Mary Karr

Mary Karr Poems

I read somewhere
that if   pedestrians didn't break traffic laws to cross
Times Square whenever and by whatever means possible,
...

Jesus wound up with his body nailed to a tree—
a torment he practically begged for,
...

On this first dark day of the year
my daddy was born lo
these eighty-six years ago who now
has not drawn breath or held
...

The gym opened out
before us like a vast arena, the bleached floorboards
yawned toward a vanishing point, staggered seats high
...

Stare hard enough at the fabric of night,
and if you're predisposed to dark—let's say
the window you've picked is a black
postage stamp you spend hours at,
...

On the mudroad of plodding American bodies,
my son wove like an antelope from stall
to stall and want to want. I no'ed it all: the wind-up
...

Today I heard a rich and hungry boy verbatim quote
all last night's infomercials — an anorectic son
who bought with Daddy's Amex black card
the Bowflex machine and Abdomenizer,
plus a steak knife that doth slice
the inner skin of   his starving arms.
Poor broken child of   Eve myself,
to me, the flightless fly,
the listing, blistered, scalded.
I am the rod to their lightning.
Mine is the earhole their stories pierce.
At my altar the blouse is torn open
and the buttons sailed across
the incensed air space of the nave,
that I may witness the mastectomy scars
crisscrossed like barbed wire, like bandoliers.
To me, the mother carries the ash contents
of   the long-ago incinerated girl.
She begs me for comfort since my own son
was worse tortured. Justice,
they wail for — mercy?
Each prostrate body I hold my arms out for
is a cross my son is nailed to.
...

While the tennis ball went back and forth in time
A girl was burning. While the tonic took its greeny
Acid lime, a girl was burning. While the ruby sun fell
From a cloud's bent claws and Wimbledon was won
And lost, we sprawled along the shore in chairs,
We breathed the azure airs alongside
A girl with the thinnest arms all scarred and scored
With marks she'd made herself —
She sat with us in flames
That not all saw or saw but couldn't say at risk
Of seeming impolite. And later we'd all think
Of the monk who'd doused himself with gas,
Lit a match, then sat unmoving and alert amid
Devouring light. She didn't speak. She touched
No aspect of our silly selves.
I was the awkward guest everybody hardly knew.
She was an almost ghost her mother saw
Erasing the edges of herself each day
Smudging the lines like charcoal while her parents
Redrew her secretly into being over and
Again each night and dawn and sleepless
All years long. Having seen that mother's love,
I testify: It was ocean endless. One drop could've
Brought to life the deadest Christ, and she
Emptied herself into that blazing child with all her might
And stared a hundred million miles into
The girl's slender, dwindling shape.
Her father was the devoted king of helicopter pad
And putting green. His baby burned as we
All watched in disbelief.
I was the facile friend of friends insisting on a hug
Who hadn't been along for years of doctors, wards,
And protocols. I forced her sadness close. I said
C'mon let's hug it out. Her arms were white
Birch twigs that scissored stiffly at my neck till she
Slid on. That night we watched
Some fireworks on the dewy lawn for it was
Independence Day. Soon after, she was gone.
She was the flaming tower we all dared

To jump from. So she burned.
...

From the far star points of his pinned extremities,
cold inched in—black ice and squid ink—
till the hung flesh was empty.
Lonely in that void even for pain,
he missed his splintered feet,
the human stare buried in his face.
He ached for two hands made of meat
he could reach to the end of.
In the corpse's core, the stone fist
of his heart began to bang
on the stiff chest's door, and breath spilled
back into that battered shape. Now

it's your limbs he comes to fill, as warm water
shatters at birth, rivering every way.
...

Once warring factions agreed upon the date
and final form the apocalypse would take,
and whether dogs and cats and certain trees
deserved to sail, and if the dead would come or be left
a forwarding address, then opposing soldiers
met on ravaged plains to shake hands
and postulate the exact shade
of the astral self—some said lavender,
others gray. And physicists rocketed
copies of the decree to paradise
in case God had anything to say,
the silence that followed being taken
for consent, and so citizens
readied for celestial ascent.

Those who hated the idea stayed indoors
till the appointed day. When the moon
clicked over the sun like a black lens
over a white eye, they stepped out
onto porches and balconies to see
the human shapes twist and rise
through violet sky and hear trees uproot
with a sound like enormous zippers
unfastening. And when the last grassblades
filled the air, the lonely vigilants fell
in empty fields to press their bodies
hard into dirt, hugging their own outlines.

Then the creator peered down from his perch,
as the wind of departing souls tore the hair
of those remaining into wild coronas,
and he mourned for them as a father
for defiant children, and he knew that each
small skull held, if not some vision
of his garden, then its aroma of basil
and tangerine washed over by the rotting sea.
They alone sensed what he'd wanted
as he first stuck his shovel into clay
and flung the planets over his shoulder,
or used his thumbnail to cut smiles and frowns
on the first blank faces. Even as the saints
arrived to line before his throne singing
and a wisteria poked its lank blossoms
through the cloudbank at his feet,
he trained his gaze on the deflating globe
where the last spreadeagled Xs clung like insects,
then vanished in puffs of luminous smoke,

which traveled a long way to sting his nostrils,
the journey lasting more than ten lifetimes.
A mauve vine corkscrewed up from the deep
oblivion, carrying the singed fume
of things beautiful, noble, and wrong.
...

