Patricia Ranzoni

PATRICIA RANZONI

as of 12/3/02 -4/8/04

Update in progress....

POETRY::MAINE::HISTORY::FOLKLIFE::WOMEN'S STUDIES::MULTI-CULTURAL::RURAL::WORKING CLASS::DISABILITY STUDIES

PLEASE NOTE:
Thank you for visiting. All this time, I have been unable to publish to the web. Much here needs revision. PSR
pranzoni@aol.com

NOVEMBER READING:

KINDLING
milktongue, worksong, lovetracks, curse
Poetry as History: History as Poetry Especially in Maine

for TEACHING HISTORY IN MAINE CONFERENCE
Story Meets History: Narrative Ties Between Past and Present Generations
University of Maine November 1, 2002

REVIEWS

BANGOR DAILY NEWS, "Ranzoni to share poetry" By Roxanne Moore Saucier

Maybe it's because she moved away and then came back that Patricia Ranzoni so deftly mines memories
of Maine--digging dandelion greens, baking beans for Saturday night, watering the cows, brushing against
"touch me not" jewelweed until its buds pop.
In her latest collection of poems, Settling, published by Orono's Puckerbrush Press, the University
of Maine graduate not only illuminates what she saw and heard and touched in decades past, but seeks to kindle
what her ancestors experienced centuries ago.
Many of the images are not limited by time.... (review continues)

OFF THE COAST, Journal of The [Maine] Live Poets Society by Catharine S. Baker

Since the publication of her first volume of poetry, Claiming, in 1995, Patricia Smith Ranzoni
has been laboring in the vast fields of her native ground, the Garden of the Word. Her harvest, or Portion,
is in the richness of the poetic voice she has developed, and in the range of her perception or sensing
of the many-layered world she inhabits. The breadth of her endeavor transcends any syllabus in higher
education of which I am aware; she writes of and with most of the writers of our region, living and gone.
She writes, and sings, in the voice of humans before history and in the making of it. She is the Spider
Woman, a fish in winter staring up through the fisherman's hole in the ice, or an ancient elm out at the
edge of the pasture; she looks at and speaks as a doe hiding her fawn, or a porcupine whining as it tries
desperately to cross the road to safety. Her words are those of children, old people worn out with work,
descendents of the first European settlers, now pushed to the margins of every page but hers. Her first poem,
"Transgressions", in Portion One, says this, with fierceness:

I know I
am not supposed
to be writing our women
digging their greens, tres-
passing in another class,
but this ground is composed
of my people

and I am on my knees

and this is a knife.

(review continues)

Collection Two: Settling
Now in second printing.

For P.D.

Dear ghost, take pleasure in our good report,
And bully me no further with my blame.
You use my eyes at last; I sign your name
Deliberately beneath my life and art.

–WilliamMeredith
"For His Father"

LETTING DOWN

Cushy cow bonny, let down thy milk
and I will give thee a gown of silk.
A gown of silk and a silver tee
if thou wilt let down thy milk to me.
--old milking chant

Let me live with remembrance of teats
in my fists.

Let me give in to the privity
of a Guernsey hide
my temple in the she-cove
in her side, sweet-haired
and hugely womanly.

Let me blister these barnhands writing her
this script a lost milk
my people are starving for.

___________________________
From SETTLING , Puckerbrush Press.
First published in The Ellsworth American and The Cafe´ Review.

It has taken years/to settle; now its slow descent claims all.

--John Gery
"The Shape of Sadness"

Gathered for SETTLING :

INTRODUCTION BY MARILOU AWIAKTA

DIGGING GREENS
Transgressions
Night Pulls From The Cove In Long Shadows
As Long As Our People Still Burn The Grass Come Spring
Making Maybaskets
In a Maine Valley Every April
American Sigh Language
To Branislav Manjencic Come To Portland/In Potato Blossom Time
Gulf

KEEPING TO OURSELVES
Keeping To Ourselves
Gettin' Religion, Angelology, Or How Certain Revelations Appear
To The People Of The Blueberry Heath
Cultural Guide/Or/Why Doesn't The Humanities Council Fund A Documentary
Before Those Who Know Are Gone
After Shame/Or/Remembering Why As Children
For The Girl Who Spoiled The Paintings
Evidence
Way
The Chickadee And I Enter Our Bower
In This Dream,
Stone Ones
Hancock County Eve
Growing Up Here
One Last Reading
Savings
Piano Drop
Parking Lot, Ellsworth
Spider Women
Returning After Years To The Far Pasture
What The Barber Knows
Belated Birthday
Moon Over Lamoine
His Time
We Hunt
Graces
The Day We Were Shown
Locket

