Poetry by individual poets
Hinduism
Poetry and the Concept of Maya
$19.95
| Weight | .469 lbs |
|---|---|
| Audience | Trade/General (Adult) |
| Contributor | Britt, Alan, Churchill, David B |
| Format | Perfect Bound |
| Page Count | 130 |
| Publication Date | 1/25/2021 |
Patty Dickson Pieczka –
Review by Patty Dickson Pieczka
The Concept of Maya is a push-and-pull tango between two interesting mindsets—fanciful and analytical. When Alan Britt writes about plants in his yard, vines grow along his arm and wind down his finger, curving around his pen until they sprout on the page. David Churchill helps us dissect these leaves until every vein bleeds, using the prism of Maya, which reflects the light of poetry with three rays: one to obscure truth, another to project a world of broken forms, and a third that reveals the radiance of full consciousness and shows us the various levels of reality within the poem.
The poems in Chapter One are chilling in their simplicity and double meanings. On the surface, they appear to depict a suburban backyard, but set during the time of the tower bombings, a rough edge is scorched onto them, as in the poem, “September, 2001”
. . . a distant white dog
gnawing the first hour of late afternoon….
September leans on a split-rail fence
and watches yellow leaves
sail by in a swirling gust of ashes.
In Chapter Two, Churchill reminds us to search out the face of the speaker by finding consistencies from one poem to the next. Nature is a nearly constant theme, but here, Britt branches into poems about love, poetry, music, and delivers more beautiful and thought-provoking imagery as in, “Marrying Myths.”
I married a myth.
She drifted away.
I awoke
in the throat of a gold mine….
….But, tonight, I feel like dreaming
a new myth,
one with hips
of black wine,
one whose kisses resemble rainbirds
in shiny long black coats
strolling like stately gods of pepper
over St. Croix’s windy white sand
strewn with bruised yellow
and green palm fronds….
Churchill encourages us, in Chapter Three, to experience poetry as a child, seeing everything for the first time. This is never difficult with Britt’s poetry with its imagistic and unique perspectives. Consider his poem, “The Stars.”
“The Stars”
The stars are shamans.
They paint arroyos
the color
of Gilas:
bruised-orange,
black,
burnt-ochre.
Sand
flows through
the universe’s thin waist,
emerges
from
cottonwood’s
three hips
shaped
like
green
mantras.
Chapter Four takes a philosophical turn:
“Thoreau Says We Must Live Within Two Miles of Our Primary Childhood”
I sleep.
Alarm clock’s
green antlers
tear holes
in my significant dream
as solid as a wild mustang
of dry Arizona wind.
Raindrops splatter
like hollow, red,
shotgun cartridges.
Sleet hisses.
The Context of Maya is the kind of book that alters the mind. David Churchill studies the aerodynamics of Alan Britt as he drifts on his helium flight of unexplored concepts of poetry, swooping close to the ground only long enough to pick a flower that is likely to turn into a swarm of blue butterflies forming words in the clouds.