Before my first communion, I clung to doubt
as Satan spider-like stalked
the orb of dark surrounding Eden

for a wormhole into paradise.
God had formed me from gel in my mother's womb,
injected by my dad's smart shoot.

They swapped sighs until
I came, smaller than a bite of burger.
Quietly, I grew till my lungs were done

then the Lord sailed a soul
like a lit arrow to inhabit me.
Maybe that piercing

made me howl at birth,
or the masked creatures whose scalpel
cut a lightning bolt to free me.

I was hoisted by the heels and swatted, fed
and hauled around. Time-lapse photos show
my fingers grow past crayon outlines,

my feet come to fill spike heels.
Eventually, I lurched out
to kiss the wrong mouths, get stewed,

and sulk around. Christ always stood
to one side with a glass of water.
I swatted the sap away.

When my thirst got great enough to ask,
a clear stream welled up inside,
some jade wave buoyed me forward,

and I found myself upright
in the instant, with a garden
inside my own ribs aflourish.

There, the arbor leafs.
The vines push out plump grapes.
You are loved, someone said. Take that

and eat it.
...

In the valley of your art history book,
the corpses stack in the back of a cart
drawn by an ox whose rolling shoulder muscles
show its considerable weight.

He does this often. His velvet nostrils
flare to indicate the stench.

It's the smell you catch after class
while descending a urine-soaked
subway stair on a summer night
in a neighborhood where cabs won't drive:
the odor of dead flowers, fear
multiplied a thousand times.

The train door's hiss
seals you inside with a frail boy
swaying from a silver hoop.
He coughs in your direction, his eyes
are burn holes in his face.

Back in the fourteenth-century print
lying in your lap, a hand
white as an orchid has sprouted
from the pyramid of flesh.
It claws the smoky air.

Were it not for that,
the cart might carry green cordwood
(the human body knobby and unplaned).

Wrap your fingers around your neck
and feel the stony glands.
Count the holes in your belt loop
for lost weight.

In the black unfurling glass,
study the hard planes of your face.

Compare it to the prom picture
in your wallet, the orchid
pinned to your chest like a spider.

Think of the flames
at your high school bonfire
licking the black sky, ashes rising,
innumerable stars. The fingers that wove
with your fingers
have somehow turned to bone.

The subway shudders between dark and light.
The ox plods across the page.

Think of everyone
you ever loved: the boy
who gets off at your stop
is a faint ideogram for each.

Offer him your hand.
Help him climb the stair.
...

The King saith, and his arm swept the landscape's foliage into bloom
where he hath inscribed the secret mysteries of his love
before at last taking himself away. His head away. His
recording hand. So his worshipful subjects must imagine
themselves in his loving fulfillment, who were no more
than instruments of his creation. Pawns.
Apparati. Away, he took himself and left us
studying the smudged sky. Soft pencil lead.

Once he was not a king, only a pale boy staring down
from the high dive. The contest was seriousness
he decided, who shaped himself for genus genius
and nothing less. Among genii, whoever dies first wins.
Or so he thought. He wanted the web browsers to ping
his name in literary mention everywhere on the world wide web.

He wanted relief from his head, which acted as spider
and inner web weaver. The boy was a live thing tumbled in its thread
and tapped and fed off, siphoned from. His head kecked back
and howling from inside the bone castle from whence he came
to hate the court he held.

He was crowned with loneliness
and suffered for friendship, for fealty
of the noblest sort. The invisible crown
rounded his temples tighter than any turban,
more binding than a wedding band,
and he sat in his round tower
on the rounding earth.
Read these,
saith the King, and put down his pen, hearing
himself inwardly holding forth on the dullest
aspects of the human heart
with the sharpest possible wit. Unreadable
as Pound on usury or Aquinas on sex.

I know the noose made an oval portrait frame for his face.
And duct tape around the base of the Ziploc
bag was an air-tight chamber
for the regal head—most serious relic,
breathlessly lecturing in the hall of silence.
...

I came awake in kindergarten,
under the letter K chalked neat
on a field-green placard leaned

on the blackboard's top edge. They'd caged me
in a metal desk—the dull word writ
to show K's sound. But K meant kick and kill

when a boy I'd kissed drew me
as a whiskered troll in art. On my sheet,
the puffy clouds I made to keep rain in

let torrents dagger loose. 'Screw those
who color in the lines,' my mom had preached,
words I shared that landed me on a short chair

facing the corner's empty, sheetrock page. Craning up,
I found my K high above.
You'll have to grow to here, its silence said.

And in the surrounding alphabet, my whole life hid—
names of my beloveds, sacred vows I'd break.
With my pencil stub applied to wall,

I moved around the loops and vectors,
Z to A, learning how to mean, how
in the mean world to be.

