Musings about life on Earth in all its aspects…

Category: Book Review

Links to My Poetry Posted On Line

Here are links to various poems of mine that may be found on the internet.

“Pink Angels” (After De Kooning’s 1954 painting of the same name), May 12, 2016, The Ekphrastic Review: writing and art on art and writing (On-line literary journal):


“Imbrued Angels” (After Simberg’s 1902 painting, “The Wounded Angel”), Feb 20, 2016, The Ekphrastic Review: writing and art on art and writing (On-line literary journal):


“Jacob’s Angels” (After Marc Chagall’s 1977 print, “Jacob’s Dream”), Feb 25, 2016, The Ekphrastic Review: writing and art on art and writing (On-line literary journal):


“Angel, Falling” (After Jagoda Buic’s woven sculpture “Fallen Angel, 1967), The Ekphrastic Review: writing and art on art and writing (On-line literary journal):


“Skull of Sirius, Crossbones of Cassiopeia”

“The Chase”

“Daylight’s Starring Role”


“Magisterial Moon”

All five poems published on The Syzygy Poetry Journal, Issue 3, April 4, 2016


“Cerebellum’s Fire” – Winner of the 2016 Kansas Voices Poetry Award, May 7, 2016. Posted on my blog, Phanaerozoic:


“fifteen panes of glass” – 3rd place winner of Zingara Poet 2016 Haiku Contest, Jan 2016:


“Stand By Me” – pif Magazine (On-line Journal) Feb 1, 2016


“Fables for Children of the North” (Silver Birch Press – Mythic Poetry Series) Oct 28, 2014


“At Night in the Southern Rockies”


“Canada Bound”

All three poems excerpted from my book, Music I Once Could Dance To, at the web page We Wanted To Be Writers, Sep 15, 2014




“Oh, Come Share”

Both appeared on The Light Ekphrastic web site Aug 20, 2014:


“Front doors” – a cinquain published as part of Kansas Poet Laureate Wyatt Townely’s Homewords Project. Published Apr 2014:


“Cancion De Amor” – Kansas Humanities Pin-up Poetry, April 2014

“Lincoln’s Horse” – Kansas Humanities Pin-up Poetry, April 2014

“For a Distant Friend” – Kansas Humanities Pin-up Poetry, April 2014

“Prayer of Letting Go” – Kansas Humanities Pin-up Poetry, April 2014

“Under the cold moon” – haiku – Kansas Humanities Council Pin-up Poetry, April 2014

“Hymnal” – Kansas Humanities Council Pin-up Poetry, April 2014


“Train Sounds” – Straylight Magazine On-line, April 28, 2014



“Tree Shadows”

Both at my entry on Map of Kansas Literature


“Oceans of Kansas” Feb 24, 2014, Kansas Time + Place

“Initiation Song from the Prairie” Dec 2, 2013, Kansas Time + Place

“Encore” Aug 11, 2014, Kansas Time + Place

“After the Storm” Mar 3, 2014, Kansas Time + Place

“KaSantatieh” Feb 11, 2013, Kansas Time + Place

“A Kansas Farmwife’s Snow Song” Nov 19, 2011, Kansas Time + Place

“We Discuss the Geomorphology of Life” Apr 5, 2011, Kansas Time + Place



“In Kansas to Stay” Kansas Poems

2016 Kansas Voices Contest

Pleased to report that my poems, “Staying Warm,” and “Cerebellum’s Fire,” won first place in the Free Verse and Traditional Poetry categories, respectively, in the 27th Annual Kansas Voices Writing Contest. “Cerebellum’s Fire” also took the Overall Award for Poetry.


image   – Roy Beckemeyer

Ways of the Wind

In Volume 12 (2014) of Kansas City Voices, my poem, “Ways of the Wind,” inspired by a vivid image described by poet Xanath Caraza in a few lines of her poem, “Matilde en la Hamaca,” appeared on page 74. I am reprinting it here as an example of the use of an epigraph and how that epigraph can illuminate the interplay between the visions of two poets.

Ways of the Wind

“There she was
In her yellow dress
And her hair open to adventure…”
Xanath Caraza, from the poem
“Matilde en la Hamaca”

The wind had its way with her hair,
made it flow and twist, turned
its movements liquid, its strands
currents of streams braiding
the valley of the Brahmaputra.

The wind had its way with her hair,
brushed it with bergamot
oils from Calabria,
bathed it in the moist breaths
of benedictions, prayers
for intercession mouthed by
processions of faithful
in the plaza Catedral Basílica
de la Virgen de la Asunción

The wind had its way with her hair,
used it, strand by strand, to catch
all the hues of a Sinai sunset,
as if it were yarn carded
for a coat of many colors.

The wind had its way with her hair,
sent it searching the leniency
of her neck, the Sahara slopes of
her shoulders, had it conform
to its caresses, its advances, its
countless ways with love.