MAKING WATER
Dowsing
Receiving Awassis Into Daisy Time
Making Water
All In Good Time
For Kathryn And Katie/With Pink Hair Scrunchies And Yellow Barrettes
Solutions
Dry July
Thirst/For The Man At The Stockton Spring
Late
Salt Dawn
Manners/Or/Something You Should Know If You Go There
Catch Of The Day
Letting Down
Touch Me Nots
Sam's
My Mailbox Gets Mad
Again/Off Rockland Harbor
Husband Cut My Hair
Joe Dana's Walking Stick/Because It Has Been Given
Bath Song/Or/Lullaby Of The Waters

BURYING OUR OWN
Elderberry Hours
Burying Our Own
The Old Gross Place
Summer Woman
Expecting The Hawks To Be Leaving,
Dock Talk
Shattering
Oh, Letitia
Seconds/Or/Taking Down Your Print
Porcupine Noise
Watch For Eyes
Light
But If We Knew,
Hazel's Sister Bill
Mother In The Sun In The Bell
Decoration Day
If You Should Die Before I Do
The Condition Of Being Unsettled

ANOTHER LONG
Turn I
Turn II
Turn III

AFTERTIME
For The Turn Of The Century
Settling

To inquire or order.

table of contents

WORDS FOR THE WORK: Settling

Bearing this nourishing heritage in balanced proportions, Ranzoni's Voice--
clear, keen, bracing--flows into her frugal Downeast community. She testifies
to people's lives, and her own among them, in language so alive that one virtually
hears people speaking their deepest thoughts: About their land and families. About
coping with adversity. About upholding democratic principles of independence and
self-definition. Drinking in their stories seems as natural as drinking from a well-
spring--and as restoring. This sense of "naturalness" reflects the high measure of
Ranzoni's art, as well as the years she has devoted to self-training her voice....But
it is Ranzoni's creative gift--her strong-spirited Voice itself--that moves the heart.
Listening to her speak...one...hears something indefinable. Beyond qualities, beyond
themes, beyond even the words themselves, there is an ultrasound from the deep.
An intimation of the cause that impelled the Voice to rise into the light. Only the poet
knows this mysterious story....From the time of its emergence, the Voice holds true.

–Marilou Awiakta
from the Introduction

A brilliant work by Patricia Ranzoni that combs out many of the tangled
historical knots snarling American misconceptions of New England's colon-
ization. Her title poem speaks appropriately through the feminine voices
which in Wampanoag tradition holds and can speak the truth of what was, how
it happened and how it felt. Patricia took a segment of history that impacts all
Americans beyond the romantic depiction with extraordinary artistic texture.
"Settling" offers a marvelous connection to the European roots sunk in the soil
of Maine.
Wampanoag translates in English to mean "People of the First Light," which
is another way of saying Eastern-most people. The gift of the Eastern door is to
be the first to hear the new thoughts of the Creator during each rising sun. It's
outstanding to find a European sister truly settled here and who has received the
gift of this continent's Eastern blessing. Enlightenment shared is the ultimate
thanksgiving.
–Nosapocket (Ramona Peters)
Mashpee Wampanoag

Clearly Patricia Ranzoni has done her Homework. There are details
in her title poem that are only known to those who have studied the 17th Century
writings of the colonists themselves. Her familiarity with the sources is equal to
a role player interpreter at our museum. In addition to the details, the spirit and
essence of "Settling" rings very true.

–Martha Sulya, Collections Manager/Interpreter
Plimoth Plantation

A lot is going on here: sense of place, ancestry, blood and the land, how
to get it said (whatever "it" may be), aloneness, the man and woman of it, on
and on, and it's important stuff.

–Edward "Sandy" Ives, Founder
Maine Folklife Center

Patricia Ranzoni's words? They look like home to me. Sound like home.
Feel like home. Where and what else in all this world would be worth calling
home, but here in these people-y pages?

–Carolyn Chute, Maine author

Patricia Ranzoni uses her voice like an instrument creating evocative
music, elegaic, celebratory. Her poetry radiates tolerance, appropriate anger,
and affection for people and places, high and humble, especially of Maine's
pastures and shores. There is so much love permeating her poems.There is wit
and sensibility and great control. Her poems are beautifully crafted, earthy,
and gutsy and I love having them on my shelf close at hand.

