red notes at top and bottom...

from my anthology of must read (a)merican poems

Nell Maiden

Morning Studio


Like God, you have to start with empty space.
Sort through small talk that might lead anywhere:
a story you overheard, a cough that won’t quit,
a mackerel sky. Rhyme red notes at top and
bottom. Hint at footprints. In the foreground,
draw “table.” Don’t weigh it down, though,
with linens or silk flowers in a brass bowl. One
dimension, two, three—let them decide. Watch
while she names it stage or bed, while he thinks
food. If you’ve done well, it may float forever.

*

“Morning Studio” is a moving piece from Nell Maiden’s Reflections in a Clockshop (Sow’s Ear Press, 1996), a collection grounded in a feminine transcendence over patriarchal stereotypes. Enjambments add life to this poem, constantly forcing the reader to reassess, to rethink - to check the footing a second time. This approach is typical of Maiden’s voice as poet. The use of direct verbs adds power to the lines: start, sort, lead, rhyme, hint, draw. Then, a wonderful message for the creative persona in every reader: allow the subject to bring its own life to the work. Maiden writes,

Hint at footprints. In the foreground,
draw “table.” Don’t weigh it down, though,
with linens or silk flowers in a brass bowl. One
dimension, two, three—let them decide.

When the poem comes to the hand – rather than the hand’s groping for the subject – the truth of the work emerges.

Also, the poet – like the artist, like the musician – begins with an “empty space” – with its potential to intimidate – but here, the speaker doesn't falter. Instead, she follows the moment – an act of confidence, resolve, submission. And the result: marvelous discoveries. The world that is created and named as “stage or bed” illustrates a landscape that allows a physical acting out – connecting the needs of the body and mind with identity and pleasure. This pushes against the traditional masculine view of world as food or supply – as something to use. Maiden contrasts a feminine awareness that creates and recognizes with a masculine counterpart that is devouring and inexact.

The poem’s final line is impacting – serving as an opening into other-ness – but does remind me of life’s fragile nature ... and of Maiden’s own life that ended much too soon. Her words remain.