Book Fair

Too
          much World

Still Life with Onions


Van Gogh ate his paint
worked quickly
and died

he was so sloppy so hungry
he couldn’t wait to free his palette
cover his canvases thick

he couldn’t wait for chrome-yellow love
infinite night-sky blue
to dry

he had to lick his light fresh.

as I cut onions into chunks —
never delicate, translucent slices —
coming down hard at irregular angles
gouging the board
mixing wood splinters in

I think about the unusual way
I’m told I have with a knife.

I bet Vincent tore into his bread
left his teeth marks in wedges of cheese
completely neglected on countless occasions
to clean up after himself.

and what’s wrong with big chunks of onion?
the savage charge of having to eat?

eyes burning, tears streaming
I see through it all—

the last temptation of light.

Peggy Landsman

Too Much World, Not Enough Chocolate begins (in the aptly named, Part One) with the poet vividly recalling her experiences in the second half of the twentieth century, including growing up with Holocaust survivors, living like a hermit in the woods, protesting the Vietnam War, living and working abroad in Israel, Yugoslavia, Japan, and China; and always responding to sexism, which she understands to be ubiquitous. The last lines of the opening poem sum up the complexity of her feelings: “At the beginning of the twenty-first century/the thing that still amazes me/is how easily I startle.”

In Part Two, the poet explores the joys and sorrows of personal relationships between friends, family members, and lovers, as well as the deep and magical connection she experiences to her own imagination and art. All the poems in Part Two contain images of particular foods, and through the alchemy of poetry, by the time we get to the last lines of the last poem in the collection, we see the everyday event of eating a bagel transformed into an epiphany: “… the hole in the bagel’s enough/love finds its way/through Openness.”



Too Much World, Not Enough Chocolate  is available in multiple formats from Nightingale & Sparrow Press.



If you have any thoughts about this poem or this publication,  Peggy Landsman  would be pleased to hear them

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