A Millennium Reflection, which was foraged from a multitude of Seattle poets and photographers, brings people together for a common cause and common love. Published in 1999, it is a love letter from its residents to their city. The collection, a celestial tribute, deeply reflects on the beauty and resilience of Seattle alongside where it started, how far it has come, and where it still plans to go. Through poems and photographs, the city of Seattle is brought to life again.

I remember first being introduced to Frost and his poetry in middle school and revisiting in high school. In reading his famous “The Road Not Taken” and “Fire and Ice” at a young age, I learned so much about my life and where I foresaw it going.

With everything going on with politics these days and as it continues to unfold, I found Frost’s poem “House Fear” to be quite fitting for many, myself included. With fear in the title, the poem investigates the topic while offering hope in overcoming it.

Let’s be blatantly clear. Queerness isn’t going anywhere.

With Trump taking back office at the end of January, I am just a single drop in the queer sea of confusion, disdain, and fear. Through this trying time, I wanted to gather my thoughts, process them, and share my story of how I got here and where I plan to go.

For this week, I wanted look back at a poem and poet that fell into my lap in a time that I needed it the most. Cody R. Simpson, also known as singer/songwriter and actor Cody Simpson, released his poetry collection Prince Neptune in 2020. The collection touches on a conflicting battle between his struggle to uphold his godlike persona and reflecting on his own mortality of fame and fortune. “Simpson’s poetry combines themes of freedom and the ocean with the wisdom of an old soul.”

It wasn’t until after her death that the poetry collection Ariel was discovered and published in 1965. The Restored Edition was published later in 2004. With an honest and heartfelt foreword written by Plath’s daughter, Frieda Hughes, the collection “found comfort in restoring the balance” of Plath as both the poet and the human.

Plath’s poem “Lady Lazareth” first exposed me to her dynamic wordcraft. Of all the poems I came across in Ariel, there was something honest and authentic about Plath’s “Barren Woman” which solidified its spot for this week.  

Judith Skillman, Seattle author of Red Town, crafts a fictional town through a handful of poems that reflect on one’s past self and the experiences weaved within, around, and through. Reviewer Beth Bently claims that an “ordinary experience undergoes a surgical probe to reveal the underpinnings of relationships, ancestral connections, memories from childhood. No event is too slight to remain unexamined”. Red Town is a perfect example of coming to terms with one’s dark past to move to a future of pure gold.

Writer and dance director Carol Levin published her poetry collection Confident Music Would Fly Us to Paradise in 2014. As a patron for all distinct art forms, Levin dedicates her collection to the Seattle Opera. The collection offers a deep dive into many intricate facets of a colossal opera production. 

For discussion this week, I chose a poem from Reyna Biddy’s poetry collection, i love my love. Published back in 2015, I was exposed to her work for the first time in college during one of my poetry workshops. After reading it several years ago, I wanted to reread it with fresh eyes and an open heart.

Although the collection goes through ups and downs of self-doubt and self-confidence, Biddy reflects on her parents’ relationship as well as the greatest love of all: self-love. Biddy’s poem “for you” speaks to this ideal through a power anthem that invites the reader to act.

I Sing the Salmon Home: Poems from Washington State, edited by Rena Priest, is a poetry anthology full of diverse poems celebrating the tales of the epic fish. Priest states in the preface of the anthology that this passion project of hers stemmed from how “salmon are a keystone species, which means everything relies on them, and if we want to be okay, the salmon must thrive.”

Ani DiFranco, folk singer and founder of Righteous Babe Records, is returning to Seattle, February 1, 2025, to the Moore Theater. In the spirit of her visit, I wanted to select a poem from her poetry collection Verses, published in 2007, which tackles “the tough issues at hand” while “her personal-is-political viewpoint is more relevant than ever”. The collection looks at the importance of art and poetry and how they can be powerful tools in rhetoric when entering political spheres.

A Light in the Attic, like other works, was banned for Silverstein’s depiction of challenging authority, igniting disrespectful behavior, and promoting disobedience. The book’s most “problematic” poem “How Not to Have to Dry the Dishes” puts a spin on chores and suggests children to break dishes to escape washing them.

With children making up Silverstein’s target audience, the book made its way across households and schools until it was ultimately banned in both Wisconsin and Florida. Considering this, I knew it was a necessary read as I wanted to investigate it further. The poem I chose for this week is “A Light in the Attic” that shares the same name as the collection and appears first.

Finally! Another Seattle drag queen becomes an official RuGirl!

Arrietty, a local Seattle drag queen, is one of the fortunate queens to make it to the newest season of RuPaul’s Drag Race (Season 17). Having premiered on January 3, 2025, this season is sure to be a refuge in a time when queer people need it the most.

Where do you turn to when you feel alone?

William Butler Yeats, also known as W. B. Yeats, was an Irish poet and playwright. With standalone poems like “The Second Coming”, “The Lake Isle of Innisfree”, and “Sailing to Byzantium”, I wanted to choose a lesser-known poem of his for discussion this week.  

Shakespeare’s thought provoking, gut-wrenching, and philosophical sonnets hold their own weight and intrinsic merit. Tempted with many different pinpoints of poetry to discuss, I ended up selecting “Sonnet 100” due to its depiction of a poet’s relationship with their melodious muse and how it allows its readers to contemplate relationships both past and present, and how they still play into their lives today.

Why do poets use poetry as their medium of choice?

I wanted to continue sharing my thoughts on Edgar Allen Poe’s poem “Deep in Earth” from last week through another lens due to the impact it yields on me.

i.

my heart splits into six fragments.

and the king is the first to rise.

ii.

he gazes out at all the birds that

comprise his myth and his monarchy.

iii.

feathers descend like snowflakes while whales

salute and serenade with blowhole trumpets.

In addition to short stories, Poe found his calling in the realm of poetry. With classics like “The Raven” and “Annabel Lee” standing among his most famous poems, Poe seemingly and eloquently duels both forms.

For this week. I wanted to choose a poem that I have not been exposed to before. I’m hoping it’s new for you as well. I selected “Deep in the Earth”, written in 1847, for discussion due to its simplicity yet deep sense of open vulnerability.

Where do poets turn to for inspiration?

For this week, I wanted to choose a poet whose roots lie in the heart of the Pacific Northwest. David Guterson, a Seattle native with decades of hiking experience, published Turn Around Time in 2019. Guterson describes Turn Around Time as “a waking poem for the Pacific Northwest,” as the collection is full of poems with nature-enriched imagery paired with Washington artist Justin Gibben’s illustrations. 

What does a poet do when they struggle with their identity?

Emily Dickinson stands as one of the backbones of American poetry. When I started Max’s Musings, her name immediately rang through my mind. I knew I would eventually share one of her beloved poems, yet I wanted to find the right one for me.

How far can symbolism go in a poem? 

Throughout my college career, I don’t think a poem has ever split my colleagues as much as William Carlos Williams’s “The Red Wheelbarrow”. Initially published in 1923 in Spring and All, it has remained one of Williams’s most referenced poems.