Showing posts with label Ross Canton. Show all posts
Showing posts with label Ross Canton. Show all posts

Wednesday, April 27, 2022

Memorial Day Celebration with RG Cantalupo's "Remembrances" May 22, 2022, 4:30pm, Zoom



Village Poets of Sunland-Tujunga will celebrate the Veterans in a Memorial-Day-themed reading by poet RG Cantalupo who will present a new book, "Remembrances" on Sunday, May 22, 2022 at 4:30 pm on Zoom. The reading's open mic section will include poets from the California Quarterly vol. 48 no. 1, spring 2022, edited by Maja Trochimczyk.

ABOUT THE POET

rg cantalupo is a poet, playwright, filmmaker, novelist, and director. His work has been published widely in literary journals in the United States, England, and Australia.

            He graduated from UC Santa Cruz where he studied under such luminaries as George Hitchcock, editor of Kayak, Gregory Bateson, and Norman O. Brown, and received his MFA in Poetry and Non-Fiction from Vermont College of the Fine Arts.

            His books of poetry include Involving Residence, No Thanks, Walking Water On Earth, The Art of Naming, Remembrances, and The Endurance: Journey To Worlds End, (a lyric novel).

            He is also the author of You Don’t Know Me, (a five book young adult series), The Light Where Shadows End, and The Shadows In Which We Rise, memoirs, American Patriot, Surviving Covid, and a number of plays and stage adaptations including the musical versions of The Giving Tree and Where The Wild Things Are. He is the Founder and Artistic Director of Stages in Santa Monica, a performing arts center.

            He served in the 25th Infantry Division as an RTO, radio operator, for an infantry company from 1968-69 and received three purple hearts and a Bronze Star with a Combat V for Valor Under Fire.

            His books can be purchased through New World Publishers or through the author at rgcantalupo@gmail.com.

 

 

rg cantalupo (aka Ross Canton)

Links to YouTube Videos of RG Cantalupo's poetry:

A SAMPLE POEM

Want

 

Baby San wanted horses

mostly, Mustangs and

Appaloosas, a small ranch

outside Tucson with a good

woman and a few sons.

 

Devil wanted his girlfriend

to take this morning’s letter

back, for it to be the way

it was that last night 

when she called out his name—

 

”Demond!”—Demond, the name 

he had before he left The 

World. I wanted to finish 

school and write about

our days here, this day 

 

and the ones before, us 

simmering Spaghetti C’s 

over heat tabs and drinking 

our six free beers in the bunker’s 

dusty shade, the crackle of 

 

green bullets igniting the air 

outside—far away now as we 

sat and drank and lied and 

killed the day, each of us 

wanting what we knew 

 

we couldn’t have, till it was 

time to go and one by one 

we stood up and stepped

through the blinding doorway,

and disappeared into the light.


ABOUT REMEMBRANCES (2022)

The poet provided the following description about his new book Remembrances (4/29/2022): "Some memories never die. Some memories are indelibly imprinted on our lives—moments of love, moments of overwhelming grief, of terror, of intense pain, of breathtaking happiness. And some moments change our lives forever.  This is a book of such moments, remembered as best I can, shared in the only way I know. They are the moments that make up the story of my life." 

Here are a few excerpts from the book: 

From “Remembrances”

“If I could fill this body that each day ferries me through this world with only the moments I love, these would be among them. For my life isn’t like a boat, or a river, but these memories I carry inside me as I tread upstream or downstream toward tomorrow—these remembrances I cherish more than the traumatic ones that each day I must endeavor to forget.”

From “Prisoner of War”

“The night terrors ended—one night, or maybe over many nights—bleeding out till there was nothing left but fragments like the shrapnel that kept rising to the surface of my skin. Even the names—Lonny, Devil, Spike, Lee—faded into echoes, and then were gone. 

I pressed them onto rice paper at The Wall once, and put them between the pages of a book like dead flowers, but they’re gone too, lost, along with the book, sometime during the days when I kept moving to forget where I’d been.”

From “Listening Post, December 23rd, 1968”

“Out here, gazing up at a trillion flickering stars, I could be anyone.

I could be who I was ten months ago, lying under a sycamore in Monterey, Janice snuggled beside me, just us, us and the stars, and the moon. 