– Roy Beckemeyer

A Christmas Memory in Poetry – “Christmas Interregnum”

Thanks to Nancy Julien Kopp for her reminder to us all to write down our Christmas memories for our children and grandchildren. Here is my 2010 poem, “Christmas Interregnum.”

Looking like the last
Of the three Magi
My brother trudges through snow
Behind our two sisters.
His left mitten
Trails behind,
Tethered to him
By yarn the color
Of the cedars of Lebanon.

A rookery of nuns
Awaits us in the schoolyard,
The black of their
Black and white habits
Stark against the white,
The white blending with the snow.
Black veils over white wimples
Make them look like
The penguins in our geography books.

Morning Mass is full of the smells
Of evergreen boughs and beeswax,
Incense and wet wool,
And the lemony oil our mothers used
To wax the pews.
We stand, sit and kneel
With our hands folded
While the snowflakes
Studding our caps and coats
Slump and melt,
Beading our clothes with droplets
That briefly encapsulate
The warm light of Christmas candles
In their round cold wetness
Before dripping off
To puddle on the slate floor.

Through ice-sparkled
Schoolroom windows,
We watch the wasted brilliance
Of winter’s first snow;
Having to go to school
A whole half-day
Before the holiday vacation
Is penance enough
Without this purgatory.
But the wait for morning recess
Is just a small preview,
A preparation,
A prediction
Of the longer wait awaiting us
On Christmas Eve.

At last Sister Michael takes up
The hand bell.
Holding it in both hands,
She fills the hall
With its brass reverberations
And we are rescued,
Resuscitated by recess.

The ceremony of pulling on
Still-wet coats and mittens,
Ear-flapped hats
That tie under our chins,
And squeaky-wet galoshes,
Is completed in record time.
We all know that
Snow down the neck
Awaits any slowpoke straggler.

Facing an untrodden school yard
In black rubber boots
Is like having
A clean white page of paper
And a newly sharpened
Ticonderoga # 2 pencil in your hand.

The pent-up pressure
Of seventy-three kids
In single-file best-behavior
In the nun-lined hallways
Propels us out the door
And down the steps
Into a jostling chaos
Of splendid, snowy exuberance.
Soon snow angels
And snow-tag wheels
And names written in snow
Are everywhere and the snow
That isn’t packed down by feet
Is filling up boots,
Being rubbed in faces,
Rolled into balls
Or flung into the air.

By the time Father Schoen arrives.
Smelling of cigars and mothballs,
With the cold outside air still clinging
To his black clothes,
Our splotchy red cheeks,
Still cold as snowballs,
Are the only sign of recess
Remaining in the classroom.

He will quiz us on the Catechism,
Twisting the cheeks of those
Who can’t answer correctly,
Or quickly enough,
Between his thumb and index finger,
Marking them as the reddest
Of the red cheeked students
Of St. Anthony’s Parochial School.

At long last noon arrives,
And with it St. Nicholas,
Appropriately announced
By Sister Michael’s bell.
His red vestments and red mitre
And golden crosier
Light the classroom
Like a blazing Yule-log.

He gives us each a gift:
A brown paper bag
Holding a juicy fresh orange,
A polished red apple,
A candy cane,
And a picture of the Nativity scene,
Blessed by St. Nicholas himself.
Then he makes the Sign of the Cross
Over our heads with his
Ringed right hand,
Blessing us as well.

Going home, we can no longer tell
The street from the sidewalk,
The sidewalk from the yards,
And after a block
It is so cold
That the snow does not melt
As it falls thickly onto our treat bags.
Children drift off
In all directions,
Bundles of dark wool,
Against the bright whiteness.

My brother calls out
“Wait for me”
To my sisters;
His mitten is again
Tobogganing behind him
As he catches snowflake
After snowflake
In his small bare hand,
Delighting in each unique,
Christmas treasure.

The air is full of snowflakes,
Full of the smell
Of the freshly broken orange in my hand,
Full at last of the promise,
The certainty,
The familiar and longed-for
Reign of Christmastime.

by Roy Beckemeyer, December, 2010

Posted December, 2015


Interview in The Active Age

Check out Amy Houston’s interview covering my 2015 Kansas Notable Book Award.


4th Printing of “Music I Once Could Dance To”

My poetry book, “Music I Once Could Dance To,” published last year by Coal City Press, is now in its fourth printing. We have added a note about the book having been selected as a 2015 Kansas Notable Book.


I will be reading from the book at the Kansas Book Festival in Topeka on September 12th. My reading takes place at 2:00pm.

Kansas Book Festival 2015

Please come and join in the festivities.

