Maggie Palmer
It's All Greek to Me
Grey-eyed Athena smiled on us,
We laughed til half past three—
You may well be Odysseus
But I'm no Penelope
Old letters, round-toned in the dark,
Young hands not quite aligned;
Your head runs circles round your heart—
Tonight that sounds just fine
So swing me round the parking lot,
Sing when I walk you home;
And you can hold me if you want
But don't call on the phone
Heaven save me from all "meant-to-be"s,
Crossed stars and storied pasts;
Leave sentiment to Socrates,
Thank God for what won't last
Roses at the Window
There are roses at the window, there is lilac at the door
But the hands that used to tend them aren't coming anymore.
They have left this house behind them, as they've left too much before
There were roses at the window, there was lilac at the door.
Fallen petals in the driveway, empty pots upon the floor
Seem to speak a life abandoned; and it's such a pity, for
There are roses at the window, there is lilac at the door,
And the hands that used to tend them aren't coming anymore.
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The Poetry by the Sea Spring Celebration is available for viewing on Youtube as a permanent memorial and tribute to Mezzo Cammin's founder, Dr. Kim Bridgford (1959-2020). Click here to watch.
The 2021 Poetry by the Sea conference was canceled due to COVID-19. The next conference is planned for May 24-27 2022.
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| Gina Occhiogrosso: I am a painter whose work is composed not only through the application of wet color on a surface, but through processes of disassembly and realignment, and the incorporation of common, everyday materials like thread and yarn. These activities and elements allow me to explore anxiety, loss, humor and heroic femininity. The hallowed and often masculinized tradition of painting is subverted in my work through a repeated process of cutting and then sewing painted surfaces together to develop new forms, dynamic connections and illusions of depth. Where these freshly stitched edges join, there is a seam, which has both linear and sculptural qualities. The seam acts as a geometric disrupter of curvy ellipses and other organic forms that are carefully rendered and then carved up with alternating precision and chance. The ghost of those cut edges has its own subtle presence. I am interested in developing a surface that’s full of the suggestive qualities that abstraction can create. The stitched paintings supply this through the deliberate recalibration of shapes and their relationships to one another.
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