–Ruth Diagon, Poet and editor

Fans of Patricia Smith Ranzoni's Claiming will find a satisfying
follow-up in Settling....Ranzoni's newer poems range from brief images...
to elegies....and a number of much longer, more complex works and a few
that hover between boundaries of poetry and prose....Ranzoni repeatedly
captures feelings stronger than words with lines that jump out from their place....

–The [Bucksport] Enterprise

Pat Ranzoni is a political poet. There's no getting around it. Sure
she's a lyrical poet, a poet with depth and a poet who promises knowledge
underneath every breath. But underlying it all, she is a political poet. Forget
any preconceived notions of political poets ranting in smokey bistros, condemning
the universe...growls emanating between stanzas. She isn't like that....Ranzoni
is lovely, feisty and soft-spoken. Her voice has a flutish quality. Still, every single
one of her poems is political. It's because of her roots....
Although class issues aren't always trendy, they continue to exist.
Angela Davis wrote that the personal is political. That is also true in personal poetry.
And Ranzoni's poetry both transcends the personal and is personal.

–The Ellsworth American
continues

I swear her poetry beats chicken soup. Settling is a friend that will grow old
with me. It is a treasure I will give to my children. What a good work she has done--
A sun of light for the darkness of living, a rain of hope to raise life from the dirt of hurt.
Her spirit and joy breathe with the words. She has found ways of seeing and listening
for the uncommon truths of pure hearts. My, my.

–Tom Gaffney, Psychologist and Founder,
Highland Sanctuary & Retreat

This book is a feast... except it can't be gulped down all at once. A book this
big can't be swallowed like a meal. It's a well larded pantry and a root cellar. Many
suppers and the fixing. The diversity within one voice is astounding.

–Robert Chute, Maine author

WORDS FOR THE WORK: Claiming

Patricia Ranzoni is one of few real voices...in the rightness
of the colloquial voices whose speech patterns she gets down
for us before they're gone, vanished forever. When a poet
can do that, we know the poetry will be read in future; but
Ranzoni writes unconscious of this, rather for a sense of in-
heritance and place, and who people are.
--Leo Connellan

The poems of Patricia Ranzoni have the pizzazz that real country
speakers, close to earth and to each other, invent all the time.
At the same time her good sense and wise feeling are womanly
in the finest sense, and her pleasure in this is evident. Her voice
adds significantly to the imaginative expressiveness of New England.
--Hayden Carruth

Sometimes, when we are far from home, we hear a voice which
carries the music, the truth of our own local language, and we are
carried by it, taken home. The poems in Patricia Ranzoni's Claiming
fall on the ear as just such a welcome voice from home. The author
is a person who "knows her place" in the best, most positive use of
such a term. She comes from generations of women and men living
in the same place and acquiring the specific knowledge which comes
from that long-term investment in place. She speaks as a woman native
to a particular home, but essentially native to herself, and speaking
from a very particular knowledge....This is a lovely book full of the
spirits and soul of a particular place, and full of a lovely language, a
particular language....a rich language, full of color and vision and lives
well lived....a tough, true language, true to the heart and true to the
place....These poems are the rich story of one life, of many lives, of
one place, of many places. Here is the language we hear in our hearts,
and think of home.
--Gary Lawless
The Dissident: Maine's Journal of Politics & Culture

The poet Ranzoni is a mature woman who writes in the vernacular...
about..."the hard core" of Maine....An 11th generation Mainer...a
political poet....This collection represents 10 years of Ranzoni's work
....Reading them is like drilling a well...as you go deeper you are
closer to the water....and she sanctifies the daily in life. This makes
her poetry readable for anyone, whether from upcountry or New York
or Pennsylvania. In fact, cityfolk would do well to pick up a copy of
Claiming to learn about this woman and her people and what they find
when the summerfolk are gone.
--H.H. Price

...Ranzoni takes the important step of looking back, not only into her own
life but into the lives of many hard-living women, their men, their children,
their barnyards and their secrets....She can be very funny, and very angry.
Her single most pervasive theme, however, is that of the woman reflecting
on the wilderness (or lack thereof) within her and around her. The best
thing about Ranzoni's work is its fearlessness in presenting the poet as her
own sort of natural woman....
--Bangor Daily News

Native Mainers who read Claiming will stand a bit taller in pride. Others
who've adopted this state as home will learn Maine's real strength comes from
its people. "... who we are as an oldtime Maine people and what we've become,
is the soul of the book," Ranzoni says. "You hear those people aren't there any-
more. But we're not gone, we're still here....But our voice...isn't given value....
only as subjects, characters in the writing of others." Ranzoni's full-throated
word-pictures paint scenes of rural people who were and are creative in their
own right....and..."probably the last frontier for people remembering what
living free meant."

