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The Galway Review publishes my new love poem, “The Beach House, Early Spring.”

I’ve been published in Ireland for the second time!  I am absolutely honored that The Galway Review today published my new love poem, “The Beach House, Early Spring.”

You can find the poem right here.

The editors also elected to list my poem as one of the journal’s Best of the Month for October 2023.

The Galway Review is the city’s leading literary magazine, boasting more than a half million online readers worldwide.

I am quite grateful to Managing Editor Ndrek Gjini and The Galway Review Board of Editors for allowing me to see my work appear in such a distinguished periodical.



“The Beach House, Early Spring,” by Eric Robert Nolan

“The Beach House, Early Spring,” by Eric Robert Nolan

1.

For a moment,
we are outside of Time.
The long shore road before us,
graying in a wraith of fog,
is immemorial slate,
the fog the same fathomless iron
as the primeval cloak which once
crowned and veiled a world of only oceans.

We arrive “off season.”
The houses around the one that we’ve selected
hold only unlit windows.
Oblivious in their square and bare-roomed silences,
they are hewn at angles from a sandy landscape —
monoliths of dark apertures.

We invade our own.
You glow along the curve of the walk
like a slowly circling star.
A key rattles and we
explore the rooms in succession.
We are interlopers,
newly inhabiting each,
announced in electric light.
Your laughter enchants them
back to their habit of residence.

“Look at the size of it!” you yell,
tossing your pocket’s contents
upon the kitchen counter.
There your coins arrange —
planets in an accidental cosmos.

The gulf of the parlor yawns.
The sofas are motionless hills.
The hall is a valley lined with the caverns of rooms.
The kitchen is vast.
The kitchen is a vast canyon where dust has settled.

Only an old clock is in motion –
the slowly rolling, backlit iron
of its hour hand, its minute hand
in its indifferent face;
giddy with our sense of space,
we do not slow to notice it.

The fracture in the sliding glass door at the rear
is the fissure of an opaque glacier.
Together we draw the door
to greet to roar of our purpose, for
we wanted to see the sea.

2.

It bellows over all the dark dunes —
booming in pendulum rhythm
under immeasurable night.
But I only pull you to me.
For me, there is more allure
where ambrosial strands will greet your skin in graceful eddies —
the waves of your hair down your neck.
Even at this vastness of sea and sky,
the implacable, sheer and unending
Glower of Creation, I favor
your warming skin so longingly that
the Infinite would rear and roar in envy.

We rush out,
to salt and sweeping winds,
heedless under heedless stars,
to the dun high dunes like heaps of cretaceous remains,
then, through the shadow-burnished breach
in their slumbering dim ellipses,
to the paradox of every beach —
the sand’s coarse silicon still
softens all our darkened steps to silence.

Here Existence shouts
the very Bark of Providence.
The sea is a flat dimension
of slowly rolling, moonlit, coldly undulating irons,
lashing shore in endless duel,
and throbbing, epochal pulse.

Between stars of an unrivaled
hardness and brightness,
we discern within the black
one color poured to another,
blue which fills with voids of driving violet,
and the moon’s own rounded border,
burning gold on silver-opal circle.

I pull you to me.
We spill across the sand as eagerly as surf.
You are the very lighted moon upon my skin.
The heat in you is undiluted stars.
All of space recedes in salience beside
the fragrance of the space behind your ear.
And your breath’s accelerando
is greater than the cadence of tide.

We are alone.
We are as rhythmic as the unseeing
and boundless and indifferent sea.

3.

We escape the notice of stars as easily
as we laze to delineate them –
lying on our backs, the backcloth
of galaxies flush in front of us.

We are white and linking figures on the shore:
you are a lucent pearl, and I
a dim, wan shard of jagged, broken shell.
The pearl of you is shorn to sheen
by the pressures of your depths.
And I remember my life before you
as a conch will remember the ocean floor–
caliginous illusive dream.

My body finds your own again.
My thumb draws in to trace
your concave, shining oyster shell
of starlit open palm.
The contour of your wrist, in light,
is lustered spiral cerith under moon —
in shadow, is tawn of junonia.

I tell you the ocean is paradox –
fixed and ever moving …
or remorseless memory
by confabulation changed.
Caressing the warmth of your palm, I tell you,
the ocean is a clock.
The collisions of its tides
are our common metronome.

Kissing my inner wrist, you opine
the ocean is a poet —
ever keeping meter. And
you giggle that it never stops.

We pause.
Then we sit, in colloquy,
cross-legged, unobserved
under glittering galaxies in
incomprehensible distances.
And I ask you whether we matter.

Time is endless,
exceeding even circumference of
its slow and sliding clock of circling stars:
the North Star is its center;
the arms of constellations are
its hour hands, its minute hands;
the arcs of stars advance it, stars
number our moments together,
so slowly that we won’t notice,
unless we dwell to examine
their ponderous momentum.

