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2 notes &

Ode to a Happy Man (Poem by Corinna Parr)

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MAIDEN MOTHER CRONE (A Pagan Short Story by Corinna Parr)

By seed and nut, bough and leaf, vine and tree; by these things, and the stars, the moon, the sun, by earth and sky:I swear my story to be true.I was a child when they came for me at my mother’s hearth. Blooded, blossoming, long of leg and flat of chest, Epona’s daughter in form and grace. I was a child still when they drove me away, heavy with the ashes of my own burial. Sore in heart, and body, and mind; my purpose to my people served.Between the taking and the leaving were three days, for three is the number of the old ways and the old gods in the mountains where I lived, surrounded on all sides by rock or sky, and their bridge the trees.Three days, filled with the passage of one life.I was child, lover, mother, grandmother, ghost; born of earth and given back to it.I sing the song of the sacrifice.***On the dawn of the first day, I was taken from my mother to be reborn. The grandmothers of my village came in silence, they took me away in silence.I have not seen my mother since.To the earth’s mouth they brought me, scolding my tears with fierce frowns and pinching fingers. It was not yet my time to cry.With gnarled hands, they took my clothes and washed me. They rubbed my skin with fat of the bear and ochre of the earth, until I gleamed red in the torchlight of the cave.My eyes were sealed, ears stopped, hair shorn, mouth closed. They bound my knees to my chest and my arms to my sides. Wrapped in heavy bearskins, they left me, taking their fire with them.Alone, in the warm dark of an earthy womb.I wish that I could tell you what thoughts came to me there in the dark, in the eternity that passed. But what an infant dreams is left in the womb, left safe in its mother’s keeping, when it passes between that world and this.After a time— it might have been an hour, a day, a year— they came for me. Lifted and steadied, I was pushed to the mouth of the cave where my people waited, breathless and silent.As I stumbled from my womb, my eyes were pierced with light and I screamed, for I knew it was expected of me. My scream was met with glad cries and the tears of women, for I was their child now, and we had survived the winter.That day, all was happiness, celebration for my birth. I danced with the children, my siblings, and went from mother to mother, accepting treats and kisses. I knew their pride as I sang, and skipped, and laughed.When I fell exhausted, as the stars began to fade with early light, I was lifted in the arms of a father and carried away to a soft bed where I closed my eyes, and in closing them, slept.***On the dawn of the second day, I was taken to the river to bathe the red earth away. The mothers of the village came with laughter, and helped wash me with songs.This was to be the day of my wedding.When my skin tingled from cold air and colder water, the bangles of a bride were fitted around my wrists, my ankles, throat and waist, and bells were woven through what remained of my hair. They painted me with blue spirals, marking the lines of eternity on belly, breasts, back, legs and arms.As my mothers worked they taught me the wisdom of wives, the wisdom of mothers, the wisdom of lovers. With blushes and secret smiles, they taught me.When they were finished and I stood dressed only in paint, and bells, and beads, we danced to the village where the men waited; my husbands, naked, painted as I was, watching my mothers and sisters, and myself, dance.I was shy at first, dancing in the center of three circles of women, my eyes down, my face hot, my feet shuffling in the grass. I grew bolder as their voices formed our music, and I learned the invitation of a smile, of swaying hips, and outstretched hands.Soon they joined the dance, stalking their way through the circles of woman to gain my side. I welcomed them, by spinning until the bells in my hair sang, and stamping my feet until the bells at my ankles sang, and lifting my hands to the sky, until my heart sang that it was time.With no warning to my husbands, I ran.***The sun was still soft with morning when I raced to be caught, hardly able to hear the sounds of pursuit for the roar of my pulse in my ears.I ran till the trees grew scarce, till my lungs burned like fire, and my legs grew weak.But Mare’s child, gifted with speed and grace, could not outfly the Sons of the Raven. I fell to the strongest, like a mouse to the fox. With teeth at my neck, hands at my shoulders, chest to my back, I was unmade.The feel of fire, the scent of blood, the song of sighs…This is what it is to be a bride.It was not all pain; in the arms of my husband I was returned to my people to enjoy my bride-feast, and give the blessing of the Mother to those children who approached me, shyly— so shyly— to suck at my breast; warding off ill health until the next spring and the next Mother.Again there were songs, and the dancing, and the laughter and smiles. I learned the love of a husband, for he held me close, with tenderness, with care, with pleasure, while all around us man fell down with woman to share the blessing of our wedding.In his arms, as the stars burned out, I closed my eyes and in closing them, slept.***On the dawn of the third day, I was taken to the cold hearths of the village. The children came for me with sighs, tiny fingers linked with mine.It was finally my time to cry.Each person cast a handful of ash on my head; I can still taste it, bitter and heavy on my tongue, stinging in my eyes, until I was the grey of a winter morning. With each handful, they pressed their head to my breasts, and wept, for mothers, fathers, children, lovers. All lost in the winter.They whispered messages for me to carry; each was heavier than the bearskins that bowed my back, and weighted my shoulders, and slowed my steps with the illusion of years.My tears met each whisper, my lips found their lips to press dry kisses of blessing, of promise. This was my final purpose.As women wailed and tore their hair, I was taken again to the earth’s great mouth, where once more I was bound within skins and carried inside past the place of my birth, to a darker place.Cold…So cold, the stone.They left me, surrounded by bones wrapped in old scraps of bearskin, where I was to close my eyes, and in closing them, die.

