you're doing.
Poets know how to get past the borders. 
Brush up on your covert ops skills. 
It helps to look abstract, or pretty, or simple.

Poets know how to get past the borders. 
A poem can be a way of smuggling truth.
It helps to look abstract, or pretty, or simple; 
Some poems are strong enough to bear that.

A poem can be a way of smuggling truth.
Bones speak louder than official histories. 
Some poems are strong enough to bear that.
A poet can owe a debt of story to a bone.

Bones speak louder than official histories.
Some things demand that we tell how they happened. 
A poet can owe a debt of story to a bone 
Or a stick, a charred stub, white stones, blood. 

Some things demand that we tell how they happened.
A poet with paper and pen is in business, 
Or a stick, a charred stub, white stones, blood. 
Remember to keep your tools sharp. 

-- Elise Matthesen 
elisem: (Default)
 So this is from a while ago, and it is fashioned after an old poem of a cat and a monk, which I repurposed to pay compiments to my Obble and make her laugh. She is the Obble to me (and I the Obel to her) because Mike referred to us as a pair of Obelisks once and we kept it because we were charmed. (It's from a Dorothy Sayers book in which a character refers to "obelisks -- you know, ladies who aren't quite respectable" when the word actually wanted was "odalisques".). Anyhow, here, have a poem. It's all still quite true.

 
There is true beauty in a cat
It’s clear that that’s where Beauty’s at
A cat with fan in silky paws
(Painted like your girls françoise)
 
But Beauty loves like company
And so a cat you oft will see
Curled up close by my Obble’s side
With rolling purr or yawn so wide
 
Thus art lives in the living flesh
That aims of art and heart may mesh
So wonder not what poets meant
No masterpiece, no monument,
 
No muse, I say, you’ll ever find
Cavorting through the artist’s mind,
In marble carved, nor fired in bisque
Has beauty like my Obelisk
 
Except a cat.
And that
Is that.
 
elisem: (Default)
Femme Thang

It's a femme thang
to be demurely in-your-face
It's a femme thang
it's attitude
It's a femme thang
it's camp conceit
something about long cigarette holders
and spike heels;
we let the butches do
"strong, silent & competent"
that's their number in the butch/femme cabaret
It's a femme thang
to know the roadmap for romance
the seven warning signals
of incipient sexual ecstasy
every pulse point
that could possibly carry perfume
and where to buy silk ribbons
for half price
It's a femme thang
to be a steel lily with lacquered nails
a waif in a cloud of ringlets
carrying a copy of Baudelaire
or a sunset-crowned, big-shouldered woman
chanting the sutras of her linguistics class
as she draws the pan of challah from the oven
It's a femme thang
to know how to kiss
how to be kissable
like it says in the handbook
"butches, don't kiss her until you're ready.
She'll tell you when you're ready."
It's a femme thang
to regard Vogue magazine
as raw material
for the next piece of sartorial satire
It's a femme thang
to think of Victoria's Secret
and performance art
in the same breath
I remember the first time
somebody called me a femme as an insult
it was like the first time
somebody called me a queer
they meant to be derogatory
but I was so tickled
to find a word that referred to the way
that I do it
that I said, Yeah
so what's your point?
It's a femme thang
to know how to bat our eyelashes
it's a femme thang
to be a tough broad
It's a femme thang
to keep a shrine to Mae West
little rows of votive candles
burning among the quotations
"Come up and see me some night.
Come Wednesday night;
that's amateur night."
It's a femme thang
to know how to be a serious bitch
It's a femme thang
to know what every magic wand
and little box of jewel-colored powder
might be good for
It's a femme thang
to have preferences in lubricants
the way connoisseurs have preferences
in vintages of wine
It's a femme thang
to be comfortable acting butch
Real femmes aren't afraid to act butch
because we know it looks attractive on us
like all those women in Shakespeare
impersonating boys
It's a femme thang
some girls have it
some boys have it too
it's a gift
it's a talent
it's guerilla ontology
it's the way we strut our stuff
and the fascinating noises we make in bed
It's a femme thang
and sometimes it's just enough
to keep the music playing in the face of despair
Life seems to call
for a parade amid the rubble
and anywhere there is defiant celebration
you can bet that
up front
male or female
there's some bitch with a baton
inciting revolution
swinging her tassled boots
and saying, "Yeah
so what's your point?"
It's a femme thang
to up the ante
It's a femme thang
to lob in the incendiary glance
to say
"Can you handle it?
Or are you just gonna wish
you had the chance?"