I say more.
This time it’s physics.
I worry over a kind of
special relativity —
when time speeds up when we’re together, our
sated, stationary closeness, is it
our ardor dilating time?
In our glad adjacency,
lovers’ lives will therefore contract;
all of our moments are shrinking.

If so, then, Love, I give you
all of my dwindling moments.
I give you
all of my rapiding hours,
my blithe pilgrimage for your white form,
my quickening existence in this
salt and starlit air, with these
smooth stones and sounds of ebbing water —
the receding endless melee of sea —
this stillness and sensation,
this coast where sky reels faster now.

4.

I sleep. In dream, the tide
is embryonic rhythm.

I wake, and the moon is in a different place –
higher over us, its shimmering eye in chaperone,
or intent upon its mirror – the shine in the sand —
the eased and willowy silver of you,
your luminous integer.

You tell me, “You went away,
for a little while.”
I ask you how long but you only
point to the movement of moon.

Sleepily, I ask you if
the universe is so large that no god could ever
pity the infinitesimal.
The math of it leaves us abandoned.
We are each diminishing concepts
when the light years reach ever farther
in our abstract contemplations –
those cold and compassless lengths in space.
And no god could ever love us any more
than you and I could pause in our keenness to love
two random grains of sand upon this beach.

I measure the stars.
I confide in you that at times
I imagine them all empty.
In my mind I will search them all
finding neither mother, nor father,
nor friends and other poets fallen silent.
Like a child, I am learning only now
how to love a universe
that even in my reverie is soulless.

You pull me to you.
You draw your alabaster palm
to the roughening coral of my cheek.
Your arms are whitened driftwood.
Your legs are lettered olive shells.
And your eyes are as full and smooth and dark
as umber, nearly weightless sea glass.

You draw my face to yours,
and press your hand to mine.
You kiss me, and whisper solipsism:
that the universe is only us —
our perceptions.
We need only to close our eyes
to extinguish it all, on our own, in an instant, and then
reverse the extinction by blinking
them open again.

And if we shut our eyes together, our hands pressed, you tell me,
then we are all there is in Time and Space.
No distances exist between our palms —
only the actions of atoms,
and their electrons in hastening orbit,
excited at greater temperature,
moving faster in their warmed adjacency, as we are.
“Ask yourself if that is all there is, and it will be.”

My eyes are closed, but I can feel you smiling.
The tide reduces to silence,
as a slowing iron clock now winding down,
and the warmth of your open palm is enough
to soften all the universe.

I want to hold you, hold this moment,
outside of time, forever, outside
of the vastness pressing down us,
as we warm one another, adjacent,
lest eons align to suffuse our skin
or endlessness slide through our irises,
lest the Vacuum arrange in our veins,
or distances invade our bones.

My heart is neither calm nor song,
nor tender look, nor mildness,
nor summer, nor stillness
nor ode’s serene device.

For you – the hushed and stormless all of you –
my heart is a hungry universe.
My heart is the same vast,
unknowing insatiety
that with measureless abandon
reels when you distract from it.

And I will love you, Dear,
not only here,
not only until the end of my days;
I will love you past all that which is.
I will love you
outside of Time.

© Eric Robert Nolan 2023

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Photo credit: Christian Ferrer, CC BY 4.0 <https://creativecommons.org/licenses/by/4.0&gt;, via Wikimedia Commons

“Where Would We Go?” by Eric Robert Nolan

Where would we go, you and I?
The sea which breathes, in aquamarine,
its rhythmic, salty epic at our ankles
and inundates a foam refrain,
over and over, in rolling green glass:
the tide — the oldest poem — an immutable meter preceding
words, or man, or even ears to hear?

The unvarying sea
takes no notice of poets —
you and I, ourselves inconsonant poems,
varying as all our kind are wont to do …
faithless at the foot of the green, returning tide,
both our lives arrhythmic and
bitter with metaphor.

Where would we go, asalam?
The staid and angled mountains, vaulting up?
Mountains are always odes. The miles of stone
which rise to cut their rival heavens
lance the air, and spin the winds to narrative.
Those winds were singing long before us,
will sing when we are gone.

The mountains will not know our names
even as we whisper one another’s,
or the rise of your breathing where we lay there —
the blithe and meadowed slope that will not blush beneath us,
where we are ribald lyrics, songs out of our lawless senses,
lascivious and nearly wordless.

Where would we go, my muse?
The river that rushes like a fugitive ghost
absconding with its own requiem?
Rivers’ roars are always dirges, for rivers run past
lives beside their banks. Lifetimes
are as seasons to them, always ending.

This timeless river
is unconcerned for poets
and will not slow to note us.
Only our own faces on its hastening, dim and opaque surface.
answer back our gaze. We are elegies, reflected
in heedless, racing waters moving on.