--The Ellsworth American

Patricia Ranzoni of Bucksport is about as wrapped up in American myth,
aspects of Maine and Maine people and the tides of history as anyone could be.
Her assured voices speak of permanence and change, from the Native tribes to
the first Europeans or more contemporary, less permanent visitors: "Arthur
came onthebus when it wound/downeast in the 60s more hair/than his dogs Karma
and Krishna he brought by/to run in our fields..." The pulse and pace of what
Ranzoni calls "one of many Maines" are described in these tough, carefully struc-
tured poems. Claiming is a first-rate volume by a gifted poet.

--Maine Sunday Telegram

Poetry, wrote Nobel Laureate Seamus Heaney, is "the music of what happens,"
and in Claiming Patricia Ranzoni names what happens in rural, outback Maine
that folks from away often don't see or refuse to notice....In Ranzoni's strong-
est poems, rhythm and idiom work together to reveal character....When she
trusts her images, Ranzoni's eye and ear work together to make music from what
happens on her singular plot of ground.
--Maine In Print

Although the battle for acceptance may not be over, if this book is any evi-
dence, Ranzoni has won the battle for language. Her distinctive, tough-and-
tender voice and energetic language track Maine's rural idiom without simply
repeating its cliches. Colloquialisms abound...but more fundamentally, Ranzoni
crafts her hard-won rhythms from the cadences of common speech....After-
thoughts clip off poem after poem like hundreds of Maine conversations we all
have shared. She makes effective use of understatement...as well as the colorful
exaggeration which is equally characteristic of Maine speech....She is particularly
adept at injecting the latter, image-making voice with fresh energy....At their best
...the poems in Claiming fuse language, cadence and subject matter into forms that
seem as inevitable and as indigenous as winter ice....For the most part...Ranzoni's
poems establish their authority through intensified but authentic language whose
laconic rhythms I have heard all my life. Only better. This is a rich and passionate
book. I am grateful to have it and grateful as well to Puckerbrush Press for the
beautiful presentation they have provided.
--Kathy Hooke
Live Poets Society of Maine

Maine native poet Patricia Smith Ranzoni, descendant of generations of Down-
easters, knows well about the inner complications of her people's lives, past and
present; and she writes about them and their surroundings--the tough, hard but
beautiful land of her childhood and ancestry--with great compassion, thorough
understanding, warm humor, nostalgic yearning, loving sympathy, and rageful
fright for the future of this special place....Watch where you're stepping! Maine
and its people are not to be trodden upon so lightly, so nonchalantly, so unknow-
ingly, so stupidly, and so exploitatively....Ranzoni's poetry ranges from her
lovely nature lyrics like "Bedding I'd Call Beautiful" and "First Snow" to political
poems like the powerful "Incendiary,"dedicated to her "papermill overtime work-
ing father" for good reason....Ranzoni's voice strikes the pure, truthful note.

--Sanford Phippen
Puckerbrush Review

table of contents

Collection One: Claiming
Puckerbrush Press, 1995, in third printing

For ancestors and living kin--my
first and best teachers. Especially
my mother, whose handmade notebooks
with corrugated cardboard and storm
window plastic covers taught me about
necessity, about the need to write.

OUTBACK WOMAN

sometimes I urge to back up out more back more
where a woman can put tarpaper on a shed
and not be less

carry pails from untested springs
squat where she wants and not break codes

dress nothing like the ads and not worry
some domesticated souls'll drive in not knowing
where in hell they're at

eat from the rough follow rhythms signs
primal sense my clock

in the shock of wild juice remember everything
about how I've been there before

___________________________
From CLAIMING, poems by Patricia Ranzoni, now in third printing.
"...from first naive folk notes...." To inquire or order.

Every quick feather asserts a just claim:
it bites like a saw into white pine.