But no, I’m here, my head pressed against a rice paddy dike, my face blackened, my eyes staring through a starlight scope. 

And the universe is so much smaller. It barely reaches beyond the rubber trees around Trang Bang, or our perimeter of claymore mines.”

From The Second Time I Got Wounded”

“—and so, I stood and watched and commanded my frozen body to move, to stop shaking, to take that last step beyond my fear and go into the fire—until it was finally over, the rockets no longer falling, the explosions ended, the ground silent, and all that was left were the moans for “Medic! Medic!”—my body fearless now, my legs unfrozen, the last step into darkness taken—and I ran, ran to the same pit where two weeks later I would stand as another rocket spiraled down, exploding a few feet away, hurling me up into the air, lifting me so high my soul looked down upon me as I lay bleeding, moaning “Medic! Medic!” and praying someone would come…”

From “Peaches”

“One afternoon, her fingers touched mine as they moved over the gauze near my heart, and I clasped them in a lover’s embrace, just for a moment, one quick moment, and gone.

When I left a few weeks later for a hospital in Japan, her eyes moistened as her sad hand waved goodbye.

Every now and then I still see her, her deep, brown eyes studying mine,as I gritted through her pain and my own. 

I saved the letters I wrote in Yokohama.

I never knew where to send them.”

From “Forgiveness”

“I could’ve gone to jail for life to save a life, instead of pulling the trigger for death. Because there was no reason really, no justification for being there, for invading, or searching, or destroying their lives. 

But I didn’t.

I made a choice. 

I obeyed. 

And so, I ask for forgiveness. Not from some indifferent God, nor the blue sky, nor these white walls, nor this heart that beats like a mantra every day inside me. 

But from my friend Teresa, from her and her family, and all the Vietnamese I’ve known…”


CALIFORNIA QUARTERLY SPRING 2022 ISSUE: VOL. 48 NO. 1

For the open mic sections of this reading, we invite poets published in the California Quarterly vol. 48 no. 1, spring 2022, edited by Maja Trochimczyk to join us at this reading and present their poems. 

Table of contents of the issue may be found on CSPS Blog:








Sunday, January 11, 2015

Teresa Mei Chuc and Ross Canton Feature on January 25, 2015

Rainy day in Big Tujunga Canyon. Photo by Maja Trochimczyk

The Village Poets of Sunland-Tujunga invite you to our first Monthly Reading Series of the New Year on Sunday, January 25, 2015, from 4:30-6:30 p.m., at Bolton Hall Museum, 10110 Commerce Ave., Tujunga, CA 91042.  We are delighted to announce that poets Teresa Mei Chuc and Ross Canton will feature at this event! Poets are welcome to bring their poems and sign-up for the open MIC upon arrival.  Light refreshments will be served and a $3.00 donation is appreciated.  



TERESA MEI CHUC

Teresa Mei Chuc is the author of two poetry books, Red Thread (Fithian Press, 2012) and Keeper of the Winds (FootHills Publishing, 2014). She was born in Saigon, Vietnam and immigrated to the U.S. under political asylum with her mother and brother shortly after the Vietnam War while her father remained in a Vietcong "reeducation" camp for nine years. Her poetry appears in journals such as EarthSpeak Magazine, The Good Men Project, Hawai’i Pacific Review, Hypothetical Review, Kyoto Journal, The Prose-Poem Project, The National Poetry Review, Rattle, Verse Daily and in anthologies such as New Poets of the American West (Many Voices Press, 2010), With Our Eyes Wide Open: Poems of the New American Century (West End Press, 2014), and Mo’ Joe (Beatlick Press, 2014). Teresa’s poetry is forthcoming in the anthology, Inheriting the War: Poetry and Prose by Descendants of Vietnam Veterans and Refugees.

New poetry book, Keeper of the Winds: 


First poetry book, Red Thread:

A review/interview on CounterPunch:



Pencil

"In spite of everything I shall rise again: I will take up my pencil, which I have
forsaken in my great discouragement, and I will go on with my drawing."

- Vincent Van Gogh


A missile is shaped like a pencil -
its long, slender body and pointed
end creates history.

A girl walking down the street
a few steps ahead of her sister and friend,
two medics who were trying to help
injured people, the parked ambulance -
all were annihilated by the same weapon.