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Ann says:  Epona was a Celtic and Roman horse-goddess, daughter of a man and a mare.  She was believed to lead souls into the afterlife.  This tale explores the three stages in a woman’s life: maiden, mother, and crone.
Among her many talents, Corinna Parr is a writer of literary erotica par excellance.  You can find her work here.
Copyright 2013 by Corinna Parr.
Image: Epona by Susan Seddon-Boulet.
.

MAIDEN MOTHER CRONE (A Pagan Short Story by Corinna Parr)

By seed and nut, bough and leaf, vine and tree; by these things, and the stars, the moon, the sun, by earth and sky:

I swear my story to be true.

I was a child when they came for me at my mother’s hearth. Blooded, blossoming, long of leg and flat of chest, Epona’s daughter in form and grace. I was a child still when they drove me away, heavy with the ashes of my own burial. Sore in heart, and body, and mind; my purpose to my people served.

Between the taking and the leaving were three days, for three is the number of the old ways and the old gods in the mountains where I lived, surrounded on all sides by rock or sky, and their bridge the trees.

Three days, filled with the passage of one life.

I was child, lover, mother, grandmother, ghost; born of earth and given back to it.

I sing the song of the sacrifice.

***

On the dawn of the first day, I was taken from my mother to be reborn. The grandmothers of my village came in silence, they took me away in silence.

I have not seen my mother since.

To the earth’s mouth they brought me, scolding my tears with fierce frowns and pinching fingers. It was not yet my time to cry.

With gnarled hands, they took my clothes and washed me. They rubbed my skin with fat of the bear and ochre of the earth, until I gleamed red in the torchlight of the cave.

My eyes were sealed, ears stopped, hair shorn, mouth closed. They bound my knees to my chest and my arms to my sides. Wrapped in heavy bearskins, they left me, taking their fire with them.

Alone, in the warm dark of an earthy womb.

I wish that I could tell you what thoughts came to me there in the dark, in the eternity that passed. But what an infant dreams is left in the womb, left safe in its mother’s keeping, when it passes between that world and this.

After a time— it might have been an hour, a day, a year— they came for me. Lifted and steadied, I was pushed to the mouth of the cave where my people waited, breathless and silent.

As I stumbled from my womb, my eyes were pierced with light and I screamed, for I knew it was expected of me. My scream was met with glad cries and the tears of women, for I was their child now, and we had survived the winter.

