Maurice Manning*

Maurice Manning is a Kentucky poet, who creates the persona of a backwoods bumpkin in his poetry. His voice is cunning, and precise in its playful images, using a disarming, unhurried conversational tone that combines humour with the simplicity and beauty of life in rural landscapes. Although, he is a professor of English and creative writing at Transylvania University in Lexington, Kentucky, and in the Warren Wilson College MFA Program for Writers in North Carolina, he still lives with his family on a small twenty-acre farm. He is vice chancellor of the Fellowship of Southern Writers.

The following poem comes from Snakedoctor (2023, Copper Canyon) which is his eighth poetry collection.

The Red Chair

Believing and being hopeful and praying
are sometimes not enough to do
whatever it is I think I need—
a sort of peace in the valley for me.
But it’s truer to say my course goes through
the darker valley of the shadow.
And the shadow is proverbial,
of course, hard to describe, but the psalm
addresses it well enough. My soul
has been restored a thousand times,
but then it languishes. I get it—
nothing is easy, the struggle is part
of the so-called journey. The journey
must be proverbial too—I mean,
its not like I’m going anywhere,
just sitting in my silent room.
I sit a lot in a red chair.
I stare into space and sometimes
I don’t feel anything at all.
There’s probably something underneath
I’m missing or not fully getting.
But that’s part of it all, to be
in the dark, unknowing. To be unknowing
is a biggie when it comes to faith.
I wouldn’t want to know it all,
to have a vision so complete
you don’t have any doubts or wonders.
Why I must suffer and impair
myself in order to feel the depth
of love is a total mystery
to me. I’d prefer to go outside
and simply be alive in the green
and weather. Oh, I can do that well
enough, and have the whole transcendent
thing, but then the darkness like
a specter comes to rest beside me,
twitching, and everything becomes
abstract, proverbial, and low.
And I think, ironically, it’s dark,
It’s utter dark, this thing I must
Pass through. And thus the red chair
I occupy, from which I see
the world and am involved in love.
I’m so involved with love it’s hard
to fathom, hard to tell how much.
From my perspective, my love for the world
does not have end and has no measure.
There is no poetry in that
or a man sitting in a red chair.

Posted with permission of the poet.

*This is the second Kingdom Poets post about Maurice Manning: first post.

Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.

Vittoria Colonna*

Vittoria Colonna (1492—1547) is an Italian poet, who was also an influential patron of the arts. She is the first woman to have published a poetry collection under her own name. After her husband died at war, she wrote many love poems to his memory which became popular.

During the 1530s she became active in religious reform, and began writing love sonnets addressed to God — which became even more influential. She pushed the traditional Petrarchan form in a new direction to express her relationship with Christ. The first edition of her Rime was published in 1538, and appeared in twelve further editions before her death.

In 1531, Colonna commissioned Titian to paint a large portrait of Mary Magdalene — one of the figures of female spirituality from scripture and early church history she selected as role models for herself and other Christian women.

She became close friends with Michelangelo — influencing his poetry, and sharing the common conviction that faith was to be experienced personally, rather than merely dictated by the church. They both believed that one of the best ways to enhance such faith was through art. She commissioned his black chalk drawing of the Virgin Mary, Pietà for Vittoria Colonna (1540) for her personal meditation.

The following translation is by Jan Zwicky and appears in in Burl Horniachek’s anthology, To Heaven’s Rim: The Kingdom Poets Book of World Christian Poetry.

Sonnets for Michelangelo — 41

When to the one he most loved, Jesus
opened what was in his heart,
when he spoke of the betrayal, the plot
that was to come, it broke
the heart inside his friend. In silence—
for the others must not know—
the tears cut gutters in his face.
But seeing this,
his master held him to his breast,
and before the ditch of pain
had closed inside, had closed his eyes
in sleep.
No eagle ever flew as high
as the divine one in the moment of that falling.
This was God, who was himself alone,
both light and mirror. His rest
true rest, his sleep
true sleep, and peace.

*This is the second Kingdom Poets post about Vittoria Colonna: first post.

Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.

Mia Anderson

Mia Anderson is a Canadian poet, Anglican priest, and retired actress. She is the author of seven poetry collections — including her brand new book O is for Christmas: a Midwinter Night's Dream (2024, St Thomas Poetry Series). Her first collection Appetite appeared from Brick Books in 1988. Around that time she twice won the Malahat Long Poem Prize.

