The Little House

Having been taught to honor my ancestors from earliest memory I grew up inside a treasure box of memorabilia with the insistence I inspect it, and learn the story of things. Surrounded by steamer trunks full of old hand stitched linens and love letters between my grandparents, not to mention WW I medals, morphine kits, civil war fifes, and tattered songbooks, I’ve felt duly supported as a teacher of sorts to honor history and call upon the dead regularly to help me see what I cannot see, make good sense judgments and learn from the gift of solitude and sifting.

When I was a kid, there was a little sharecropper cottage on the farm property that was the repository of generations of stuff no one could bare to throw out. One of my earliest memories takes place there. I sat on the splinted front porch, maybe 300 yards back—and across the field from what was then my grandparents house. A lady in the house who was making doughnuts, put one after the other into my fat little hands as I surveyed the scene. Through the tall field grass, I saw the tops of people’s heads moving around loading cars. Eventually they called me back when it was time to go home. She put one more doughnut in my hand. “Here you go, Honey.” And sent me off.

In the following years, after the lady and her husband moved on, the “little house”, we called it, became the spooky destination for unaccompanied treasure hunts. So long as we stepped around the open well,  watched where we walked in the house since some of the floorboards had rotted through, we were welcome to bide our time reading 1905 National Geographic magazines, and set dusty depression glass jars on window sills to see how the light played against the peeling cabbage rose wallpaper. The day I felt brave enough to go back there alone —without siblings or the lure of doughnuts, marked a turning point for me. I actually have a memory of thinking to myself –was I eleven? Twelve? That I needed to try to do something scary by myself. That my curiosity was greater than my fear, and that there must be some sort of pay- off in the trying. That old house, the woods behind it, both full of creepy relics and ghosts, became a proving ground of sorts.

The little house went up in flames when I was a teenager. This was crushing for my Dad, who’d dreamed of shoring the place up, and for my Mother, who suspected her father had set it alight. It was crushing for me, because, like them, I’d taken some kind of ownership of the possibility of what it beheld, what it might become. My grandmothers Masters Thesis in botany burned, her teenage poetry collections, along with Uncle Joes almanacs, his little lead soldiers, mom’s sparkly dance costumes and tap shoes.

We let go in phases.

These days, the big house stands, along with some leaning barns and outbuildings. These structures weigh on me heavily as we contemplate their fate. While there are so many outcomes I’ve learned to hold lightly in this life, the erasure of this ancestral place is one I cannot presently reconcile without aching with grief. Sunday, I stopped back there to check on things after spending time with my mother nearby, in Oxford. The ancient maple creaked in the wind. The fence around the back garden had fallen down on the east side. Pieces of barn roof scattered in the drive. I pushed the fence back into place and fastened it by threading in fallen branches from another tree. I gathered up the roofing and found the patch of morels coming up through the gravel.

Just like my brother had said on the phone with me the day before, these treasures have been coming up in the same place every year as long as he can remember

Move a Body Friend







I have a “move a body friend”. We have known each other for sixty-eight years. What a lot of living we have done together and apart. We know where the bodies are buried. We are most likely not finished with burying bodies. Some people still have it coming. Her recent ex-husband comes to mind. Stay tuned…

It’s a powerful thing to have a friend like that. Someone who doesn’t even ask why there is a body to be buried and honestly doesn’t seem surprised that there is a body to be buried.

During my second marriage when I told her I had been watching true crime shows on TV to see what tripped the killers up, what got them caught, she didn’t call the police. Just as well, since I decided that divorce was a more sensible, if less satisfying option.

In other words, we trust each other. We get each other, don’t have to explain ourselves to each other and certainly never feel the need to justify ourselves to each other, whether the topic is a body to be buried or an ingredient purposely left out of a recipe we gave to someone who thinks she’s a better cook than we are- she isn’t, some things don’t need to be spoken out loud.