Femme Thang copyright Elise Matthesen 1993
Yes, you may make a copy of the poem for personal use or to send to a dear friend. Do not copy for publication without written permission; to ask permission, please contact me at lionesselise@gmail.com, or leave a comment here.
elisem: (Default)
Mike wrote "The Declaration" for us in 1998, and a couple of years earlier I wrote a poem for him. Every now and then lines from both of them float through my consciousness. Sometimes, though, I need to go back and let the words pass before my eyes one by one, in their cadences, taking the time it takes to reread something that he undoubtedly knew I would go back to, and something else where I was trying to tell him about time and eternity-in-mortal-time and all sorts of things that I could only say with those lines.

Tonight it was this:

One partner: I stand here with you because together we possess infinity in a finite space of time, and our combined reach surpasses the mortal.

Other partner: I stand here with you because we have seen in each other a shared task: and though the void may separate us, and matter must always fail, we shall never truly be apart, one from the other.

Together we take joint and equal command of the time still before us, to watch and to defend, to endure the cold and the fire, to stand until the last.
For against that power armies are as nothing, and Death itself comes begging and ashamed.


So please be aware that all the CN are in the tags, and here, have a link: https://elisem.dreamwidth.org/1306788.html
elisem: (Default)
familiar the bed's edge
how it dips as I sit to take my meds
it is wavy from hundreds of mornings

and photographers love stone stairs
worn into hammocks
from a thousand years of feet that know the way

but no one else knows
the empty place in my ear
where your voice still fits



- Elise Matthesen, june 2023
elisem: (Default)
A poet with paper and pen is in business. 
Don't let them know what you're doing.
Remember to keep your tools sharp.  
Brush up on your covert ops skills. 

Don't let them know what you're doing.
Poets know how to get past the borders. 
Brush up on your covert ops skills. 
It helps to look abstract, or pretty, or simple.

Poets know how to get past the borders. 
A poem can be a way of smuggling truth.
It helps to look abstract, or pretty, or simple; 
Some poems are strong enough to bear that.

A poem can be a way of smuggling truth.
Bones speak louder than official histories. 
Some poems are strong enough to bear that.
A poet can owe a debt of story to a bone.

Bones speak louder than official histories.
Some things demand that we tell how they happened. 
A poet can owe a debt of story to a bone 
Or a stick, a charred stub, white stones, blood. 

Some things demand that we tell how they happened.
A poet with paper and pen is in business, 
Or a stick, a charred stub, white stones, blood. 
Remember to keep your tools sharp. 

-- Elise Matthesen 






elisem: (Default)
So today I followed a link from some friends and found this poem:

Instructions on Not Giving Up

More than the fuchsia funnels breaking out
of the crabapple tree, more than the neighbor’s
almost obscene display of cherry limbs shoving
their cotton candy-colored blossoms to the slate
sky of Spring rains, it’s the greening of the trees
that really gets to me. When all the shock of white
and taffy, the world’s baubles and trinkets, leave
the pavement strewn with the confetti of aftermath,
the leaves come. Patient, plodding, a green skin
growing over whatever winter did to us, a return
to the strange idea of continuous living despite
the mess of us, the hurt, the empty. Fine then,
I’ll take it, the tree seems to say, a new slick leaf
unfurling like a fist to an open palm, I’ll take it all.

-Ada Limón, 1976


Even after reading it several times, each time I get to the end I feel as if I can breathe a little bit easier, like something has been lifted.

