My poem “Seeking Oracles” included in Paso del Norte Poets Sing

My poem “Seeking Oracles” included in Paso del Norte Poets Sing at Sasha Pimental’s website

Scroll down through the list, reading all the fantastic poetry as you go.  You’ll find mine around the 18th poem.

SEEKING ORACLES
Donna Snyder

She gazes at the flame between her eyes, holds her breath until she is nothing but heart, the world’s pulse between her ears. She finds black feathers at her doorstep, unsure if the augury is good or ill. Each night she folds her legs and disappears into the sacred fire. She greets the sunrise with a sigh.
Voices echo conversations on eschatology and doom. She hides from them behind guitars’ excruciating sweet. Words repeat themselves perpetually in silence. She sees pictures on the wall where there are none.
She knows little of souls but talks to the dead, visits them in their tombs inside her body. Somewhere outside her head, the smell of palo santo smolders. Somewhere, the sounds of hard wind through metal and water dripping. Floorboards creak and a door closes, of their own accord. She never knows whether her ghosts linger, or if she binds them to her, refusing to let them go.
In her sleep, she wraps herself in sheets like Lazarus. When she wakes, she arises from the grave into a world of dust and blinding sun, the desert heat a shroud. There are no dreams here, just her third eye ablaze. She dresses in the memory of rain. Her hair a burning nimbus, her reflection falls into the caves beneath her eyes.
Everything is bleached as coyote bones in this landscape she wanders, and every living thing has thorns. The path is full of rock, forlorn scat, and sorrow. Everyday she trips and falls.
When the flame fades she returns to now, along with ordinary sight. The flicker of candles glows on the other side of her eyelids. The sound of heartbeat subsides and that of barking dogs and sirens resume. She realizes the music had been inside her head, as had the desert, the thorns, and the talking dead

 

Sasha Pimentel is a Filipina poet and author of For Want of Water (Beacon Press, 2017), selected by Gregory Pardlo as winner of the 2016 National Poetry Series, and Insides She Swallowed (West End Press, 2010), winner of the 2011 American Book Award. A finalist for the 2015 Rome Prize in Literature (American Academy of Arts and Letters).

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song of a cane flute by Donna J. Snyder in I Am Not a Silent Poet

Source: song of a cane flute by Donna J. Snyder published at I Am Not a Silent Poet

…we are the children of bridges, bridges made from our backs, our tears, our sacrifices,
and from all the ones who never made it across with us…. Junot Díaz

low tones solid as her father’s sweet bread
high notes sing the vibrato of son jarocho
of a woman near tears but speaking still
words deep within the memory of cells

the cells are theirs
the lengua is theirs not mine
I can’t presume to speak their truth
yet their indomitable vigor lifts me up
fills with me with a sense of solidarity
a feeling of common purpose
and feelings need not be truth
but are still facts

the strength of la gente bears me up
out of the inundation of hate
their strength through persecution
through the suppression of truth
their unbroken backs carry me
across the chasm seen between us
a bridge between fear and resolution
inspiring me to be a revolution
this bridge called their backs

when I slip and fall I see shoulders and arms
rise up from where knocked to the ground
and those hands reach out to steady me
stand me on my own feet and take my hand
the gift of strength from one heart to another
a kind word from one tongue to another
the gift of memories not mine but shared

like the voice of a cane flute
calling out to the stars

 

Read at the Librotraficantes event in El Paso, Texas on June 22, 2017

The back of the book. . . Susan Hawthorne

Susan Hawthorne’s comment on the back of The Tongue Has Its Secrets

“Here is a poet who tongues the language of birds, delves into the minds of sybils, explores connections with animals. She tests the boundaries of nothingness and somethingness. Donna Snyder’s poems are like Nüshu: secrets cast skywards like a cipher for those who know, to read.”

– Susan Hawthorne, poet and author of Lupa and Lamb

 

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Loring Wirbel’s review of The Tongue Has Its Secrets

Red Fez review of The Tongue Has Its Secrets

Perhaps a Southwestern state of mind is a prerequisite for a full appreciation of the Sandia Mountains and Chaco Canyon landscapes that populate Donna Snyder’s latest collection of poems, The Tongue Has Its Secrets. Yet a stranger to these parts can approximate a high-desert way of knowing, in the same way that a male reader may discern, if only as a tourist, the invocation of ghosts from a woman’s way of seeing, the subject at the heart of Snyder’s latest work.

Dea tacita  

Lara’s tongue severed by the sky for indiscretion

Love led her on a spiral path deep into the laurel

She gave birth to little gods but was forever silent

 

She lingers at cross roads

Tends the dead

 

What is evident from the first poems is that Snyder avoids the fear of modern vernacular that seems to occupy many poets who visit natural sites, hoping to evoke ancient gods. We could all be judicious with our language while trying for the perfect Mary Oliver setting, but any ancient god worth a prayer won’t mind the occasional reference to a pop song or video game. Snyder’s language is at once formal and casual, giving works like ‘Prepare to Ululate’ surprising depth.