Between us we probably share so many secrets that no one else knows, we make the CIA look like amateurs. At our age, we may start to forget the secrets we have kept for decades, perhaps only to blurt them out Rosebud style as we are dying.

She usually likes my ideas and gets on board with my choices. Once when she called and asked what I was doing and I told her I was putting butter on a piece of fat-free coffee cake, she said, “Ooo, that sounds great! Now that’s a friend who will always lift you up with unconditional love and support.

Rebekah Spivey for The Poplar Grove Muse



A Blast from the Past

Last month, two days after I celebrated a milestone birthday, I had the rare privilege of revisiting my adolescence, in a bittersweet evening that filled me with joy and reawakened feelings I hadn’t experienced since the days in which they first transpired.

I had mentioned to a friend, in passing, how much I’ve loved Leo Kottke’s guitar playing over the years, and he promptly brought a copy of Fretboard Journal to our next meeting, insisting I read the lengthy cover interview with the onetime guitar prodigy. Just reading the article brought a rush of elusive teenage joy, and I found myself in a state of high exuberance that isn’t easily accessed. He still, 50 years later, retains his quirky, iconoclastic sense of humor and random onstage storytelling style, and displays his vast autodidact’s knowledge of the world, unpretentious and irreverant. I was transported by the interview back to a time of so much promise and openness in my life, and felt alive, vibrating, in a way I just don’t fall into often enough.

I wanted to talk to someone, anyone, who had been there, felt a desperate longing to share memories and experience, but there really isn’t anyone.  My early passions were pretty much my own, I realize now, perhaps shared with my family of origin, but now morphed in ways that leave them distinctly mine. (I did mention it to my brother, younger by 5 years, who remembers me “dragging” him to hear him play the Guthrie in Minneapolis—Kottke’s longtime home and ours at the time—when he was ”about nine.”)

One of the things I admire most about Kottke as an artist (and human being) is that he just loves to play, and has kept playing and recording and working for his entire career, excluding a period after injury when he had to completely retool his early muscular, athletic 12-string style for a slightly less strenuous 6-string approach. “You can’t turn down work. Play the pizza parlor,” he says.  We should all be so lucky to find something we love so much, are so good at, find a following for, and allow ourselves to pursue with passion and commitment. He tells a funny story while tuning onstage (which he does a lot of, and jokes about that too) of playing, to a colleague’s consternation, the opening of a public library in Albuquerque, on a small, slanted makeshift wooden stage that threatened to dump him into a gaggle of cross-legged kids just below him for the entire performance, one of whom kept insisting on playing the professional’s guitar.  Play the pizza parlor, or the library opening.

Realizing that he is still performing, traveling, working, I went online and discovered that he would be playing the Brown County Playhouse two days after I turned 60. Babbling excitedly about it to a close friend, she immediately offered to buy me a ticket and attend with me, a rare opportunity to buy the perfect gift for the woman who never wants anything. It was doubly fortunate for me, since the 200-seat hall sold out quickly, and knowing me, I would likely have left it until too late (as did a number of friends who planned to join us, including the friend who subscribes to Fretboard Journal), a trademark way in which I save myself lots of money and cost myself a certain amount of fun.

And thus, the remarkable experience of revisiting my adolescence.  The venue was filled with grey heads, clearly devoted fans who wait for Leo to swing back around these parts. As I listened, I was awash in memories of earlier performances—multiple gigs in various Minneapolis locales in my teens and twenties, several performances at Toad’s in New Haven during graduate school, and a life-changing night where I heard his second set at Northwestern after a harrowingly uptight and precariously drunken performance by a world famous classical lutenist, after which I decided to abandon my dreams of a career as a classical oboist. He still performs many of his old numbers, but they are transformed somewhat by his necessary change of style, and in my head I heard both new and old versions.  I was often on the verge of tears, and realized that I was probably the listener in the joint who had followed him the longest, listened over the greatest number of years, three-quarters of my life and more.  He’s grey and bearded now, but the memory of his signature thatch of thick dark hair, his long frame sitting atop a high bar stool in sweater and 70’s slacks, is imprinted in my visual image bank.

