by Ariel
Francisco
Glass Poetry Press, 2016
ISBN:
978-0-9975805-0-1
23
pages
The following bio was found on the poet's website: https://arielfranciscopoetry.wordpress.com
Ariel Francisco is the author of All My
Heroes Are Broke (C&R Press, 2017) and Before Snowfall, After Rain (Glass
Poetry Press, 2016). Born in the Bronx to Dominican and Guatemalan parents, he
was raised in Miami and completed his MFA at Florida International University.
Ariel Francisco is a first
generation American poet of Dominican and Guatemalan descent. He is currently
completing his MFA at Florida International University where he is the
editor-in-chief of Gulf Stream Literary Magazine and also the winner of
an Academy of American Poets Prize. His poems have appeared or are forthcoming
in Gulf Coast, Tupelo Quarterly, Washington Square, and elsewhere.
__________
I've
never met Ariel Francisco. When poet friend,
Kate Fadick's chapbook, Self-Portrait as Hildegard of Bingen, became available for preorder from Glass
Poetry Press, I learned that Editor Anthony Frame was offering a purchase deal
on all the chapbooks he would publish in the first series, so I subscribed, and
discovered Francisco's poetry in that Glass Poetry series. —Karen
L. George
You can read an interview with Ariel Francisco here.
You can read an interview with Ariel Francisco here.
__________
Review of Ariel
Francisco's Before Snowfall, After Rain
The poems of Ariel Francisco's Before Snowfall, After Rain are poems of
place: New York, Miami, historic landmarks, bars, bridges, rivers, lakes. They
are poems of motion and journeys in cars, buses, trains, planes, and boats, as
well as metaphorical journeys. And they are meditations on memory and
imagination, being lost and found, having a home and being homeless, connection
and disconnection, of all the yearning and fragility involved in being human.
The
chapbook's title, Before Snowfall, After
Rain, is taken from the title of the first poem, "Before
Snowfall" and the last poem, "Self Portrait with Moths After
Rain," which leans us toward one of the repeated images that works
thematically throughout this book—that of transition and transformation—of the
periods before and after.
The poem "Before Snowfall" begins with an epigraph by poet Jack Gilbert, "French has no word for home," which introduces us to several other repeated themes of the book—the importance of home and/or place and connection. The poem takes place near Washington Square Park, a public meeting place in New York, where the poem's narrator buys what he describes as an "orphaned book" of Baudelaire. The first line "I found Baudelaire on a street corner," sets up the contrast between the images of lost and found repeated throughout the book. The narrator mails the book to a "girl back home," but "She never got the book...and we never spoke again." He figures it must have gotten "lost in the dead letter office." But the narrator says that every year he imagines a homeless man rummaged through the mail box and found the book and his note saying "tell me, is the snow coming down / on you too?" The poem ends as follows:
...And I imagine him looking up,
his
gaze tracing the skyline until it reaches
the
grey horizon, thinking of all the nowheres
to
go to lay his head down tonight,
saying
out loud:
Not yet my friend. Thank goodness,
not yet.
There is such tenderness in this
imagined connection between the poem's narrator and the imagined homeless man,
as well as a sense of sadness and longing in the lost connection to the friend
back home, and how the narrator also says that the lost book reminds him every
year "of what is lost." That simple phrase "what is lost"
contains a powerful, haunting emotional impact.
In the second poem, "A View of
the Statue of Liberty from the Brooklyn Bridge," the narrator talks about
the bridge being filled with lovers' locks "inscribed with names in marker
or lipstick." He continues:
Their
keys sunken to the bottom of the East River,
combinations
lost in the brackish waters of memory.
The above image contrasts the image
of the lovers connected via these locks. The phrase "combinations lost"
suggests that the lovers may no longer be lovers, same as the way he describes
the bridge as "already heavy with rust." The poem ends with the
narrator seeing the Statue of Liberty as "a dream-sized woman standing / ...arm
raised to hail a cab that will never come." Again, an intense sense of
longing is created through the poem's imagery.
One of the things I like best about
Francisco's chapbook is the way each poem works on its own, and yet is part of
a connected network of repeated imagery and ideas. For example the third poem, "Reading
Lorca at Union Square," references another French poet, Lorca, and "a
man in a black trenchcoat," same as the way he described the seller of the
locks in the previous poem. And same as the Statue of Liberty in the previous
poem looks as if she is hailing a cab, this trenchcoat man is literally hailing
a cab. Snowflakes occur again in this
poem. Water in all its forms (snow, ice, frost, rain, flood) appear in this
chapbook, emphasizing the repeated themes of transition and transformation. The
poem ends with the following stunning lines describing the man in the black
trenchcoat:
...snowflakes
settling into his
slick
back hair like nesting sparrows
seeking
safety, the sky crying its apologies.