That day, all was happiness, celebration for my birth. I danced with the children, my siblings, and went from mother to mother, accepting treats and kisses. I knew their pride as I sang, and skipped, and laughed.

When I fell exhausted, as the stars began to fade with early light, I was lifted in the arms of a father and carried away to a soft bed where I closed my eyes, and in closing them, slept.

***

On the dawn of the second day, I was taken to the river to bathe the red earth away. The mothers of the village came with laughter, and helped wash me with songs.

This was to be the day of my wedding.

When my skin tingled from cold air and colder water, the bangles of a bride were fitted around my wrists, my ankles, throat and waist, and bells were woven through what remained of my hair. They painted me with blue spirals, marking the lines of eternity on belly, breasts, back, legs and arms.

As my mothers worked they taught me the wisdom of wives, the wisdom of mothers, the wisdom of lovers. With blushes and secret smiles, they taught me.

When they were finished and I stood dressed only in paint, and bells, and beads, we danced to the village where the men waited; my husbands, naked, painted as I was, watching my mothers and sisters, and myself, dance.

I was shy at first, dancing in the center of three circles of women, my eyes down, my face hot, my feet shuffling in the grass. I grew bolder as their voices formed our music, and I learned the invitation of a smile, of swaying hips, and outstretched hands.

Soon they joined the dance, stalking their way through the circles of woman to gain my side. I welcomed them, by spinning until the bells in my hair sang, and stamping my feet until the bells at my ankles sang, and lifting my hands to the sky, until my heart sang that it was time.

With no warning to my husbands, I ran.

***

The sun was still soft with morning when I raced to be caught, hardly able to hear the sounds of pursuit for the roar of my pulse in my ears.

I ran till the trees grew scarce, till my lungs burned like fire, and my legs grew weak.

But Mare’s child, gifted with speed and grace, could not outfly the Sons of the Raven. I fell to the strongest, like a mouse to the fox. With teeth at my neck, hands at my shoulders, chest to my back, I was unmade.

The feel of fire, the scent of blood, the song of sighs…

This is what it is to be a bride.

It was not all pain; in the arms of my husband I was returned to my people to enjoy my bride-feast, and give the blessing of the Mother to those children who approached me, shyly— so shyly— to suck at my breast; warding off ill health until the next spring and the next Mother.

Again there were songs, and the dancing, and the laughter and smiles. I learned the love of a husband, for he held me close, with tenderness, with care, with pleasure, while all around us man fell down with woman to share the blessing of our wedding.

In his arms, as the stars burned out, I closed my eyes and in closing them, slept.

***

On the dawn of the third day, I was taken to the cold hearths of the village. The children came for me with sighs, tiny fingers linked with mine.

It was finally my time to cry.

Each person cast a handful of ash on my head; I can still taste it, bitter and heavy on my tongue, stinging in my eyes, until I was the grey of a winter morning. With each handful, they pressed their head to my breasts, and wept, for mothers, fathers, children, lovers. All lost in the winter.

They whispered messages for me to carry; each was heavier than the bearskins that bowed my back, and weighted my shoulders, and slowed my steps with the illusion of years.

My tears met each whisper, my lips found their lips to press dry kisses of blessing, of promise. This was my final purpose.

As women wailed and tore their hair, I was taken again to the earth’s great mouth, where once more I was bound within skins and carried inside past the place of my birth, to a darker place.

Cold…

So cold, the stone.

They left me, surrounded by bones wrapped in old scraps of bearskin, where I was to close my eyes, and in closing them, die.

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

Ann says:  Epona was a Celtic and Roman horse-goddess, daughter of a man and a mare.  She was believed to lead souls into the afterlife.  This tale explores the three stages in a woman’s life: maiden, mother, and crone.

Among her many talents, Corinna Parr is a writer of literary erotica par excellance.  You can find her work here.

Copyright 2013 by Corinna Parr.