He played nonstop for 90 minutes, with lovely, loopy banter accompanied by frequent tuning between numbers. Devoted fans called out favorites, several of which he chuckled at before retorting that they required backup he didn’t have. After that interval, as he completely retuned one of his two guitars, he quietly shared that this had been the set, and the next number would be the encore. Amazingly, the packed audience of fans respected that, gave him terrific applause, let him slip behind the curtain with no greedy clamor for more.

My friend and her husband truly gave me an extraordinary gift, taking me (and themselves) to hear an artist they had never heard of, on the faith of my recommendation and fervent wish. I found this among the most incredibly generous and touching gifts I’ve ever received.  It was a somewhat surreal, emotionally charged evening of memories and music, another unforgettable evening with an unforgettable artist.

Mary Peckham for The Poplar Grove Muse

NaPoWriMo-Last Day

This month Women Writing for (a) Change-Bloomington poets are participating in National Poetry Writing Month.  Every day we will offer up a new  poem by a writer in our community.  Check back after 6:00pm for the Prompt of the Day and the selected resulting poem.

And last but not least, now for our final (but still optional) prompt for this year! Taking a leaf from our video resource, I’d like you to try your hand at a minimalist poem. What’s that? Well, a poem that is quite short, and that doesn’t really try to tell a story, but to quickly and simply capture an image or emotion. Haiku are probably the most familiar and traditional form of minimalist poetry, but there are plenty of very short poems out there that do not use the haiku form. There’s even an extreme style of minimalism in the form of one-word and other “highly compressed” poems. You don’t have to go that far, but you might think of your own poem for the day as a form of gesture drawing. Perhaps you might start from a concrete noun with a lot of sensory connotations, like “Butter” or “Sandpaper,” or “Raindrop” and – quickly, lightly – go from there.

Day 30 Minimal poems by all participants

Lauren Bryant


Carole Clark

Majestically magical words
Appreciatively humbled

Amy Cornell

At the jail
she buried her face in the lilacs
and said they smelled like rain.

Sweet Cherry Jam by Allison Distler

8 oz of Michigan summer
pressed into a ball jar
dark as coagulated blood

Minimal by Bev Slattery Hartford

Done for now
But still in my heart
and head
Not gone.

Haiku  (here are 3) by Amy Lifton

Moon streams through windows,
How am I to sleep like this?
Silver in my eyes.

Mowing the lawn, an
Intoxicating fragrance,
Thank you cherry tree!

How can a color
Make my heart break open
Simply celestial.

SHORT by Beth Lodge-Rigal



All in

The Woods by Lisa Meuser

Here we are.

Here we are.

Here we are.

Mary Peckham

April is f a d i n g

Home by Shana RItter

I do not know the names 
of the birds that sing me awake
I cannot identify each tree or leaf
or where the night peepers sleep
I do not claim the land I live on
it long ago claimed me.

One from today, and an old found + photographed poem – I called it “Icy cold bee,” but maybe it just is what it is  by Tracy Zollinger Turner



Light hearted

Light heart, Ed

Light, he arted




M i n i m a l (thank you for your words) by Beverly Wong

Home less
Un washed
Un loved
A lone
Hu man

From the editors: Thanks for reading.  Back to our regularly scheduled blog posts!


This month Women Writing for (a) Change-Bloomington poets are participating in National Poetry Writing Month.  Every day we will offer up a new  poem by a writer in our community.  Check back after 6:00pm for the Prompt of the Day and the selected resulting poem.

Day 28: Today I’d like to challenge you to try your hand at a meta-poem

#28 I am the muse by Amy Cornell

I am the muse
I am the train and the idea
I am the art and the sculpture and the painting
I am the poem.