--William Stafford
"Lit Instructor"

Poems gathered in CLAIMING :

WHERE YOU STEP HERE
In Their Dust
Whether You Stay Or Go
Outback Ball
Patent Leather Prayer Or
May All The Children Have Margaret Pooler
Shoes Someday Amen
Choreography
Too Long At The Fair
Chasing Chickens
Barn Free
Road Home
Cousin Richard's Dead
Baptism At Blue Hill
Bedding I'd Call Beautiful
What The Fields Know
Dress Code
Say The Meadow Was Our Mother
Special Delivery To Philip Booth
Gifts
Hungers And Dawnings

THE HARD CORE
Wind-Chill Factor
Tarpaper
Before The Bucksport Regional Health Center
She Can Count On Two Hands The Times She's Gone To
A Beauty Parlor Most Times Sorry She Did
When Windows
Housekeeping Of A Kind
Incendiary
Hearing From My Father Five Years Dead
Why I Don't Need Much
Water!
Pedigrees
Let No Word Ask To Name This
Buck Passing
First Snow
Hard Frost
After The Thanks Giving Or When Mothers Die Too Young
For Minnie Bowden
Teaching Me

HARKING
Outback Woman
For The Love Of Learning
Amy Clampitt Showin' Me Who I Am At Fraser's
Auto Sales And Service Stockton Springs,
Maine, March, 1990
Non Scrivero
Sources
To Sharon Bray
Swapping
Pastorale
After Brooklin Benediction
Not Far From The Coast: August: Maine
Reaping
September Staying
Holding
Mark This Day With Candle And Song
Service At Silver Lake
Singers
For A New New Year's Morning
Answering How Come You Always Rock The Baby
To Castine Quietly
Claiming
Calls
Quest: For John Andrews Called Old Buck

NOTES including "Mamie's Lullaby"
Words and music passed down in the author's Maine family for generations.

table of contents

Collection Three: Wellhouse Not Far Enough
in progress

Here are your waters and your watering place.
Drink and be whole again beyond confusion.
--Robert Frost
"Directive"

Poems gathering for FROM THE WELLHOUSE :

Out Of The Woods
A Choice Knowledge
Qu'elles sont belles! /How beautiful they are! (for Susann Pelletier )
Beginning In Autumn
Artesian
When The Great Blue Heron
Labrador Star (old mitten pattern )
Present
Looking Up To Fathom
The Rooster's Gift
Windeyes
Today, Too (after "Today" by Billy Collins )
Little Blue Shell In The Ditch
Fiddlehead Conclusions (when the farmer's wife hears the Sibelius Concerto )
Dawn 21,900
In Kind, I Surprise You With This Moment In May
Because The Paper Says You Come Here Too
One Solution Of Six
Mince (for Leo Connellan )
Sewing Your Ring Pillow I Draw Blood
Smell The Hayfields Fill
Replies (for Gary Lawless )
Looking Up To Bend (To The Lily) I Well Up For The Star It Is Something Like
Regarding This Pine Valley, You Gone Again For Good
Searching For America, Awiakta, I Find You
Kneading This Beautiful Black Bread I'm Inventing For Your Heart, Mama
Fear At The Solstice For Turtles Crossing The Roads To Get To Water
When Mock Orange Scents The Homestead/Surveyors' Neon Flags Bloom In The Field
Valley/Or/Deer Eyes All This Way From Cherokee Appalachia/Helping Me See
How To Say Goodbye To My Father's Land
The Brookland Keep
Pulses (of the grandmother spring/after half a century )
And I Will Make You Bread
Doublewoven
With
Show Me An Upstairs Windowbox
His Red Farmall And Her Spinet Dream
Piano Lessons
Path
Let Me Show You Where In Sedgwick
Waking Up In Canada
Dona Dancing
Seeking (my sister hiding)
It Was Not A Shack
Of Scapes And Bulbils And Her Own Small Crop
Just In Time (A Hill Of Cornmothers)
Four People Lived In This Building Of Me
Let Me Make You A Dress Jeannie
Pitching/Or/Blessed Blisters From The Hayfork Again
Bear! Bear!
When Harry Woodman Brings His Portable Mill
Lunch Is Ready On The Porch Dear
Listen To The New Pine Shed, Boys
Following Stone
New-neighbor Oat Cakes (honey for the sweet of it, lemon for the pang)
Taking The Hard Way Back To The Brook
Braids
In The Wake Of Galway Kinnell At The College Of The Atlantic
Simplicity/Or/What Earlene Has Earned
Christina Home
Yo-Yo Ma At The Rod & Gun
When You Go To Town/Please Mail This Dollhouse Book to Yorkshire
Little Chocolate Cottage In Millvale Don't Be Sad
What Good Powers Roger Powers
Annie Off To Africa Again And Binta Darboe Has A New House
Should You Happen Upon An Elder At Her Quilt
Bagaduce Baby Blanket Memory Of Betty
Rumble Rumble Goose (for Ssipsis and Molly Molasses)
~J~ (the flying J of the tallgrass prairie and the strawbale home she makes three gates out)
Charlotte's Place On The Town Farm Road
Arming (September, Maine, 2001)
To Colby Trembling (Am I Your Sister?)
When the weather is kinder,
Tracing
Medicina (for cold and sorrow)
Rose Chowder
Farewells: A Joy-sewn Sampler Wherein You May Find Yourself
Pond Life/Or/What The Vesper Sparrow Couldn't Tell
Wellhouse Not Far Enough
Grounds (deserving of earth)
Outside
Italics

