Welcome

Welcome to the 2013 Poetry workshop, Thessaloniki and Thassos. This workshop meets under a pergola with a view of the Aegean, or it meets in a café near the water's edge, or one overlooking a marble quarry. We take our breaks in the water. Our poems feast on the poems of the ancient and modern Greeks, and draw from the light around us, and the full sails. When we have finished talking and writing, we go out with Stomatis on his boat to catch the fish we might have for dinner. In the evenings, we listen to poetry read to us near an olive grove, and then we feast and dance in circles to Greek songs. Sometimes we are up very late, lighting fires on the beach, so in the morning we have our tea and coffee first, with cheese and hard rolls and yoghurt under the grape leaves. In the late afternoons we learn a little Greek, or we write in our notebooks or float in the water looking up at the small clouds. We write a lot without worrying about whether or not the writing is “good.” We know that whether it is as yet “good” or not, it is the seed of something, or it is what we had to have written before we could write something else. We play with our poems and move things around in them. We let some words go. They go, they come back. Sometimes we let a Greek poet say something, or we become a Greek poet ourselves. The assignment is to soak up the light, read what everyone writes, and learn about octopus. The assignment is to light candles, have a little psipouru or something else, and learn some dances. To say kalimera to everyone in the morning and Καληνύχτα when we go back to our rooms at night. We hope to leave with many pages of something or another, and to see our work in new ways.˜

We'll most likely be meeting on the lovely terrace at my house (up the road from where you'll be staying). The plan is to meet on Monday, Tuesday, and Thursday mornings there and to meet on Wednesdays at Beach Two for intensive writing mixed with private consultations.

Tuesday, June 16, 2015

Journey Poem- Hannah

A VISITOR’S GUIDE

To get to the bone house
of Hallstatt, take the stairs.
Unless you start, of course,
in Switzerland. After the

conductor has announced
in French that the train is
deleted (the French have
no word for cancelled)

you must accept that the
ticket you purchased is paper,
not assurance; you will not
sleep tonight. Board instead

the train bound for Basel, run
to make the transfer to
Karlsruhe (which you will imagine
is somewhere in Germany,

though you do not know
for certain). Your next connection
does not arrive for two more
hours. You will be afraid

because you are alone, you are
a young woman, it is
night. You do not speak
whatever it is they speak

wherever Karlsruhe is.
After buying a water to appease
the shopkeeper so that you may
sit while she mops the floors,

ignore the man who looks and licks
his lips. At two-eleven, depart
for Salzburg. When you are told
you cannot sit in this section, you will

walk with your things from
the train’s first car to its last.
Look out the square window,
at the tracks splitting away

into the black between
countries. Do this until you
believe this is what hell looks like:
staring down this stretch of

iron forever, the train never
stopping. But you remember
your feet hurt, and also you don’t
believe in hell. You arrive

sleep-ragged and sweating
in the Salzkammergut. There is fog
but you can see the S.S. Stephanie
churning the lake’s glass, the steeple

punctuating the village’s slumped
skyline. (You are nearly there,
do not be distracted despite the cloud
swallowing the mountain). Place


money in the hand of the walrus
man. There is grime beneath his uncut
nails but he is the Stephanie’s captain and
accountant, so you smile and say

danke and try to find him authentic.
He will nod at you. There is rain running
the boat glass. But reader, you are
impatient. Where are the stairs, you ask.

Can’t you see them? No? Forget
what I have told you. You have no mind
for the bone house. You are no traveler
at all.



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