I sculpt and I write and I work
I am everywhere.
I am in the boat and on the wall and at the war
I am in the birth room, the death room, the sick room.

I see it all and I hear it all
I am heaven and earth and hell
I am graffiti and I am broken shards of pottery
from the tombs of Egypt.

I plant it all in your brain
I show it to your eyes
Beethoven, yes I played it
for his blind and deaf self.
I showed him the way to the 9th

I love to watch people weep as they
hear the familiar strains, sitting back in my knowledge
that the world over, I am bringing you all
that inspires you.

Emily Dickinson and me.
We were best friends.

Mother earth and I fight occasionally.
She says it is her flowers and rolling hillsides
and fall tapestry that inspires the poets.
She takes the credit for the words and the art.
Nature, as if!

At night when you sleep,
while you stare blankly out the train window
when you shower, when the door slams.
I guide your hand and your faith.
I whisper about Flanders fields, the New Colossus, Black River.

Thank you for listening.

NaPoWriMo for The Poplar Grove Muse

This month Women Writing for (a) Change-Bloomington poets are participating in National Poetry Writing Month.  Every day we will offer up a new  poem by a writer in our community.  Check back after 6:00pm for the Prompt of the Day and the selected resulting poem.

Day 27 “Remix” a Shakespearean sonnet by Beth Lodge-Rigal

To dream, perchance to start another diet
To eat too much ice cream and sugar crash
To cut oneself some slack maybe just try it
To ponder foods like avocado mash

To start anew and then fully resist
To read a menu, sweat, then order fries
To start again, to fail, you get the jist
To pay the piper contemplate your lies

To count, to cut, to cultivate good habits
To meditate the virtues of restraint
To munch the Easter chocolate rabbits
To step on scales again without complaint

I try again, I try, I swear I’ll fail
But wait another day until I bail

NaPoWriMo for The Poplar Grove Muse

This month Women Writing for (a) Change-Bloomington poets are participating in National Poetry Writing Month.  Every day we will offer up a new  poem by a writer in our community.  Check back after 6:00pm for the Prompt of the Day and the selected resulting poem.

Write a poem that uses repetition. You can repeat a word, or phrase. You can even repeat an image, perhaps slightly changing or enlarging it from stanza to stanza, to alter its meaning.

Day 26  by Lisa Meuser
This breath

Including the space
behind the thoughts,
all that is happening.

to what is
behind the space that
holds it all.
I find breath.
finds me.

The needs
of her
Can I do it all?
In comes breath.

I return again,
trusting the one thing,
the stillness that coexists with,
holds within it, everything.

First this.
Then that.
First today,
then tomorrow,

My mind jumps
and then returns,
back to now.
This cup of tea.
This client. This email.
This carpool.
This meal, timed right for kathrynn’s busy schedule.
And again, and again, this breath.

How complicated is a breath?
it is deliciously simple.
This moment,
this breath.
This task,
this breath.

I have been training all my life
for this moment,
for this breath,
for this moment of participation
with life.

Will I accept this invitation?
Can I participate in this moment fully,
like the woodpecker who is
fervently engaged in breakfast, with all her being?
Does later exist to her?

I feel the space holding it all,
and something trusts,
not the outcome, or
success, or
what will happen, only that
happening will continue.
This breath will too.
This breath.

NaPoWriMo for The Poplar Grove Muse

This month Women Writing for (a) Change-Bloomington poets are participating in National Poetry Writing Month.  Every day we will offer up a new  poem by a writer in our community.  Check back after 6:00pm for the Prompt of the Day and the selected resulting poem.

Day 25: Season Poem by Amy Lifton

Nature’s last hurrah, everything trying to outshine the other,
a richer red, a more royal purple, a brighter gold, under
the deepest clearest blue sky of all time, the sun’s warmth
most soothing, the air’s crispness most invigorating, as if to say,
enjoy it while you can, the monochromatic cold season is next.