Thank you, poet. Thank you.
elisem: (Default)
To the Self-Described Young Up and Coming Poet Who Tried to Steal Rachel McKibbens' Poetry


You were aiming for a prize but
You tried to lift something
You cannot lift
Something that took seven years to write. Or forty-two to survive.

You tried to lift something
That was the languaging of someone else’s survival.
Something that took seven years to write. Or forty-two to survive.
You cannot call it your own, though.

That was the languaging of someone else’s survival:
Ink and blood.
You cannot call it your own, though
You did pay someone to push ink through a needle into your arm,

Ink and blood,
Marking you forever.
You did pay someone to push ink through a needle into your arm,
Something to be remembered,

Marking you forever
As a thief. A thief of words, a would-be thief of memory and blood.
Something to be remembered,
Though not the way you expected.

As a thief, a thief of words, a would-be thief of memory and blood,
You are almost as small as your broke-down regurgitated poetry.
Though not the way you expected,
This has undoubtedly been educational for you.

You are almost as small as your broke-down regurgitated poetry.
You tried to steal a real poet’s truth, but her truth is bigger.
This has undoubtedly been educational for you.
You can’t carry off that kind of truth.

You tried to steal a real poet’s truth, and her truth is bigger.
You were aiming for a prize but
You can’t carry off the kind of truth
You cannot lift.
elisem: (Default)
I was in New York City last month, and from my seat on the N train crossing the bridge, I looked at the Lady. Hello, Lady.


The New Colossus

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
"Keep, ancient lands, your storied pomp!" cries she
With silent lips. "Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tosst to me,
I lift my lamp beside the golden door!"

-- Emma Lazarus
elisem: (Default)

Praying Drunk

Our Father who art in heaven, I am drunk.
Again. Red wine. For which I offer thanks.
I ought to start with praise, but praise
comes hard to me. I stutter. Did I tell you
about the woman whom I taught, in bed,
this prayer? It starts with praise; the simple form
keeps things in order. I hear from her sometimes.
Do you? And after love, when I was hungry,
I said, Make me something to eat. She yelled,
Poof! You’re a casserole!—and laughed so hard
she fell out of the bed. Take care of her.

Next, confession—the dreary part. At night
deer drift from the dark woods and eat my garden.
They’re like enormous rats on stilts except,
of course, they’re beautiful. But why? What makes
them beautiful? I haven’t shot one yet.
I might. When I was twelve, I’d ride my bike
out to the dump and shoot the rats. It’s hard
to kill your rats, our Father. You have to use
a hollow point and hit them solidly.
A leg is not enough. The rat won’t pause.
Yeep! Yeep! it screams, and scrabbles, three-legged, back
into the trash, and I would feel a little bad
to kill something that wants to live
more savagely than I do, even if
it’s just a rat. My garden’s vanishing.
Perhaps I’ll merely plant more beans, though that
might mean more beautiful and hungry deer.
Who knows?
                   I’m sorry for the times I’ve driven
home past a black, enormous, twilight ridge.
Crested with mist, it looked like a giant wave
about to break and sweep across the valley,
and in my loneliness and fear I’ve thought,
O let it come and wash the whole world clean.
Forgive me. This is my favorite sin: despair—
whose love I celebrate with wine and prayer.

Our Father, thank you for all the birds and trees,
that nature stuff. I’m grateful for good health,
food, air, some laughs, and all the other things
I’m grateful that I’ve never had to do
without. I have confused myself. I’m glad
there’s not a rattrap large enough for deer.
While at the zoo last week, I sat and wept
when I saw one elephant insert his trunk
into another’s ass, pull out a lump,
and whip it back and forth impatiently
to free the goodies hidden in the lump.
I could have let it mean most anything,
but I was stunned again at just how little
we ask for in our lives. Don’t look! Don’t look!
Two young nuns tried to herd their giggling
schoolkids away. Line up, they called. Let’s go
and watch the monkeys in the monkey house.
I laughed, and got a dirty look. Dear Lord,
we lurch from metaphor to metaphor,
which is—let it be so—a form of praying.