She spent some 25 years as an actress in Canada and Britain — including five seasons at Ontario’s Stratford Festival — but left that behind to receive her MDiv in 2000 to become a priest. With her fourth book The Sunrise Liturgy (2012, Wipf & Stock), her most theological book to date, she joined the long tradition within the Anglican Church of poet-priests.

The foreword to her new book is written by the former Archbishop of Canterbury, Rowan Williams.

In 2013, the following poem won the $20,000 Montreal International Poetry Prize.

The Antenna

For Mike Endicott

The antenna is a growth not always
functional in all people.

Some can hoist their antenna with
remarkable ease—like greased lightning.

In some it is broken, stuck there in its old winged
fin socket way down under the shiny surface

never to issue forth.
Others make do with a little mobility,

a little reception, a sudden spurt of music
and joy, an aberrant hope.

And some—the crazies,
the fools of God—drive around

or sit or even sleep
with this great thin-as-a-thread

home-cobbled monkey-wrenched filament
teetering above their heads

and picking up the great I AM like
some hacker getting Patmos on his toaster.

And some, with WD40 or jig-a-loo
or repeated attempts to pry the thing up

or chisel at the socket
do not give up on this antenna

because they have heard of how it works
sometimes, how when the nights are clear

and the stars just so and the new moon has all but set,
the distant music of the spheres is transformative

and they believe in the transformation.
It is the antenna they have difficulty believing in.

Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.

James Matthew Wilson

James Matthew Wilson is the founding director of the MFA program in Creative Writing at the University of Saint Thomas in Texas, and poet-in-residence of the Benedict XVI Institute which is centred in San Diego — although he and his family live in Michigan. He is influential as a poet, critic, and scholar, particularly in Catholic and conservative circles. He regularly contributes to such magazines as First Things, The New Criterion, National Review, and The American Conservative.

Among his fourteen published books are several poetry collections; his latest is Saint Thomas and the Forbidden Birds (Word on Fire, 2024). As a poet he is clearly a formalist, which is evident in his roles as Poetry Editor for Modern Age magazine, and as Series Editor for Colosseum Books.

The following poem first appeared in the 2024 issue of Presence.

A Dedication to My Wife
----of a book of Anne Bradstreet's poems

If ever two were one, then why not we?
We have begot two in our unity
And find these incarnation of our love
Whatever other mercy from above
Rains down on me—the joys of work, the ease
Of sunshine, peace in thought—may He still please
To let me share these goods with you; or, better,
To let us know them in one heart, our letter
Sign with one name, and find in every hour
Not failing moments but a lating power
That, met with suffering or trial, endures,
Like cellared wine grow fine as it matures.

This post was suggested by my friend Burl Horniachek.

Posted with permission of the poet.

Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.

Rainer Maria Rilke

Rainer Maria Rilke (1875—1926) is an Austrian poet born in Prague. Although he is not a Christian, he did receive an intensely Catholic upbringing through his mother. This provided him with Christian imagery and stories, which significantly influenced his concepts of the spiritual life as he created his own mythological landscape.

When Rike refers to God he has his own pantheistic ideas in mind — although for a reader with Christian understanding of who God is, the interpretation might often remain orthodox.

Rainer Maria Rilke is known for his lyrical intensity — particularly in his Duino Elegies which begins, Who, if I cried out, would hear me among the angelic / orders? And even if one of them pressed me / suddenly to his heart: I’d be consumed / in his stronger existence…

In my own poem “Response to Rilke” I have my angelic narrator reply,
----There are few angels---to firsthand hear your cries
--------for some circle the earth
----------------turning away terrors you’ve no knowledge of…
----& though I once was called---to oversee your sojourn
----it was never mine---to turn you left or right
---------------------------or hold you in my embrace…

So many translations of Rilke’s poems appear in journals, anthologies, books, and on the internet, including by such noteworthy poets as Seamus Heaney. Since, like most of you, I don’t speak German, I must content myself with English translations, comparing one with another, and hanging onto the versions that grip me most.

I have been arrested by Rilke’s poem “Autumn” (“Herbst” in German) from The Book of Images many times in various translations. The subtleties from one translation to another deepens my appreciation of the original poem.

Susan McLean translates the opening couplet as
----The leaves are falling, falling from on high,
----As if far gardens withered in the sky.

And Robert Klein Engler has the third line read:
----to teeter with the grace of letting go.

But I’m getting ahead of myself. The following beautiful version is a translation by Charles L. Cingolani.

Autumn

The leaves fall, as from afar,
as if withered in heaven's remote gardens;
it is with reluctance that they fall.