This beautiful image of the
"nesting sparrows / seeking safety" echoes the homeless man in the
first poem. The sense of yearning in this poem is further strengthened in the
repeated vowel sounds in the last line above.
The
poem "Nighthawks of the 24-Hour Donut Shops" continues with the idea
of people lost and/or alone in one way or another—those who need shelter. The
"Nighthawks" in the poem's title references Edward Hopper's
1942 painting titled "Nighthawks," that depicts people in a similar
diner. Francisco describes the donut
shop's patrons as "wanderers/ looking to escape the cold, or thrown-out /
drunks trying to keep the night-talk alive."
Literary references are another motif that connects these poems. In "Jay Gatsby on Karaoke Night," there is a drunk man who "sits in the corner of a windowless bar" who keeps calling the bartender "old sport" and who, when he gets on stage, only sings the song's "bridge over and over again...There is a light that never goes out," which alludes to the green light that Jay Gatsby in The Great Gatsby sees at the end of Daisy's dock. That green light represented the hope of Daisy that Jay doesn't want to give up, and the reader gets the idea that the Jay Gatsby of this poem has an unrealized dream he likewise refuses to give up, to his own detriment. That image of a light that never goes out also echoes the previous poem's "red blazing 'O' in the window, a beacon" of the 24-hour donut shop.
The poem "Meditation on Happiness" uses the
image of a joyful bus driver at the end of the day, done with his shift,
"his display / glowing a single gleeful / orange word: GARAGE." This glowing word represents hope and
happiness that the other poems touch on, in much the same way as the "red
blazing 'O' in the window of the 24-houer donut shop, and the song about the "light that never goes out." This poem also contains a repeated image of
motion, transportation, and journeys that speaks to the course of our lives as
humans.
In
"Reading James Wright on the L Train" the narrator tells of a
stranger vomiting on the crowded train.
The narrator had been reading the poetry of James Wright to himself, but
he tells us he walks to the other end of the car, to a "now vacant
bench," and "Beneath a sun-marred window blossoming / with jewels of
frost, I begin to read aloud." The
other passengers retreat to adjacent compartments, covering their noses with
scarves. But apparently the narrator is still in the same compartment, and
there is such tenderness and compassion in the image of him reading aloud, as
if trying to offer whatever comfort he has, even if at a distance, to the sick man. The narrator doesn't judge that man or even
suggest whether the man's drunk or motion-sick. As a fellow poet and lover of
James Wright's poetry, I can't help but be nourished by this image of a train
rider reading Wright's poetry aloud. The poem is also strengthened by the
effective contrast between the man being sick and the beautiful image of the
window "blossoming with jewels of frost"—another image of
transformation.
The poem "Silence over the Snowy Fields" with an epigraph "for Robert Bly," references Bly's collection of poems titled Silence in the Snowy Fields. The poem takes place on an airplane as the narrator looks out the window. He tells us: "a harbor / bites into the mainland like a great blue dragon," and continues:
Heavy
whiteness douses the landscape, forces
it to
forget what it looks like, what it is, like
a mind that
fails to recognize itself...
Echoing previous poems, again we have this image of snow
as transformation and/or change: "the echoing nothingness of
erasure," as well as a sense of loss as is seen in the images of the above
three lines.
There is a longer poem (over 3 pages) at the center of
the chapbook, titled "Driving Past Lake Tohopekaliga," in which the
narrator visits his father who still lives in Florida near the lake in the
poem's title. The narrator delves into memories of riding with his father
driving the car, and stopping to move turtles safely across the road so they
wouldn't get hit. The poem begins with a dreamy, lyrical line: "Tilted
trees suffer dusk" that is perfect to lead us into this poem of
reminiscence. He describes the species of turtles in the following lines:
alligator
snappers with their giant
beartrap
jaws and huge heads,
too big
to withdraw into their shells;
map
turtles whose namesake comes
from
markings along their bodies
that
resemble contour lines;
red-ear
sliders, named for the woundlike
markings
on their faces,
streaks
of feverish evening light.
The poem reveals that this time of moving the turtles
"was so many years ago, / before the divorce, before my family / entered
the new millennium in splinters." The narrator says his dad "still
lives in the same house we left." This image of leaving the home he grew
up in, before the divorce, echoes the themes of having a home vs. being
homeless or lost, as well as the repeated images of connection and disconnection.