I’m usually asleep by now—the time
for supplication. Requests. As if I’d stayed
up late and called the radio and asked
they play a sentimental song. Embarrassed.
I want a lot of money and a woman.
And, also, I want vanishing cream. You know—
a character like Popeye rubs it on
and disappears. Although you see right through him,
he’s there. He chuckles, stumbles into things,
and smoke that’s clearly visible escapes
from his invisible pipe. It makes me think,
sometimes, of you. What makes me think of me
is the poor jerk who wanders out on air
and then looks down. Below his feet, he sees
eternity, and suddenly his shoes
no longer work on nothingness, and down
he goes. As I fall past, remember me.


-- Andrew Hudgins, The Never-Ending: New Poems
elisem: (Default)
Lion and Angel Dividing the Maple Between Them

Easy to see
that the lion and angel
are one visitation,
but how do you come
to offer your throat to either?
In autumn, the trees
learn to drop off
both their disguises,
what finally fills them is simple.
The heart's deepest
affections will equally be devoured.
And still we go ankle deep
into that carnage, lifting first one,
then another part up to the light.
As if we were looking for something simple.
As if what we wanted
were not the thing that falls.

- Jane Hirshfield, The Lives of the Heart


I have loved this poem for a long time now. And I love Jane, who is my friend. Also this poem makes me remember another friend, Sharon Bishop, who loved the trees in winter best because then she could see their innermost shapes.
elisem: (elf hill)


Lion and Angel Dividing the Maple Between Them

Easy to see
that the lion and angel
are one visitation,
but how do you come
to offer your throat to either?
In autumn, the trees
learn to drop off
both their disguises,
what finally fills them is simple.
The heart's deepest
affections will equally be devoured.
And still we go ankle deep
into that carnage, lifting first one,
then another part up to the light.
As if we were looking for something simple.
As if what we wanted
were not the thing that falls.

- Jane Hirshfield, The Lives of the Heart


I have loved this poem for a long time now. And I love Jane, who is my friend. Also this poem makes me remember another friend, Sharon Bishop, who loved the trees in winter best because then she could see their innermost shapes.
elisem: (Default)
I'm going to do this thing. Might not manage it every day, but I'll do a bunch of days. To start, since I am in an indescribable mood, here's Richard Siken:
 
 
Visible World
 
    Sunlight pouring across your skin, your shadow
                                                                   flat on the wall.
         The dawn was breaking the bones of your heart like twigs.
You had not expected this,
                 the bedroom gone white, the astronomical light
                                                    pummeling you in a stream of fists.
     You raised your hand to your face as if
                   to hide it, the pink fingers gone gold as the light
streamed straight to the bone,
       as if you were the small room closed in glass
                                                 with every speck of dust illuminated.
         The light is no mystery,
the mystery is that there is something to keep the light
                                                                                 from passing through.
elisem: (Default)
"Poetry survives because it haunts and it haunts because it is simultaneously utterly clear and deeply mysterious; because it cannot be entirely accounted for, it cannot be exhausted." -- Louise Gluck, in the foreword to Katherine Larson's "Radial Symmetry" (Yale Series of Younger Poets).
elisem: (Default)
Yep, I'm the new poetry editor for Apex magazine.

Right now, I'm writing the submission guidelines. In another venue*, I found myself musing on what ... OK, ranting on what people shouldn't send me. I thought I'd better bring it over here for your reading delectation.



Don't Send Me:

1) Anything you wrote after thinking, "Oh, speculative poetry must be
an easy sell, especially for a mainstream poet like myself. I'll just
stick a unicorn in it or a spaceship or something. After all, there
cannot possibly be a vibrant poetry culture already going on there,
with some kick-ass poets."

