Martha Ronk – författare

Why/Why Not presents a speaker caught in quandaries created by changing perspectives, fervors, and locales. Why do we act one way here and another there; why can't a mind stay made up; why do we hate and love at the same time; why does memory fade or insist; why does the ordinary seem so uncanny? These questions are captured in lines that collide and merge, in irreverent and offhand jibes, and in plaintive repetitions. Why/Why Not moves across a vivid terrain--the stage of Hamlet, Phillip Marlowe's Los Angeles, Prague, paintings and gardens--to push through a tangle of ways to make sense of the world. Martha Ronk's poetic language is that of the everyday slightly skewed, as if pieces of an ordinary sentence were missing. Ronk's poems use the repetitive and the banal to explore ways in which language is intertwined with thought and experience.

A National Poetry Series winner, chosen by C.D. Wright.This visionary seventh collection by the PEN USA Award-winning poet pivots around uncertainties, mysteries, and the unexpected to find the language of the mind's theater. Melancholy and playful, analytic and lyrical, Vertigo immerses the reader in a dense realm of memory and multiple perspectives, repositioning our relations to daily life, the past, and the future.

Within the visual arts of painting and photography, Martha Ronk finds an undeniable presence lurking: silence. This character slips into pauses, hides between images, and expertly evades the grasp of language. Ronk shows us that what is hidden just off screen in these images might just be the force that gives them power. The poems in Silences seek possibilities of how to form language from a phenomenon that so earnestly resists it. Rather than coax silence out of hiding, Ronk’s poems respond to its mysterious presence through questions and conjecture.These poems endeavor to give a much-deserved voice to silence, addressing the power of what is not seen. While silence remains perpetually out of reach, Ronk invites us to follow the language that creeps up to its edges. The poems in this collection form an inquiry that moves through the presence of silence and reveals insights into the character of the visual art in which it lives.

A collection from celebrated poet Martha Ronk considering the relationship between person, body, and place.  The Place One Is explores the intersection of person and place, the ways in which changes in the tangible world alter one’s vision, bodily posture, vocabulary, and concern for—to take one example—the dwindling water supply in California. The body’s position, its geometry, and the topography of the surrounding land become less and less recognizable as body and world blend together. Gravel giving way underfoot mirrors the way that words dissolve into mumbles, and the skeleton of a rusty car on the sand appears like one’s own skeleton. Ronk shows that disintegration here is disintegration there. These poems also wonder at interdependence, considering how lines intersect and continue to connect us to the sea—and to islands, lagoons, greenery, sky, and space.   In the first part of the collection, the poems focus on a rural landscape, and in the second part, they consider the overly bright urban world of Los Angeles.

Poetry that finds meaning and connection in the process of creating pottery from clay.  The poems in Clay look to the process of forming clay on a potter’s wheel to examine our sense of touch and texture, emptiness, fragility, and the nature of time. Martha Ronk moves through the steps of creating a pot that must be formed, dried, bisque-fired, glazed, and fired again. This practice is paralleled in Ronk’s process-oriented language that addresses how we read texture and color, the ways history and landscapes appear in glazes, Mimbres bowls that covered the faces of the dead, and Giorgio Morandi’s still life paintings of ceramic forms.For Ronk, pottery raises questions about the value of repetition, inevitable failure, and how we may become one with matter. As the potter’s hands ache and age, the bowl seems to age as it slumps or breaks. Clay includes observations from other potters and writers as well as small photographs of pots.