Stay with me, here, for now.
We have two temporary
yet temperate pages all our own
over which is the script of our ardor:
my gray-grizzled Irish cheek and your Iranian skin,
to read and study, see and know, slowly and tenderly, in this ordinary room,
in this little city, in this waning light, in this fleeting moment,
in these fleeting lives.

I am inelegant free verse, but you …
you are my perfect poem.
We will draw the sheets over us,
over our moving euphony,
and frame to evoke one another —
the rounded warmth of your white shoulder,
the cadence of my pulse.
We will hear one another, and speak
in sedulous repetition
the particular rhythm of each of our names,
measured in the meter of tremulous breath.

(c) Eric Robert Nolan 2022



Santorin (GR), Exomytis, Vlychada BeachDietmar Rabich / Wikimedia Commons / “Santorin (GR), Exomytis, Vlychada Beach — 2017 — 2999 (bw)” / CC BY-SA 4.0


“All Our Faults Are Fallen Leaves,” by Eric Robert Nolan

“All Our Faults Are Fallen Leaves”

Again an annual angled auburn hand
announces advancing Autumn —
fingers aflame, the first Fallen leaf,
As slow in its descent, and as red,
as flailing Lucifer.

Hell in our sylvan vision
begins with a single spark.
The sting of the prior winter
subsided in July,
eroded at August.
Now, as at every September,
let new and cooler winds
fan a temperate flame.

May this nascent season only
bring brick-tinted perdition
and carmine Abaddon.
Where flames should burn, may there be
only rose tones on wide wine canvasses,
tormentless florid scarlets,
griefs eased in garnet trees.

What I hold in my heart to be true
is Edict at every Autumn:
Magentas may not make
forgetful a distracted God,
unless we ourselves forget
or burn to overlook.

Auden told us “One Evening”
to “Stand, stand at the window,”
and that we would love our neighbor,
but he didn’t counsel at all
about how we should smolder there.

Outside my window, and yours,
if the Conflagration itself
acquits us all by claiming only
the trees upon the hill,
the Commonwealth a hearth,
Virginia an Inferno,

Then you and I
should burn in our hearts to absolve
ourselves and one another,
standing before the glass,
our curtains catching,
our beds combusting,
our bureaus each a pyre.
Take my hand, my friend, and smile,
there on the scorching floor,
beneath the searing ceiling and
beside the blackening mirror
that troubles us no longer,
for, about it, Auden was wrong.

God’s wrathful eye
will find you and I
incandescent. The damned
are yet consigned to kindness.
All our faults are Fallen leaves.
Forgive where God will not.

Out of our purgatory
of injury’s daily indifference,
let our Lake of Fire
be but blush squadrons of oaks,
cerise seas of cedar, fed
running ruby by sycamore rivers,
their shores reassured
by calm copper sequoias,
all their banks ablaze
in yellowing eucalyptus.

Let the demons we hold
harden into bark
holding up Inferno.
All their hands are branches now;
all their palms are burning.

There, then, softly burning, you and I,
may our Autumn find
judgmentless russets,
vermilion for our sins,
dahlia forgiveness,
a red for every error,
every man a love,
every love infernal,
and friends where devils would reign.

(c) Eric Robert Nolan 2015

— Author’s note: the poem to which I’ve responded above, with its images of standing at the window and the mirror, is W. H. Auden’s “As I Walked Out One Evening.”

 

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Publication notice: Eric Robert Nolan to be featured via the “Poems-For-All” project.

I’m honored today to share some terrific news — four samples of my writing will be featured via Richard Hansen’s unique “Poems-For-All” project in California.  As the video below shows, Mr. Hansen produces miniature “books” of poetry that are about the size of business cards.  They can then be distributed randomly.

Here’s the description on the Facebook page for Poems-For-All: “They’re scattered around town — on buses, trains, cabs, in restrooms, bars, left along with the tip; stuffed into a stranger’s back pocket. Whatever. Wherever. Small poems in small booklets half the size of a business card. To be taken by the handful and scattered like seeds by those who want to see poetry grow in a barren cultural landscape.”

The poems selected were “Consciousness Haiku” and the first stanza of “Confession.”  (Mr. Hansen suggested it worked fine as a standalone poem.)  “Confession” first appeared at Dead Beats Literary Blog in 2013, and was then featured last year by Peeking Cat Poetry Magazine.

In addition, Mr. Hansen selected my 100-word horror story, “There in the Bags,” as well as my entries for the popular online Six-Word-Sci-Fi Story Challenge.  (He also publishes micro-fiction in the “little book” format.)

This is such a cool, unique project, and I’m grateful to be able to participate.

For more information on Poems-For-All, check out the video below.  Or you can visit the blog for the project here: https://poems-for-all.com/.