And during the nights weighty earth falls
from all the stars into solitude.

All of us fall. This hand falls here.
And look at others: All of them fall.

But there is One, Who holds what falls
with infinite tenderness in His hands.

Even though this is my favourite translation, I appreciate some alternate ways certain lines are carried into English.

Edward Snow renders the final couplet as:
----And yet there is One who holds this falling
----with infinite softness in his hands.

And J.B. Leishman translates it:
----And yet there’s One whose gently-holding hands
----This universal falling can’t fall through.

Despite Rilke’s fragmented acceptance of a Biblical concept of God, his poem does draw us toward a beautiful truth.

Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.

Stella Nesanovich

Stella Nesanovich is a poet who was born and raised in New Orleans. She has published two collections: Vespers at Mount Angel (2004, Xavier Review Press) and Colors of the River (2015, Yellow Flag). She has also published four chapbooks. She is Professor Emerita of English from McNeese State University in Lake Charles, Louisiana.

Philip C. Kolin said when Colors of the River was about to appear, “With her exquisite new collection, Stella Nesanovich is undoubtedly one of Louisiana’s most gifted poets and a contributor to the Southern elegiac tradition…”

Since that time, her poem “Everyday Grace” has received significant attention after it first appeared in the literary journal Third Wednesday in 2016. Ted Kooser featured it in “American Life in Poetry” — a column which was included in numerous newspapers. “Everyday Grace” can be read on the website of The Poetry Foundation and has been posted to many other internet sites.

The following poem first appeared at Reformed Journal.

Blue Light

The color of deep ice, the blue
frozen in crevasses, a hue
like none other. Such ice
holds memory in that intensity,
a siren song that calls the body.

The early dark of autumn
afternoons, the sky’s cobalt
evoke delight even as sun
departs, leading us
to the depths of night.

One fall, I sat in blue light
cast by stained glass,
a luminous veil. Amazed
by a message I heard
in prayer, I lingered
in tinted brilliance, gazed
about to see if others knew.

Was Gabriel an azure shimmer
when Mary heard him speak
the miracle to grace her life?
Often our answered prayers
are wisps of such light.

Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.

Emperor Kangxi

Emperor Kangxi (1654—1722) — whose personal name is Xuanye — ruled in China for 61 years, during the Qing Dynasty, including for several years as a child under four regents until he came of age. He is revered for establishing a period of peace, and for encouraging the pursuits of literature and religion.

Under his influence vast encylopedias were compiled, as well as the Kangxi Chinese dictionary. In 1705, he commissioned The Complete Tang Poems —a collection of 49,000 lyric poems by more than 2,200 poets.

In 1692, Kangxi issued the Edict of Toleration, which barred attacks on churches, and legalized the practice of Christianity among Chinese people. He wanted to maintain oversite of Chinese Christians himself, and resisted the control of Pope Clement XI who issued a papal bull in 1715 condemning certain traditional Chinese religious practices. The emperor responded by banning missionaries from entering China.

Various people have sought to claim Kangxi as an adherent of their beliefs. He was a Neo-Confucian, who sponsored the construction, preservation, and restoration of many Buddhist sites, and who wrote poetry — such as the following poem of Christian faith.

The following qi-yen-she poem follows a traditional format — using seven Chinese characters in each line, and including the numbers one through ten.

基督死
功成十字血成溪 ，千丈恩流分自西。
身列四衙半夜路，徒方三背兩番鸡。
五百鞭达寸肌裂，六尺悬垂二盜齐。
慘恸八垓惊九品，七言一毕万灵啼。

The Death of Christ

When the work of the cross is done, blood flowed like a river,
Grace from the west flowed a thousand yards deep,
On the midnight road he was subjected to four trials,
Before the rooster crowed twice, three times betrayed by a disciple.
Five hundred lashes tore every inch of skin,
Two thieves hung on either side, six feet high,
Sadness greater than any had ever known,
Seven words, one completed task, ten thousand spirits weep.

Since all ten numbers don’t come through in this English translation, they are laid out here:
----1- — once for all, the finished work, or the one task
----2- — two thieves
----3- — three times denied
----4- — four trials back and forth
----5- — five hundred stripes
----6- — six feet high on the cross
----7- — the seven last words of Christ from the cross
----8- — eight compass points — to the furthermost point of the world
----9- — nine ranks of officials — all walks of people
----10 — Chinese numeral ten, which is the pictograph of the cross

Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.