 

Blue norther’

In the North Texas Panhandle, southbound truckers 

blast down Hwy 83, headed to where the wind’s not

from the north and not called blue.

Winds and storm outside become Valkyries,

the concrete septic tank a magic stone.  Women 

warriors ride like furies across the frozen plain.

An Irish woman outruns a chariot,

gives birth to twins, 

lays a curse.

 

The wind takes my spirit in its arms and flees.

Mama lights the candle, locks the door. 

 

There are plenty of two-lane highway odes in this world paying homage to modern gods of transport, and plenty of chants that attempt to revive Anasazi imagery, but Snyder is rare in being able to meld the two. Poems such as ‘Blue Norther’ and ‘My Heart Makes Chorus with the Coyotes’ successfully bring the two worlds together with an impressive degree of success.

 

Snyder obviously takes the most time with the multi-stanza works spanning two or three pages that attempt to disentangle layers of spirituality. Sometimes, the longer poems are not as effective as the shorter, more direct works. ‘Bear Who Loves a Woman’ is an obvious exception to this rule, a complex and interwoven longer work that is one of the book’s highlights.

 

The collection ends with the tight and disciplined ‘Supplication,’ which seeks to call upon the right panoply of gods without a wasted syllable. Many of Snyder’s fans may find the poem a perfect summation and distillation of the entire collection. But even those of us more secularly grounded in cynicism will find the pair of poems near the book’s end, ‘The Truth of Vikings’ and ‘Aqua de mi sierra madreTM ‘ to provide just the right mix of breathless voice and raised eyebrow. In short, there’s a brand of salvation in The Tongue Has Its Secrets appropriate for just about any seeker.

 

The truth of Vikings

The music in her head makes her scared,

as if Vikings still brandished their blades 

from the decks of ships fierce as dragons.

Afloat in an ageless river, 

the leaves are chill flames.

Cold rains obscure the water’s source,

hiding it away like the secret of a woman’s 

aging body, rain, a woman’s sluggish heat.

She is apples and pears ripened 

in her own sweet skin.

Only the moon can match 

the luster of her opalescent belly.

Her mouth makes shadows. Her hair 

a burning bush. 

Her fingers a doorway,

iconic as a religious artifact.  She is on route

to the end of being on the back of a red swan,

on the way to nothingness made tolerable 

by ritual and fire.

 

Through the wind, she hears the shriek

of disconsolate women who no longer 

believe love will save them from sorrow.

There is no home now, they wail.

There is no safe place.

Death tastes like winter flowers.

She knows this because she knows 

things she is not supposed to know.

She stands so close she can hear 

warriors tell each other secrets.

The truth is that neither love nor death 

diminishes you.  The way to truth 

is a life suffered, a drunken waltz.

She stands so close her howl is lost 

in the roar of music inside her head.

She is wordless before the fact of Vikings,

 

truth found in a harsh yellow light.

 

The cruelest month by Donna Snyder

The cruelest month
In memory of Jesús Guzmán
April winds rage in with a renegade posse of dust,
weather’s bad boys intent on stealing a body’s air.
And one cruel April, Jesús was killed on Easter Monday.
Day after resurrection Sunday, he fell from Jacob’s Ladder.
It was the sudden stop that killed him.
Undoubtedly ¡Ay cabrón! frozen on his lips when he hit the ground,
a tiny blood red rose quivering alone in the wind-blasted dirt.
Jesús killed, an angel fallen from the heavens.
Declared dead on the scene, mad scientists shocked him
until his heart resumed its beat, like all fallen angels
determined to return to lost paradise.
Declared dead at the scene on Easter Monday.
Declared dead in ICU on Tuesday afternoon.
Then on the third day they took away his tubes and wires,
and his heart beat for another hour.

He fought Miss Death until they declared him dead
all over again.
No resurrection,
except in the memories of children he taught to be poets,
or the minds of workers who crossed the borders
from there to here.
He crossed over from this life to the next one,
neither from here nor from over there.
And the mesas crashed onto the freeway like waves.
The spring night bled teardrops like falling stars
because he’s still cheated of air.
Cheated of words.
Cheated of life.
The world cheated of him and his corazón, too soon.
Jesús was killed on Easter Monday and Tuesday and Wednesday.
His heart tan fuerte it took three times to kill him.

His death scene punctuated by the street’s beat
and the lullabies of the bereft.
Now the world is so cold and lonely in April,
when the winds carry the spirits of dead vatos to remind us
just how cruel a month can really be.