table of contents
THE AUTHOR

Patricia Smith Ranzoni is descended from Scottish, Irish, and English dissidents,
separatists, exiles, and deportees, (and other nationalities being researched), who
settled in Indian territory in what became Massachusetts, Maine, and Canada. She
was born upriver in Lincoln in 1940, the second daughter of a young woodcutter,
Percy Dow Smith of Webster Plantation, and farmgirl from offneck Castine, Dorothy
Jean Young. She grew up in Bucksport to which her father returned from World War II
to work in the papermill; and to which she and her husband Edwin, from Chatham,
New York, returned with three children to save the subsistence farm on which she
and three sisters and a brother grew up.

Like many outback youngsters in those days, she began earning her way from about
age nine picking beans for 25¢ a bushel on the truck farms of Penobscot and Orrington.
Throughout childhood and teen years she worked for wages as a farmhand, mother's
helper, babysitter, and diner cook. She worked her way through the University of
Maine at Orono as a seamstress and laundress between shifts waitressing in summer
hotels, with child and house sitting jobs, as an Avon girl, University office assistant,
and doing dormitory housekeeping and cooking.

Although she earned undergraduate (B.S.Ed.with distinction ) and eventually grad-
uate degrees (M.Ed.in educational administration and Certificate of Advanced Studies
in counselor education); and has had a career in education and mental health, her poetry
is firmly rooted in Maine folk tradition. Along the way, she taught in Orono and Bucks-
port public schools, co-founding New Alderbrook farm school (Bucksport) and The
Children's Garden school at Community Health and Counseling Services (Bangor)
where she was coordinator of child development services, leading to private practice
as a child development specialist and consultant in education and independent
living for people with disabilities.

From daily self-directed study, her work has been published in eleven dozen or so
literary journals and anthologies in and beyond Maine, including Blueline (Potsdam
College, NY); Christian Science Monitor; LiNQ (James Cook U, Australia); River
Review/La Revue Riviere (UM Fort Kent); Spoon River Poetry Review (IL State U);
Shearsman (UK); Three Candles, Yankee Magazine; and Zone 3 (Austin Peay State U,
TN). Her first collection, CLAIMING, was published in 1995 by Puckerbrush Press
which brought out her second, SETTLING, in 2000. A third full collection, WELLHOUSE
NOT FAR ENOUGH is in manuscript; and MYRIE is the working title of poems coming
from recent ancestral discoveries.

Toward the location and celebration of Maine voices, she has helped found the
cross-cultural SpiritWords/Maine Poetries Collaborative and the Maine Poetry & Story
Exchange.

Please see archives for poetry-related activities by years (from 1998) and the journeys
of some poems.

MEMBERSHIPS AND LISTINGS

Associate, The Academy of American Poets
A Directory of American Poets and Fiction Writers
SpiritWords/Maine Poetries Collaborative
Bagaduce Quilters, Pine Tree Quilters Guild

Maine Women Writers Collection Abplanalp Library Westbrook College
Maine Women Writers Special Collections, Fogler Library, University of Maine Orono
Maine Writers Index Waterboro Public Library
Terry Plunkett Maine Writers Collection Bennett D. Katz Library UM Augusta
Maine Folklife Center UM Orono

table of contents

OCCASIONS

August 11
Reading, Annual Reunion of descendants of Reuben Damon and Lovina Cole Smith.
Moose Point State Park. Late morning on.