Image: Epona by Susan Seddon-Boulet.

.

Filed under prose poem story lit long-reads pagan wicca druid celtic mythology epona corinna parr short story

5 notes &




It happened like this:when they flew, great wings whistling,the river leading the way,you squeezed my crumb-dusted handand we watched them go.






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Ann says: Among her many talents, Corinna Parr is a writer of literary erotica par excellance.  You can find her work here.
Copyright 2013 by Corinna Parr.
Image: Patrick Seeger


It happened like this:
when they flew, great wings whistling,
the river leading the way,
you squeezed my crumb-dusted hand
and we watched them go.


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

Ann says: Among her many talents, Corinna Parr is a writer of literary erotica par excellance.  You can find her work here.

Copyright 2013 by Corinna Parr.

Image: Patrick Seeger

Filed under poem poems poetry poets corinna parr imagist nature eco waterfowl kids parents ducks parks zoos birds birders lit

47 notes &

Peace, Poet (Poem by Corinna Parr)

Filed under poem poems poetry lit corinna parr writers authors writing seashore nature shelling flotsam poets

44 notes &

Maiden, Mother, Crone: The Writing of Corinna Parr and Barbary Chaapel

Corinna Parr, Imagist

image

When I read fiction, be it prose or poetry, I want pictures in my mind, and no one creates mental pictures better than Corinna Parr.

This young author’s work is akin to that of the Imagists, a 19th-century group of writers containing many women. Like the Imagist’s work, Corinna’s writing features clear visuals, precise language, and mythological themes.

As her charming essay Memory of Magic reveals, Corinna is a born poet. At the age of five, while playing with other kids in a sprinkler, she saw spontaneous circles of children shift into a variety of geometric shapes.  Corinna was carried away by the beauty of the impromptu dance: I’ve remembered it, and in remembering have caught glimpses of the pattern of magic elsewhere.”

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This childhood experience seems to inform the poetry Corinna writes today.  You can see it in her magic-laden prose-poem Maiden Mother Crone in which a daughter of Epona (a horse-goddess) emerges from the earth and has only three days in which to live a full woman’s life.  The story’s climax is a three-circled dance ceremony.

What this young poet celebrates most, however, is sex and the complementarity of men and women.  She often writes of a frustrated yearning to merge with her lover, to feel and understand his maleness.  From Ode to Happy Man:

image

…Oh, if I could
press you
into myself and
drink the masculinity
of you, become one
with it and
truly know what it is
to be a happy man,
I would.
For me, it is only ever
the imperfect joining,
the spill of fluids
and your ragged breath
caught in the cup of my
mouth.

Corinna walks the fine edge of erotica, writing sensual poems that stop just short of being explicit.  But sometimes she delves deeper, exploring the ways in which submission flows naturally from her femininity.  Corinna is not afraid to cross lines, and the short story Captivity (written in collaboration with James Ciriaco), set in colonial America, is both terrifyingly violent and psychologically astute.  For BDSM fans, this is the most natural, least forced piece of that genre I have read.

Corinna’s muse embraces motherhood as enthusiastically as she embraces sex. The Butterfly Shirt speaks of a three year-old who’s precociously gallant, and Corinna beautifully unveils the tensions between mother and son.  The short sentences of this poem hold the reader in a tight mother’s squeeze until gravity takes over at the end:

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If you knew,
little man,
what you do
to my heart
when you tell
me to wear
the butterfly shirt
because it makes
me beautiful,
you would then
understand
why I cry
and hug you
until you complain,
“Mama, put me 
down!”

Corinna is not shy about pondering her own mortality.  In The Universe is Bloodless she expands her poetic reach, reflecting on the fact that it’s not flesh and blood but star-stuff that composes the universe, and this is a form to which our bodies will one day return:

image

Stroke your arm and think:
The universe is bloodless,
Not I; this body
of flesh, veins, soft pulsing heart,
made to spill, to break;
Life, to the beat of mad drums,
or hands on my skin.
The universe is bloodless;
Not I, this body of flesh.