Catalogs arrive from Saks and Fields, offering luxuriant texture:
lush mohair, thick camels hair, soft woolen tweeds and plaids,
and one special color heralded as the color of the season:
plum, eggplant, olive, russet. We go shopping, we stop for tea.

Woodsmoke drifts along currents of warm air in the cool evenings,
and the scent of burning leaves fills the late afternoons, though we
children delight in wrecking the huge leaf piles our fathers raked,
and come inside covered in flakes of leaf, bits of milkweed fluff.

We go apple picking, walk down rows of low trees laden with
red, green, and golden globes, we carve amber pumpkins, display
purple Indian corn, stuff cornucopias with garnet pomegranates,
violet grapes, tiny orange kumquats and golden bananas. What is
the one true thing of fall, if not nostalgic, abundant glory?

NaPoWriMo on the Poplar Grove Muse

This month Women Writing for (a) Change-Bloomington poets are participating in National Poetry Writing Month.  Every day we will offer up a new  poem by a writer in our community.  Check back after 6:00 pm for the Prompt of the Day and the selected resulting poem.

Today’s (optional) prompt is to write a poem that is inspired by a reference book. Locate a dictionary, thesaurus, or encyclopedia, open it at random, and consider the two pages in front of you to be your inspirational playground for the day.

Day 24,  In the Land of K by Beverly Wong  (from Webster’s Unabridged Dictionary, p. 995)

Clouds of Kalongs fill the dusky red sky
Seek the ripe Kaki in the laden trees
With long brown snouts and skeletal wings
Clutch the ripe plums in their claws
Hanging upside down
Fallen Kaki strewn in bursts of fruit
The pungent scent wafts through the night air
Owl-faced Kakapo strut through
The mounds of persimmons
Glint of green wings, brown and yellow markings
Curved beaks perfect for the night feast
The lush Kanari trees burdened with heavy seeds
Limbs dangle with their offerings
The Kanarese will harvest them
To make an oil for lighting
The Kanchils stir from their rest
Their folded limbs in grassy mounds
Alert ears scan and watch the reverie
Twitchy noses, black doe eyes close
Flutter back to sleep
Kama, sings his songs of love
Sweet melodies float on whispered breeze
While Kalans dive and frolic
Their furry heads bob and skim
The surface of the gentle sea

NaPoWriMo for The Poplar Grove Muse

This month Women Writing for (a) Change-Bloomington poets are participating in National Poetry Writing Month.  Every day we will offer up a new  poem by a writer in our community.  Check back after 6:00 pm for the Prompt of the Day and the selected resulting poem.







Day 23 Write a Poem about an Animal.

13 Ways of Looking at a Black Dog by Mary Peckham

1. From across a green expanse
I whistle. Glancing up,
he rockets toward me.
ears tucked,
effortless energy.

2. I glimpsed you
at the furthest reach
of your shelter kennel.
All I needed.

3. Trembling, curled
between my daughter’s
slender shoulders and the wall.
Thunder rolls out overhead.

4. New healthy kibble.
Three dried peas
on the floor
beside an empty dish.

5. A bark of terror
alarms the passing
of that Great Pyrenees
from three doors down.
She has told you
she will kill you.

6. Howls of joyful
greeting, fleeting,
as each family member
returns home.
Dance of devotion.

7. Men. In hats.
With beards.
One of you,
in your cruelty,
shaped this fear.

8. Each untasted morsel
carried in stealth
under cherrywood
onto patterned, handtied
wool and silk,
for inspection.
And perhaps,

9. Burrowed deep,
dreaming under duvet, under darkness,
between us,
our sheltering, still sleeping
protects him.

10. An energetic flap of ears,
from tip
to tail,
announces morning.

11. A tiny snore,
counterpoint to my typing.
Constant companion.

12. Who knew
we could feel
such deep pleasure
so soon after
such loss?

13. We are
who we are.
We share
what we have.
Who could ask
for more?