August 17
Community Reading, Annual Farm Fair, H.O.M.E. Co-op, co-sponsored
by SpiritWords/Maine Poetries Collaborative. Rt. One, Orland, 1 p.m. in the chapel.

October 2
Featured reader, Nothing But The Blues Cafe´, Lewiston. 6-8 p.m.

SELECTED PUBLICATIONS IN WHICH POEMS AND GRAPHICS
HAVE RECENTLY APPEARED OR ARE EXHIBITED ONLINE(select archives)

Three Candles (select archives)
"hibernaculum"
"black powder fire"

The Maine Scholar
"Letting Down"

Animus
"Mince" for Leo Connellan

Buffalo Vortex
August, 2001 issue/broadside the editor entitled "TRIO/meaning/three poems/or maybe one"
devoted entirely to:
"Fiddlehead Conclusions (when the farmer's wife hears the Sibelius concerto)"
"Pulses (of the grandmother spring/after half a century)"
"In Kind/I Surprise You With This Moment In May"

Switched-On Gutenberg
"Present"

Shearsman (UK)
"Spider Women"
"Dry July"

Terrain: Journal Of The Natural And Built Environments (Select Archives. Select Issue No. 8, Autumn 2000.)
"Valley
Or
Deer Eyes All This Way From Cherokee Appalachia
Helping Me See How To Say Goodbye To My Father's Land"

Vividarium
Pen and ink drawings

h.o.m.e.Words (St. Francis Press compilation)
"Spider Women"
"Outback Woman"
"One Last Reading"
Seven pencil sketches

El Almanaque No.543 (Spain) (Published without knowledge. Scroll to Cultiva Tu Ingles.)
"Outback Woman" (El interior de la mujer...)

Intercultural Platform (Netherlands) (Select person/country or English.)
"When Mock Orange Scents The Homestead/Surveyors' Neon Flags Bloom In The Field"

Noon Quilt (UK) (Poem online.) Now published as book.
"Loft" to Great Pond Mountain

The Susquehanna Quarterly
Autumn 1999 Issue:
"Evidence"
"Locket"
With her pen and ink drawing.
Summer 1999 Issue: (Select archives.)
"Moon Over Lamoine"
"Bath Song Or Lullaby Of The Waters"
"The Day We Were Shown"
With pen and ink drawing by son, Daniel Ranzoni.

moe'pi toe' (formerly The Initiative) (Select Multicultural Pens.)
from "Another Long (56.)" "March letters"
"Savings"

Red Booth Review
"Artesian" (Select issue 1:3.)

Terrain: A Journal of the Built & Natural Environments (Select Archive, Issue 4.)
"Gulf"
"The Chickadee and I Enter Our Bower"
"Solutions"

XCP: Cross-Cultural Poetics (Select Archive, XCP: Streetnotes Fall 1998.)
"Making Maybaskets" for the Centennial of the Ellsworth Public Library
Festival of Poets

Gravity (Select Archives, Issue 25.)
"(Dreaming company..."
"Another storm/and another..."
"needlework"
"Husband Cut My Hair"

Blue Collar Broadcast
"Thirst" for the man at the Stockton spring
"Transgressions"

Prayers To Protest: Poems That Center And Bless Us (Pudding House anthology)
"Way"
"Answering How Come You Always Rock The Baby"

Ragged Edge: The Disability Experience In America (Select Archives.
"What I Could See From Room 503" Sept./Oct. 1998 issue.)
"Why In The World"

Reflections On Maine (Rainbow Press anthology)
"Word of snow"
"from Another Long (15.)" "These are the days of..."

The Animist (Australia.Select Archives, Feb.1999, Poetry.)
"from Another Long (16.)" "But the darkest dark..."
"One Last Reading"

flux. (Poems now online.)
"Another Long (30.)" "so hope becomes Wagner's piano..."
"Shattering" for Stephane Grappelli

table of contents

TESTIMONIES FOR OTHERS

What grows here where you grew
Silk embroidery on crepe de Chine gown for sister's wedding designed and made in 1978
and preserved at Special Collections, Fogler Library, University of Maine, Orono. Pictured on
cover of Settling in photograph by George Thunder Bear.

Wabanaki Legislation Update, Spring 2000
Letter to the Maine Legislature