The idea of life's changes and transformations also reappears in this poem, as
seen in the following lines about rescue and release:
There's
a buddhist ritual
that
involves buying turtles
at food
markets, turtles destined
for
soup, and setting them free—
an unselfish act meant
to
accrue good karma,
The narrator goes on to reveal what he doesn't know about
his father, creating a sense of questioning and intense yearning, perhaps for a
time when he still lived with his father, or a desire to be more deeply
connected to his father:
I don't
think he knows
about the
ritual. I don't know
that he
thinks much about karma,
I don't
know if he knows
the name
of the lake just south
of his
home is Tohopekaliga,
which is a word in a language
older
than any turtle he's ever found
and
returned safely to that shore,
a word
that translates
to
something like a promise:
we will gather here together.
The fact that the poet places this poem at the time of
dusk also reinforces the idea of change and transition.
The poem "Reading Bukowski at Gramps Bar"
speaks to connections between strangers and the fragility and vulnerability of
human beings. There is such yearning in the haunting ending, where he says
there is a blonde "eyeing" him "with her bluebird eyes,"
and continues:
and I'm
tempted to smash the little lamp
over my
own head, scoop up the glass
pieces in
quivering hands, and offer
them to
her as the shards of my heart.
In the above lines, the lamp again echoes the many images
of light threaded through these poems.
"Post Hurricane Miami" opens with a striking
image of vulnerability and fragility in a violent world, in which the city has
been reduced to shapes and sounds, such as "wind chimes hanging from the
doorframe, / silent now in the aftermath like the hollow / bones of birds they
so resemble." The streets are flooded, power lines downed, and transformers
ruptured, yet the narrator presents hope through the image of light:
Even
dead stars give us their light.
One
twinkles occasionally and I recall
looking
up at the sky through the window
of my
childhood room, catching the shimmer
and
making a wish...
The poem ends with the narrator seeing another kind of
light, candles lit in a fortune teller's window, and he makes a connection with
a stranger, wanting his fortune read, even if he has nothing to pay.
The poem "American Night, American Morning" opens
with the narrator's insomnia, and an image of connection:
When I
can't sleep I go
up to
the rooftop
of my
apartment building
and
watch the man who sleeps
on the
bus stop bench
across
the street, brown by birth
or sun.
I want to ask him
How do you do it?
The ending poem, "Self Portrait with Moths After
Rain," contains the "After Rain" part of the chapbook's title,
creating a satisfying sense of having come full circle, of completing the ideas
and images examined throughout. The poem
is only three lines:
Moths
stumble through dusk, descending
towards
the glow of a glimmering lamppost
mirrored
in the water of a rain-filled pothole.
Again the
poem takes place at dusk, a time of transition and transformation. The narrator
speaks of the change that has taken place because of the rain, echoing the
various states of water seen in many of the previous poems. What a beautiful
image of contrast, likeness, and hope in the image of the lamppost reflected in
the water of a "rain-filled pothole." The narrator suggests with the
poem's title that he, like the moths, stumbles through times of change and
darkness, but that he is descending
towards the light—an intriguing dual image, because we normally think of ascending towards the light, as represented by the "glimmering
lamppost," but in this instance, the moths are heading for the mirror
image in the water, rather than the actual lamppost. I saw this poem as a
closing mediation on the dualities of life.
The poems in Ariel Francisco's Before Snowfall, After Rain pull me in with their emotional intensity and haunting imagery. They pulse with the tensions and rhythms of our lives as humans: how we change and stay the same, how we connect and disconnect, how we hope and despair. Franciso's attention to detail and his sense of intimacy, compassion, reverence and vulnerability make these poems ones you'll come back to again and again.
__________
Karen George retired from computer programming to write full-time. She lives in
Florence, Kentucky, and enjoys photography and traveling to historic river
towns, mountains, and Europe. She is author of the poetry collection Swim Your Way Back
(Dos Madres Press, 2014), and five chapbooks, most recently Into the Fire (Blue Lyra Press, 2016) and the collaborative Frame and Mount the Sky (Finishing Line Press, 2017). You can find her work in Rogue Agent, Blue
Fifth Review, Heron Tree, The
Ekphrastic Review, and
America.
She holds an MFA from
Spalding University, and is co-founder and fiction editor of the journal, Waypoints. Visit her website: http://karenlgeorge.snack.ws/.
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