  • Roy Beckemeyer, Aug. 27, 2015



Another Place in this World a Woman Can Walk

Standing on the Edge of the World Cover

Review of the poetry book:

Standing on the Edge of the World by Lindsey Martin- Bowen, 2008, Woodley Memorial Press, Topeka, KS, ISBN 978-0-939391-44-8, 92 pp., $10.00

“The night is Dresden…” reads the opening line of Lindsey Martin-Bowen’s poem, Working Toward the Last Line, as she compares the arcing flashes, sparks, and chaos of downed tree limbs and power lines in a raging Kansas ice storm to a WWII firestorm. She uses such apt but unexpected allusions throughout this book, enriching her poems and expanding our perception of her poetic vision. This is work of sumptuous insight and surprising conjunctions. In one of my favorite poems in this book, Hanging Out in the Student Center, Martin-Bowen juxtaposes Lorca, Caravaggio, Borges, and Ferlinghetti, who comprise a strange enough crowd in themselves, then places them against the streets and landmarks of Kansas City Missouri: Troost Avenue, Swinney Gym, Country Club Plaza. And, by God, they all seem to belong there; you find yourself wanting her to text you so you can follow her down those streets the next time she gets them all together.

Martin-Bowen is as effective in making magic of our prosaic small town back yards (“…an old tire swing moans empty,” from Dancing with Aunt Virginia) as she is in showing us the wonders of the world. Here is how she sees classic Italian statues: “…I think about / how Michelangelo freed their forms, / how their eyes have no pupils. / They stare into the future / without flinching / and show no regret.” (from the poem Statues).

The book is divided into four sections: Seasonscapes, Another Place in this World a Woman Can Walk, Two Brown Bears Dancing, and Beyond the Vanishing Point. There are rich gifts to be found in each section, but I wish to focus next on some of the poems that appear in the last.

I am particularly attracted to the way in which Martin-Bowen can bring Biblical characters to life with layered depth and fierce vitality. Peter’s Wife asks: “How could you abandon me for a man? / … you won’t live in Capernaum again. / You won’t fish again. You won’t drink again. / We’ll no more share our strange sin, / this earthy love.”

And listen as myrrh-bearer Mary Magdalen Rebukes Peter: “… / At our gatherings, / you boast of your loyalty / and call me a whore / who will destroy him. / But he knows your game: / when I wail at his grave, you will / deny you walked with him, / deny you slept with him, / deny you knew his name.”

In The Madonna she captures the essence of all the lovely Marian icons we have ever seen “… / I shiver above flames / in tiny red and blue jars / … / My son stepped through fire. / It darted from the eyes of throngs / that had fanned him with palms / the week before… / …I give off no sweet scent. / It’s the candles’ perfume that fills the nostrils / of seekers who fall prostrate. / Far from my fingers, they bend / too low to touch.”

Pick up a copy of Lindsey Martin-Bowen’s book. Read it. Here are words that will remind you what an exquisite combination we humans are of the spiritual, the passionate, the proud, and the profane. Hers is the work of a perceptive and extraordinary poet.

– Roy Beckemeyer, 24 June, 2015

Prayer Card Poems – In Loving Memory

In Loving Memory

In Loving Memory

Size seems about right. It’ll fit in anyone’s shirt pocket so they will be able to carry it around, run it through the laundry by accident, and then finally forget me, wash off any residual grief. Symbol has me stumped. Jayhawk, WuShock, Flying Billikin, maybe an airplane or a dragonfly or a corkscrew. Yeah, let’s go with the dragonly. It looks sort of like a cross and will be both natural, fitting, and as close to religious as I got. Should the photo be studious or serious or happy? I don’t know, but I think I would like a shit-eating grin (forgive me, Father) so everyone who looks at it wonders what I was up to. I would like to write the poem, and since I don’t know when I will be needing the card, let me do the custom text now:

Small town boy met small town girl raised
small town kids hiked and travelled and
moved to the city and built airplanes and
made wine and square danced and acted
pretty much like an adult most of the time
and then like a kid for the rest of the time
and was in love for nearly the whole time
and right up to the end for sure and went
to church as a kid and young man and hopes
and prays that won’t keep him out of heaven
since he did try to be and do good but that
doesn’t work according to some theologists
and so pray for him if you think it might do
some good, ya’ll, if you want to and have
the time, otherwise don’t worry. Amen.

And please look through those 1500 images in 20 different categories and find a nice picture of the sky. I always liked sky pictures, and there was sky everywhere I ever went.