Above, drones - silent, unmanned planes.
A metal, predatory bird that shoots a missile
with precision, identifying the colors of a shirt,
the features on a face - the shape of a nose,
the color and length of a mustache.

In a room far away, in another country, a man
sits at a desk and looks at a screen; he strokes
his thick, dark mustache as he carefully
contemplates, then pushes a button.

There is a charred hole in the ground
where the girl once stood.

There are pencils that write and erase,
write and erase, so that there is nothing
to be read on the page. The page blank
as the desert sky, blank as the smooth shell of a drone.

There is a family drinking mint tea
in a living room.
The man holds a cup to his lips,
the glass touches his mustache.
A silent bird hovers above.
In a split second, everyone is dead,
the house is in rubbles - arms, legs,
splattered organs among broken concrete.

Soon, there will be no trace.


“Pencil” first appeared in Mo Chapbook (Silkworms Ink) and  The Good Men Project



Another poem, "Mekong River":




Chemtrails in Sunland-Tujunga, Fall 2014. Photo by Maja Trochimczyk




ROSS CANTON

Ross Canton is a poet, playwright, filmmaker, novelist, and director. His work has been published widely in literary journals in the United States, England, and Australia.  He graduated from UC Santa Cruz where he studied under such luminaries as George Hitchcock, editor of Kayak, Gregory Bateson, and Norman O. Brown, and received his MFA in Poetry and Non-Fiction from Vermont College of the Fine Arts.       

His books of poetry include Involving Residence, No Thanks, Walking Water On Earth, The Art of Naming, and The Endurance: Journey To Worlds End, a lyric novel.  He is also the author of You Don’t Know Me, a novel, The Light Where Shadows End, a memoir, and a number of plays and stage adaptations. He is the Founder and Artistic Director of Studio Theater West in Santa Monica, and the founder/originator of Movie/Poem, Inc. a multi-media platform for cross-genre poetic expression.  He lives in the Los Padres Mountains where he, his long time companion, and his four dogs often spend meditative afternoons contemplating the serenity of trees.


“A Noiseless Spider” (Revisited) 
                                                         (for Walt)                                            

Just a fuzzed blur of legs fleeing across the rim
of my eyes—but then the tiny, black body leaps off
and hangs mid-air, ten inches or so below my lenses—

too far from the ground to jump, nothing near enough
to send a line to unless I tip my head so he can repel
onto my chest and skitter across the elephant grass

sprouting from my Hawaiian shirt—and so he simply
dangles there, swinging and twisting like a window-
washer fallen from the scaffolding of a tall, tall

building, dangles--upside down, legs working hard
to secure a hold—no before nor after, no god to know
the gossamer’s meaning as he spews out another

thread to hold him, nothing but my hand pulling
the filament off my glasses and holding him between
two fingers, holding, then raising him up so I can

finally fix him in my sight as he swings back and
forth as if on a pendulum, holding, and then, care-
fully, carrying him outside where a slight breeze

catches and throws him above my head as I open the
door, throws and almost sets him free--till I lay him
down on a blade of grass where he lies still, feigning

death, before suddenly scuttling away, vanishing into
a crevice of dark, green, bodiless shadow--O my soul!



Waking To Absence

Nothing new, just another black
molly among black mollies
gone—each unnamed, common,
no red stripe nor gold splotch
to distinguish the gone one
from the three still doing laps
round the coral trees, and yet,
having awakened so—sun
still swimming in the shadows
beneath the hills, my mother
sleeping in a home somewhere,
her flesh no longer communing
with her mind—having awakened
to this space left when a body
is swallowed after death, I press
my finger against the glass and

mark the place where loss remains.
Years, a year, a day, this wakeful
moment, this pink rose sky
blossoming from nightshade as it
crowns from the ridgeline—her face
bloomed to ashes, his to bone, mine
to this O, O, and out there, there
where the horizon ends and our
image-laden world begins, so my
morning begins, in darkness
fading, in what is not, but out of
that absence I sow the stars, the
verdant grass, the fish in their
tank of simple knowing, out of
that longing I sing what’s left
of song

Calla Lily in Descanso Gardens, photo by Maja Trochimczyk