The narrator draws a sharp contrast between her youthful zeal and the cold indifference of inert matter.  Though she makes life seem exceedingly fragile, faith shines through her words. In asserting that she is not her body, Corinna also asserts that some part of her will survive death.  Her writing will stand the test of time because Corinna Parr’s passion for life is infectious.  As her profile says:

“Breathe, cry out, sing, or don’t write at all.”

 

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Barbary Chaapel Weds Water and Land

Barbary Chaapel excels at capturing sensory impressions and weaving them into universal themes. Her beautiful Quartet of Seasons takes us through a symbolic year of life in her Appalachian home, seamlessly mixing rhythms of nature, people, and ghosts. Here is Spring:

image

Alive, the mountains,

The rills and runs,


Light spilling over new green.

Look beyond the tulip tree buds:

Wood smoke, elixir

From a chimney in the clearing,

Where every April, my flower bed

Gives up a marble, a shooter -


Imagine marble-clicking sounds -

Lost to the earth by long-ago farm children…

Although she was born in rural West Virginia and grew up in the Great Lakes region, Barbary spent seven years sailing the Caribbean with her husband.  This voyage yielded her first two books, The Journey of The Snow Goose (prose)and No Name Harbo(poetry).

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In he recent poetry collection EstuaryBarbary contemplates the opposing forces of her life, symbolically joining her earthly roots with her seafaring adventures:

“The estuary inside me, a confluence, words of earth and fire from mountain to sea.”

But Barbary’s work isn’t predictable.  She blew me away with her unconventional poem Simulation, in which she once again touches on a journey from water to land.

In it Barbary writes of  an abnormal pregnancy (fetus in fetu) in which a smaller, partially-developed fetus grows on a normal one.  The larger fetus, soon to give up her watery life for one on land, narrates the poem with loving acceptance of her little stow-away:

image

We turn in on each other

In those first months of sacred knowing.

I am sweet fruit. She swims naked in

The red-black juice of a pomegranate…

 

I signal baby kisses

To my little aril other,

Her tiny foot and leg tilt in my round pan

Of a brain. I become the boat,

She, the norish voyageur,

Fetus in fetu.

But I think this is more than a poem about a stowaway, a parasite, or a haunting. This is about the growing realization that one carries something that has been there all along and requires nurturing: a soul.  For even the “monster-born” are children of God.

Like Corinna Parr, Barbary Chaapel has written a poem (Maiden, Mother, Crone) about the three stages of a woman’s life. Although Corinna looks at a woman’s life from a broad mythological perspective, Barbary ties her reflections to a specific place and time:

On tiptoe at lamplighted cottage window,

She peers into the corners of her kitchen life

Sacred sentinels…

Iron skillet, greenglass juicer, apron strings:

Her life as a woman,

New moon, full moon, nearly dark moon.

image

Notice how carefully Barbary has placed objects in the kitchen of her life— a skillet (masculine imagery), a juicer for extracting essence, and apron strings for children to cling to.  What more could a woman want?

Barbary’s current project is a charming book of poems called A Child’s Calender of Verse.  Here’s a sneak preview for you: When the 11th Month Comes:

The fishes sleep

their long winter sleep.

They doze under a skim of November ice.

A slow-motion video swims behind their round

fishy eyes…worms, wriggling provocatively.

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Reading the work of these two gifted women makes me wish I were a poet.  But not being one seems less important knowing that I have Corinna Parr and Barbary Chaapel to speak for me.

 

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Corinna Parr’s web site.

Barbary Chaapel’s web site.

Copyright 2013 by Ann Marcaida.

All images are stocks from Google Image

Filed under barbary chaapel corinna parr critique imagists james ciriaco jessica phare litertaure maiden mother crone modern poetry painting poem poems poetess poetry poets reading poetry women words essay literature lit