2) Anything whose remarkable element is merely that it is speculative.
(It may be remarkable to you, but it's bread and butter to us.) Don't
just wave a neat idea or a set of atmospheric phrases around and call
it a poem. Go somewhere with it. No, take us somewhere with it. Or
bring that somewhere to us. Or make us see that it's been here all
along, underneath.

3) Anything written from a position of apathy about or contempt for
the genre of speculative fiction. Love the genre of speculative fiction
because it speaks to you. Or love-hate it because it speaks to you but
leaves you out much of the time -- and then write me something that
brings your speculative cosmos into focus.


However, if you really want to triumph, break any of these rules by
writing something so brilliant that I have to buy it anyhow. (This is
known as the Mike Ford method.)


*The WELL, if you were wondering.
elisem: (Default)
(I might as well pull this out of comments and give it its own post right away, right? Right.)


Now, gather round, younglings, a story I'll tell
Of the smart careful humans who staff JPL
All humans have missions, and these sure had thars:
To get Curiosity safely to Mars.

To go very far takes a wonderful mix:
Some humans who build, some humans who fix,
Some humans who watch and take copious notes,
Some who grew up dreaming of airplanes and boats,

And some of them dress like the person next door
And others like nothing imagined before.
Some paint up their hairdos with colors from jars,
and the Bobak Ferdowsis have stars upon thars.

Now all of these humans use science and math
To keep Curiosity safe on her path
Combining their knowledge, invention and skill
And in the control room, they work with a will.

You can see them, intent on their consoles and charts,
With bright shining eyes, with hope in their hearts,
They come in all colors, all shapes and all sizes,
And so do their hairdos -- they're full of surprises.

We thank every one as the roll is now called,
The long-haired, the short-haired, the fuzzy, the bald;
They sent Curiosity safely to Mars.
(And the Bobak Ferdowsis have stars upon thars!)


(note: link away with gladness, and reprint if you like, but please credit Elise Matthesen. Thanks!)
elisem: (Default)
A few of you who were at WisCon heard me do a piece at Lady Poetesses from Hell called "Stevie AND / Stevie AS." Here's the text, and yes, all the words are lyrics from songs Stevie either wrote or performed.

I can still hear you saying.... )


What is Lady Poetesses from Hell, you ask? It's a thing that happens involving a rotating cast of poets, some surprising poems, and (usually) some astonishing hats. Here's Jane Yolen in a fish hat from a 1999 LPfH reading at Minicon. Wish I could find a photo of Rez channeling Grace Lord Stoke, but the snapshot of him as a judge in this contest (scroll down) will have to do. (Grace Lord Stoke was hopelessly enamoured of H.P. Lovecraft. She continues to dictate her poems by curious etheric means to Rez. Oh, I can't explain; you'll just have to come to a LPfH reading and see. It's hilarious. EDITED TO ADD: Hey! I found one of the Grace Lord Stoke poems; it's item 11 in this list of entries.)
elisem: (Default)
'Tis brillig, and your safety card,
Does gimble in the pocket, right?
All mimsy is your safety belt:
Snug it and lock it tight.

Obey the lighted signs, my friend,
obey the crew, enjoy the ride;
Heed thou the lighted pathway to
the frumious exit slide.

If oxygen masks start to fall
put yours on first; do not delay.
Like Tum-tum trees, your cushion floats;
You'll up your odds that way.

And if in uffish thought you sit
plotting to smoke, you plot in vain.
There's whiffling in the tulgey wood
But none aboard this plane.

One two, one two, we have for you
Nice lavatories fore and aft
But touch those smoke detectors and
We'll bust you. Don't be daft.

And hast thou put thy luggage up
in that nice bin above your seat?
Stow it away! Callooh Callay!
Or put it by your feet.

We're making ready to depart
Seatbacks and trays may not be down.
Turn all arcane devices off
And we'll be off the ground.


(Yeah, there's poetry goofiness afoot over at Making Light again. I blame thank Abi for this round, which ate my brain until I finished that. Now I go back to getting cool stuff ready in the component section of the Current Shinies sale post.)

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Elise Matthesen

June 2026

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