Catherine Barnett is an American poet and educator. She is the author of The Game of Boxes (Graywolf Press, 2012) and Into Perfect Spheres Such Holes Are Pierced (Alice James Books, 2004), winner of the Beatrice Hawley Award. Her honors include a Whiting Writer's Award and a Guggenheim Fellowship. She has published widely in journals and magazines including The American Poetry Review, Barrow Street, The Iowa Review, The Kenyon Review, The Massachusetts Review, Pleiades, The Virginia Quarterly Review, and The Washington Post. Barnett is an instructor at New York University[1] and The New School and has been the Visiting Poet at Barnard College. As poet-in-residence at the Children’s Museum of Manhattan, she teaches writing to young mothers in New York City’s shelter system. She also works as an independent editor and recently collaborated with the composer Richard Einhorn on the libretto for "The Origin," his multimedia oratorio about the life of Charles Darwin. In addition, she is a member of the Alice James Books Cooperative Board. She received her B.A. from Princeton University and an MFA from Warren Wilson College MFA Program for Writers.
So who mothers the mothers
who tend the hallways of mothers,
the spill of mothers, the smell of mothers,
...
What's funny about this place
is us regulars coming in with our different
accoutrements, mine usually the little void
of space I call honey, days
...
My father scolded us all for refusing his liquor.
He kept buying tequila, and steak for the grill,
until finally we joined him, making margaritas,
cutting the fat off the bone.
When he saw how we drank, my sister
shredding the black labels into her glass
while his remaining grandchildren
dragged their thin bunk bed mattresses
first out to the lawn to play
then farther up the field to sleep next to her,
I think it was then he changed,
something in him died. He's gentler now,
quiet, losing weight though every night
he eats the same ice cream he always ate
only now he's not drinking,
he doesn't fall asleep with the spoon in his hand,
he waits for my mother to come lie down with him.
...
Mostly I'd like to feel a little less, know a little more.
Knots are on the top of my list of what I want to know.
Who was it who taught me to burn the end of the cord
to keep it from fraying?
Not the man who called my life a debacle,
a word whose sound I love.
In a debacle things are unleashed.
Roots of words are like knots I think when I read the dictionary.
I read other books, sure. Recently I learned how trees communicate,
the way they send sugar through their roots to the trees that are ailing.
They don't use words, but they can be said to love.
They might lean in one direction to leave a little extra light for another tree.
And I admire the way they grow right through fences, nothing
stops them, it's called inosculation: to unite by openings, to connect
or join so as to become or make continuous, from osculare,
to provide with a mouth, from osculum, little mouth.
Sometimes when I'm alone I go outside with my big little mouth
and speak to the trees as if I were a birch among birches.
...
So this morning I made a list
of obsessions and you were on it.
And waiting, and forgiveness, and five-dollar bills,
and despots, telescopes, anonymity, beauty,
silent comedy, and waiting.
I could forswear all these things
and just crawl back into the bed
you and I once slept in.
What would happen then?
Play any film backwards and it's elegy.
Play it fast-forward it's a gas.
I try not to get attached.
But Lincoln!
I see stars when I look at him.
...