– Roy Beckemeyer

What is Here That Has Been Here from the Beginning

Revi71+jBV7ZPbLew of the poetry book:

Autochthonous: Found in Place” by Dan Pohl with Illustrations by Jessie Pohl, 2014, ISBN 978-0985458669, Woodley Press, Topeka, Kansas

Dan Pohl’s “Autochthonous: Found in Place,” is a paean to his home state, Kansas, its inhabitants, his circle of family and friends.  True to its title, the book focuses on the sense of Place that characterizes poetry from the heartland at its best. Phrases like “explorers came when the stars looked younger,” and “…field / Stones, picked out to plow a good life,” bring us into the fold of those who made this prairie what we see today, gave it its names, showed us all the ways they had prepared it for us.  He offers advice and aid to those travelers who hurry through the wind-blown plains, never willing to take the time to see what one has to look a bit harder to find. In these pages he takes them by the hand, provides “the answer, hard enough to stamp lines / Onto the outside corners of their eyes.”  Oh, and what telling answers he gives, patient, generous, insightful in the wisdom he gleans from the everyday, the phenomenal, the rare, the commonplace.

With images of prairie dogs burrowing “deep into their Kansas seas…Centuries deep,” and haylofts as “the ship keel of / Trusses,” he invites us to see with new eyes what we thought we knew. He is not afraid to build with his words on the page not only a metaphorical image, but a graphic picture. In “The Rule,” a simple story/fable of “Children…Quickly learn to step / To the side  To climb the slope…for a softer / Smoother glide  For the common / Good,” we can hold the page an arm’s length away and see two columns of staggered word steps bounding either side of the clean sledding path  that runs down the center of the page. A brilliant example of “concrete” poetry at its most subtle and compelling.

The poetry here appeals to all the senses. “Saying Grace” enshrines home cooking and sends you to pulling pots out of the pantry looking for the deep fryer. After reading “Poet Elliott’s Advice…” we rush outside and put our ear to the corner light pole to share “its cark cello hum…a low-frequency Hindu ‘Om’.” In “Hidden Membership” we are made party to the secret life of a church’s folding chairs, and we feel their discomfort beneath our rumps as the meeting drones on.

It is with moments taken from familiar events of everyday life that Dan reveals his love for life and for his family. In “Feeding After Four,” he tires of shopping before his wife does, stops to watch fish in an aquarium, catches a pair of turtles feeding: “…his companion, who / Softly, tenderly, slides behind him / And slips her long slender neck / Under his left side near his heart. / She wedges under his jaw and pressures / Against his red-striped nose to snatch / His bit of bread as lovers often do.” He takes us, with those simple last four words, from the mundane to the sublime so quickly, so unexpectedly.

And occasionally Dan Pohl will take you further afield, to more exotic places, as well. Close your eyes and you are on a river steamer on the Niger: “The patient river rusted away / The name, each day the captain / Double drunk by noon” (from the poem “Fangs and Water at Kanthuri, 1890”). In “Lover’s Moment,” he writes: “I ride the bus to San Mida / The journey ends before me / I will run what I can / Though the wind will need to help / Raise your wish on Salida’s Hill.”

Below those words is a delicate pen and ink sketch of a kite dancing in the air. Scattered through the book are drawings by Dan’s daughter, Jessie. They embody her interpretation of her father’s words, show how those words float in her mind the way this kite floats in the sky. This book of poems is more than most: it contains a father’s words embellished and burnished to a brighter hue by his daughters sketches.

All in all, you could not do much better than to pick up a copy of this book, take it outside into the morning along with a steaming cup of coffee, and find yourself.

– Roy Beckemeyer

The Monastery’s Seven Hours

Matins, midnight’s bout of prayer,File:BritLibRoyal14CVIIFol006rMattParisSelfPort.jpg
by yawning monks kneeling there,
eyes half closed, or all the way,
hoping for the break of day.

Lauds‘ laudatory monks, alert,
warmed by the sun, all assert
their blessings, state them to and fro,
no need for rooster’s morning crow.

At Terce, thrice now the prayers have rung,
the blessings chanted, the psalms sung.
The monks, all now fully awake,
bellow their prayers for all our sakes.

Sext is when the monks all ask
blessings on these gifts, the tasks
of kitchen cooks. These monks, cowled,
just men like us whose stomachs growl.

None the hour after the lunch,
when eyes again, I have a hunch,
get heavy-lidded and partly close
against the sun’s bright pm glow.

At Vespers the candles are brightly lit
and day’s end comes to the pews to sit.
Monks ponder charity and bits of grace,
till contentment falls on each one’s face.

Compline marks the end of day,
“Now I lay me down,” they say
These monks, serene, now each has found
peace as the liturgical hours go ’round.

– Roy Beckemeyer, April, 2014

This poem was an exercise for a poetry workshop I am leading called “Poetry by Sevens,” in which we write poems inspired by some subjects typically grouped in sevens.  For example, the Seven Wonders of the Ancient World, the Seven Dwarves, the Seven Deadly Sins, etc.  This one used the Seven Hours of Liturgical Prayer.  I tried to think of monks as just men, not some sublime praying creatures.

The illustration is from Wikimedia Commons and is a self portrait of a 13th Century  Benedictine monk, Matthaeus Parisiensis.