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Greg Rappleye’s Figured Dark is a collection of contemporary lyric and narrative poems, set in an American landscape, which takes as its implicit theme the journey of the soul from darkness into light.

The voices in the collection call across a vast landscape of myth, memory, and horrific wreckage. In the title poem, speaking of the phenomenon of fireflies rising at night from a southern field, he writes, “I could read this down to a million tiny bodies, / blazing the midnight trees,” but the reader is left to wonder whether any extravagant numbering can account for the massed starlings, dreamy raptors, dome-lighted Firebirds, flaming bodies, junk cars, and deadly archangels that come to ground in Rappleye’s world, where the spiritual exhaustion of Odysseus is visited upon Brian Wilson, and the young John Berryman seeks recompense from a wily family in northern Michigan.

These poems are by turns wise, elegiac, ironic, and wickedly funny. This is a poet who refuses easy categories. If these poems are anything, they are affidavits of a heart at work, building out of darkness a kind of wild redemption, hard-earned in the real world.

Figured Dark is part of the University of Arkansas’s Poetry Series, edited by Enid Shomer.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright, Dedication, Quote, Acknowledgments
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  1. Contents
  2. pp. xi-xii
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  1. I
  2. p. 1
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  1. In the Great Field at Mount Holyoke, under a Dome of Stars
  2. p. 3
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  1. Caller, What is your Question?
  2. pp. 4-5
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  1. Rainy Afternoon at the Gotham Book Mart
  2. pp. 6-7
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  1. Not that Happiness
  2. pp. 8-9
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  1. Black Dog
  2. p. 10
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  1. Self-portrait, with Epiphany to Come
  2. p. 11
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  1. For the Lord G-d Bird, No Longer Extinct
  2. pp. 12-13
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  1. At the Museum of Whiskey History
  2. p. 14
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  1. My Mother Thinks She’s Peggy Lee
  2. p. 15
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  1. Gentians
  2. p. 16
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  1. Near Gatlinburg
  2. pp. 17-18
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  1. After the Divorce
  2. p. 19
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  1. After an Illustration by Rockwell Kent ForMoby-Dick, in which a Whale Takes a Dory inits Maw, and Heads for the Bottom of the Sea
  2. p. 20
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  1. Lost-Love Ghazals
  2. pp. 21-22
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  1. Feeder
  2. p. 23
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  1. Archie Babcock Explains the Accident to John Berryman’s Biographer
  2. pp. 24-27
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  1. Exile Valise
  2. pp. 28-30
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  1. II
  2. p. 31
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  1. Sail On, Sailor
  2. pp. 33-35
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  1. Making a Path to the Blackberries
  2. p. 36
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  1. Figured Dark
  2. pp. 37-38
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  1. Memories of Pittsburgh and Stern
  2. p. 39
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  1. American Kestrel
  2. pp. 40-41
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  1. Blue Angels
  2. pp. 42-43
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  1. Mason’s Kitchenettes
  2. pp. 44-45
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  1. The Fish Lamp on the Cover of Coastal Living Magazine
  2. p. 46
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  1. Glaucoma
  2. pp. 47-50
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  1. In Ambient Light
  2. pp. 51-52
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  1. Obbligato
  2. p. 53
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  1. Letter to M., from Swannanoa
  2. pp. 54-55
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  1. Lilacs for Instance
  2. p. 56
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  1. Biopsy
  2. p. 57
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  1. After the Diagnosis
  2. p. 58
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  1. Swimming at Night
  2. p. 59
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  1. Elegy for Light and Balance
  2. pp. 60-64
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  1. III
  2. p. 65
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  1. The Body, Burning
  2. pp. 67-68
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  1. Hay Devil
  2. p. 69
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  1. Discontinuous Narrative
  2. pp. 70-71
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  1. Letter to the Chairwoman of the ReunionCommittee
  2. pp. 72-75
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  1. Dancing with the Crack Whores, at theHomeless Shelter Run by My Wife
  2. pp. 76-77
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  1. Were We Speaking, Had You Asked
  2. p. 78
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  1. Letter to Robert in Gearhart
  2. p. 79
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  1. Descent
  2. p. 80
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  1. Carolina Woodpecker
  2. p. 81
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  1. At 48, Walking My Baby Past the Voodoo Lounge
  2. pp. 82-83
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  1. Blackbirds
  2. p. 84
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  1. The Salt Cairn
  2. p. 85
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  1. Lepidopterist
  2. p. 86
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  1. On a Visit to His Namesake City, St. Paul Walks Six Blocks of Goodrich Avenue
  2. pp. 87-88
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  1. Back Cover
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