Published in Poemas ante el Catafalco: Grief and Renewal (Chimbarazu Press, New York 2014)

The day the artist died

The day the artist died
                 In memory of Marío Colín

Today the artist died.
Drummers drum the dancers’ steps,
firm and heavy beneath the trees.
The dancers dance a prayer.
A black dove leaves a feather at my back door,
another on my front step.
The sky paints itself a heaven.
The Queen of Heaven
fades and crumbles on adobe walls,
her flesh cracked and weathered
by the unrelenting sun.
Without the artist to create her,
without his hands,
stained blue and gold,
how will She know herself in all her glory?

How will She love herself
without his devotion? Each stroke of his brush
another prayer. Each star placed deliberately
on her cloak by his knowing touch.
Her double chin an invocation.
Her sorrowful eyes, a lament.
Each precise shade he adds, a request,
“Pray for us sinners,
now and at the hour of our death.”

How will She know to pray
without the clasped hands of the artist
devoted to Her glory?
Who will paint the Queen of Heaven?
Who will kiss the stained hand of her most devoted son?
In the park the drums have ceased to call us to the dance.

The dancers have packed their rattles and hoops
and gone away.
A black dove nests in the arms of my Bird of Paradise.
He leaves me feathers,
in memory of the one who’s gone.

by Donna Snyder

 

Published in my book Poemas ante el Catafalco: Grief and Renewal (Chimbarazu Press: New York City 2014)

Review of The Tongue Has Its Secrets in Yellow Chair Review

Review of The Tongue Has Its Secrets reviewed in Yellow Chair Review

The Tongue Has Its Secrets

Donna Snyder

NeoPoiesis Press, 2016

Reviewed by Eric A. Cline

The Tongue Has Its Secrets by Donna Snyder is a poetry volume rife with spirituality, sensuality, mourning, violence, and prayer. The language utilized throughout the books possesses what may be the most important criteria for establishing strong voice in writing: uniqueness glossed in polish. Snyder actualizes her vision for her work through meticulously crafted execution, resulting in the sense that the book’s many words, lines, and stanzas have all been cradled and cared for at length by the artistic mother who birthed them.

 

During my initial reading of the work, the most consistent theme to catch my attention was Snyder’s frequent evocation of the religious. More specifically, Snyder references a myriad of feminine deities, from the Corn Maiden to Athena to Mother Crow. Even when not referencing a specific deity, Snyder envisions God as a woman. One example of this can be found in the poem “Creation Myth,” excerpted below:

          “A fairy whispers in my ear that God

            is a woman at all times being pleasured.

            Out of her pleasure unfolds the world.”

 This union of spirituality and sensuality weaves throughout many of Snyder’s poems. The result is an affirmation of not only the femaleness of God as a concept, but also of the ways human sexual energies can result in something almost like worship. This worship can be of the self, or of others one is attracted to, as in this segment from the poem “Fat beauty:”

            “…Boys slipped

            you grins like magic potions, charms for your altar,

            offerings to the image of la Roseanne.”

 Snyder’s examination of femaleness further extends beyond the divine. In “The Muse of Juárez,” Snyder turns her attention toward violence against women. The poem details the sad phenomenon of femicide through gruesome images of the rape and murder of innocent women in Juárez, Mexico. The poem is one of the volume’s darkest in tone, and rather than try to express humanity’s horrified reaction to the subject matter, Snyder ends the poem with the sounds of blackbirds:

            “The world silent. A dead stone.

 

            Nothing but the sound of blackbirds cawing,

            crying out in grief.”

 

Snyder’s verse cries not only for human victims, but also for animals that have suffered at mankind’s hands as well. The poem “The Sunday news” describes dolphin mutilations and the resultant tears of God. The grief found within this piece and others sharing its theme provide the book with a theme of sorrow and hurt that make the book’s other themes of divinity and holiness through sexuality all the more important. Snyder is not content to simply write about pain without offering alternatives or remedies, and though her work transports the reader to places of great misery, it also reminds them why she has bothered to write at all. “Invoking the muse,” a short poem about the power of language, closes with the following description of a female wordsmith:

            “maker of kings

            caster of spells

            inciter of riots

 

            she who wields the power of words”

 

Donna Snyder wields the power of words, and hers is quite the weapon to behold. I would recommend The Tongue Has Its Secrets to anyone interested in female spirituality, sexuality, struggle, or hope. Though dense with references to gods the reader may not possess immediate knowledge of, the book makes all time spent researching its subject matter worth it for the experience of Snyder’s artistic divinations.

(Poem) Compassion goddess hears the cries of the world and descends to help those in need by Donna Snyder

I came here on the back of an extinct crane Its slender neck Wings fierce and gilded with the feathers of the north wind I heard the needs of the people and the tormented world I fled the other pla…

Source: (Poem) Compassion goddess hears the cries of the world and descends to help those in need by Donna Snyder

 

donna-snyder-crane-goddess