There’s a mountain I talk to on a fairly regular basis–really, two mountains, Big House Mountain and Little House Mountain. From the window of my study, one shoulders the other nearly out of view. On a clear day, sometimes I can see the difference. Today both are occluded by dull white mists.
Instead of trying to engage a sulky landscape in conversation, then, I’m browsing the last in-print issue–really, two issues–of Crab Orchard Review, the first magazine ever to pay me for a poem. I have an essay in the general half, 21.1. The company is brilliant: Kaveh Akbar, Kim Bridgford, Chelsea Dingman, Annie Finch, Afaa M. Weaver, and many others. The prize-winning essay, “Slight” by Kristine Langley Mahler, is a stunner. A spooky poem by Emily Rosko, “A Phase,” seems to be about a lost friend, as is my piece, “Women Stay Put.” I have no objectivity at all about this essay, but I can testify that whatever the end results are worth, it was really hard to write. I’m weaving together meditations on place, friendship, and what it meant to labor, in the mid-nineties, alongside an extremely talented poet who occupied a lower rung in the local academic hierarchy than I did. “Women Stay Put” is a hybrid of personal and critical essay–a memoir of Claudia Emerson that also analyzes her first collection, Pharaoh, Pharaoh.
From that essay, first drafted in January, 2015: “My life is patterned by love and meaningful work, but winter’s dark days make me low and antisocial. Lavender clouds pile onto House Mountain.” I talked to the mountain a lot back then, too.
Thanks to Allison Joseph and Jon Tribble for including me. And I love that the issue I’m in is followed by a themed issue called “Weather Reports,” full of pieces that look backward, like mine, but also others testing literature’s predictive powers. When the issue goes live, look, for instance, for “Spell to Bring the Fall” by Ann V. DeVilbiss as well as poem by Michael Hurley, in which the title slides into the first line: “A Persimmon,” begins “when ripe, can be used to predict the weather.” The poem instructs you to split a seed and examine the shape inside for foreknowledge of winter snow and wind.
I predict we’ll have more grieving weather soon, eventually followed by hope weather, although they’ll keep cycling. I predict I’ll photograph these trivial texts from Claudia then finally delete them from my phone, and that no one will ever ask to read them, although people will keep loving her poems. I predict I’ll see the mountain again one of these days, and it will reflect the sunrise, like a mirror.
"This work is unlike any other, in its range of rich, conjuring imagery and its dexterity, its smart voice. Carroll-Hackett doesn’t spare us—but doesn’t save us—she draws a blueprint of power and class with her unflinching pivot: matter-of-fact and tender." —Jan Beatty
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