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R. T. Smith

R. T. Smith was born in Washington, D. C., in 1947, and he was raised in Georgia and North Carolina.

He is the author of numerous poetry collections, including In the Night Orchard: New and Selected Poems (Texas Review Press, 2014) and Outlaw Style (University of Arkansas Press, 2007) and Messenger (Louisiana State University Press, 2001), which both received a Library of Virginia Annual Literary Award. He is also the author of the short story collection Faith (River City Publishing,1995), and he coedited Common Wealth: Contemporary Poets of Virginia (University of Virginia Press, 2003) with Sarah Kennedy.

Smith has received fellowships and grants from Arts International, the National Endowment for the Arts, and the Virginia Commission for the Arts, and in 2013 he received the Carole Weinstein Prize in Poetry from the Library of Virginia. He has previously taught at Appalachian State University and Auburn University, where he coedited Southern Humanities Review. He currently serves as the writer-in-residence at Washington and Lee University, where he edits Shenandoah. He lives in Virginia.

Selected Bibliography

In the Night Orchard: New and Selected Poems (Texas Review Press, 2014)
The Red Wolf: A Dream of Flannery O’Connor (Louisiana Literature Press, 2013)
Outlaw Style (University of Arkansas Press, 2007)
The Hollow Log Lounge (University of Illinois Press, 2003)
Brightwood (Louisiana State University Press, 2003)
Messenger (Louisiana State University Press, 2001)
Trespasser (Louisiana State University Press, 1996)
Hunter-Gatherer (Livingston Press, 1996)
The Cardinal Heart (Livingston Press, 1991)
Finding the Path (Black Willow, 1983)
From the High Dive (Water Mark Press, 1983)

The Calaboose Epistles (Iris Press, 2009)
Uke River Delivers (Louisiana State University Press, 2006)
Faith (Black Belt Press, 1995)

R. T. Smith

By This Poet


Hardware Sparrows

Out for a deadbolt, light bulbs 
and two-by-fours, I find a flock 
of sparrows safe from hawks

and weather under the roof 
of Lowe's amazing discount 
store. They skitter from the racks

of stockpiled posts and hoses 
to a spill of winter birdseed 
on the concrete floor. How

they know to forage here, 
I can't guess, but the automatic 
door is close enough,

and we've had a week 
of storms. They are, after all, 
ubiquitous, though poor,

their only song an irritating 
noise, and yet they soar 
to offer, amid hardware, rope

and handyman brochures, 
some relief, as if a flurry 
of notes from Mozart swirled

from seed to ceiling, entreating 
us to set aside our evening 
chores and take grace where

we find it, saying it is possible, 
even in this month of flood, 
blackout and frustration,

to float once more on sheer 
survival and the shadowy 
bliss we exist to explore.

Still Life: From the Notebook of Ambrose Bierce, 1862

After Shiloh, with smoke still scumbling the air,
the Harper’s artist paced away
from the sunken road where a full brigade
had been strafed and decimated.
The flies had begun to swarm, lighting on the eyes
and open wounds of the fallen, the stench
already gut-wrenching, heartrending,
as were the groans of injured pack animals
weighted down by tack and baggage,
as well as that last shadow beasts can divine,

but the artist spread out his charcoals and chalk
on a blue blanket and leaned against the trunk
of a smoking blackjack pine.
The Rebel rear guard occasionally launched a volley,
as Federal cooks gathered wood to ready the mess
in case any survivors could muster a hunger.

Stroke by stroke, the draftsman began his sketch,
three peaches slowly forming, their delicacy almost sexual,
shade and shadow, amplitudes unblemished, colors
of dawn fire and sunset, the fuzz nearly palpable
enough to make the skin itch,
scent so nearly visceral my tongue
and lips went moist whispering, Peach.

An Illinois corporal peering over the artist’s shoulder
broke his silence to say, “Fellow, can’t you see
all them soldiers blown apart or in pain right here?
How the hell can you ignore the horses,
the jack mules, that wagon yonder still in flames?
Peaches, what the hell?”

But the correspondent kept his focus, summoning
the delicious, the elegant repose
in earshot of the surgeon’s tent, the work of the saw
and the miserable screaming, where the faces of casualties
were twisted and hideous. Orderlies
splattered in blood rushed about weeping. An officer
with an eye badly patched oversaw the burial
detail spading dirt into the trench already filling
with scrapped bandages and grisly limbs.
“‘Still life,’ we art makers say,” was the sketch artist’s answer,
“meaning both ‘motionless’ and ‘not yet dead,’
though the phase after ripeness is not so lovely,
and the pit clenched in the fruit’s core
is redder than carnage, rougher
than your musket balls, a full bore
.54 caliber, if I reckon correctly.”

And then he looked from the soldier’s angry eyes
to the empty sky before he resumed.

“Peaches, maybe, are what I need to see, what my weary
heart yearns to remember.
Better than any green shoots or delicate petals,
better than family toasts and a sister deft at the piano,
I know the bloodbath we inhabit, sir,
against which I can offer only a fragile
moment as counterpoint to our surround.
Here’s the reason, I would imagine, the French call
such compositions, whether fruit or meat
or a vase of mint sprigs and zinnias, nature morte.
The merest feast of grace, all
there is, as there is no remnant God,
no other rebuttal to trust,
while even Pity wears a mantel of feeding flies.”

Just a witness, I held my tongue but had no more appetite
for the taste of his beautifully rendered fruit.

And the corporal’s retort?
“Mister, get yourself a rifle,
see if you can still puke out them jackass lies.”

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