But while I worked the room around me
began to smudge—like a charcoal sketch my mom
was rubbing with her thumb. Then

the instant went, the month, and every season
smeared, till with a wrenching arm tug
I was here, grown, but still bent

to set down words before the black eraser
swipes our moment into cloud, dispersing all
to zip. And when I blunder in the valley

of the shadow of blank about to break
in half, my being leans against my spinal K,
which props me up, broomstick straight,

a strong bone in the crypt of meat I am.
...

Mary Karr Biography

Mary Karr (born January 16, 1955) is an American poet, essayist and memoirist. She rose to fame in 1995 with the publication of her bestselling memoir The Liars' Club. She is the Peck Professor of English Literature at Syracuse University. On May 10, 2015, Karr delivered the commencement speech at the Carrier Dome at Syracuse University. Her memoir The Liars' Club, published in 1995, was a New York Times bestseller for over a year, and was named one of the year's best books. It delves vividly and often humorously into her deeply troubled childhood, most of which was spent in a gritty industrial section of Southeast Texas in the 1960s. She was encouraged to write her personal history by her friend Tobias Wolff, but has said she only took up the project when her marriage fell apart. She followed the book with another memoir, Cherry (2000), about her late adolescence and early womanhood. A third memoir, Lit: A Memoir, which she says details "my journey from blackbelt sinner and lifelong agnostic to unlikely Catholic," came out in November 2009. She writes about her time as an alcoholic and the salvation she found in her conversion to Catholicism. She does, however, describe herself as a cafeteria catholic. Karr was a Guggenheim Fellow in poetry in 2005 and has won Pushcart prizes for both her poetry and her essays. Karr has published four volumes of poetry: Abacus (Wesleyan University Press, CT, 1987, in its New Poets series), The Devil's Tour (New Directions NY, 1993, an original TPB), Viper Rum (New Directions NY, 1998, an original TPB), and her new volume Sinners Welcome (HarperCollins, NY 2006). Her poems have appeared in major literary magazines such as Poetry, The New Yorker, and The Atlantic Monthly. Karr's Pushcart Award winning essay, "Against Decoration", was originally published in the quarterly review Parnassus (1991) and later reprinted in Viper Rum. In this essay Karr took a stand in favor of content over poetic style. She argued emotions need to be directly expressed, and clarity should be a watch-word: characters are too obscure, the presented physical world is often "foggy" (that is imprecise), references are "showy" (both non-germane and overused), metaphors over-shadow expected meaning, and techniques of language (polysyllables, archaic words, intricate syntax, "yards of adjectives") only "slow a reader"'s understanding. Karr directly criticized well-known, well-connected, and award-winning poets such as James Merrill, Amy Clampitt, Vijay Seshadri, and Rosanna Warren (daughter of Pulitzer Prize winner Robert Penn Warren). Karr favors controlled elegance to create transcendent poetic meaning out of not-quite-ordinary moments, presenting James Merrill's "Charles on Fire" as a successful example. Another essay, "Facing Altars: Poetry and Prayer", was originally published in Poetry (2005). Karr tells of moving from agnostic alcoholic to baptized Catholic of the decidedly "cafeteria" kind, yet one who prays twice daily with loud fervor from her "foxhole". In this essay Karr argues that poetry and prayer arise from the same sources within us.)

The Best Poem Of Mary Karr

A Perfect Mess

I read somewhere
that if   pedestrians didn't break traffic laws to cross
Times Square whenever and by whatever means possible,

the whole city
would stop, it would stop.
Cars would back up to Rhode Island,
an epic gridlock not even a cat
could thread through. It's not law but the sprawl
of our separate wills that keeps us all flowing. Today I loved
the unprecedented gall
of the piano movers, shoving a roped-up baby grand
up Ninth Avenue before a thunderstorm.
They were a grim and hefty pair, cynical
as any day laborers. They knew what was coming,
the instrument white lacquered, the sky bulging black
as a bad water balloon and in one pinprick instant
it burst. A downpour like a fire hose.
For a few heartbeats, the whole city stalled,
paused, a heart thump, then it all went staccato.
And it was my pleasure to witness a not
insignificant miracle: in one instant every black
umbrella in Hell's Kitchen opened on cue, everyone
still moving. It was a scene from an unwritten opera,
the sails of some vast armada.
And four old ladies interrupted their own slow progress
to accompany the piano movers.
each holding what might have once been
lace parasols over the grunting men. I passed next
the crowd of pastel ballerinas huddled
under the corner awning,
in line for an open call — stork-limbed, ankles
zigzagged with ribbon, a few passing a lit cigarette
around. The city feeds on beauty, starves
for it, breeds it. Coming home after midnight,
to my deserted block with its famously high
subway-rat count, I heard a tenor exhale pure
longing down the brick canyons, the steaming moon
opened its mouth to drink from on high ...

Mary Karr Comments

John Noonan 22 November 2017

Just great...love her poems! !

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