ONLY IN OCCITANIA
listening to “A chantar m'er de so qu'ieu non volria” (“I must sing a song I’d rather not”) by Beatriz de Dia (c.1140-1212)
Things shift with each version of you
Comtessa, your name, the one you
loved, how the trobairitz found rooms
of their own to compose, an idiosyncrasy
of inheritance à l’Occitan, or the other
occupants, off crusading, were busy
compelling others to bear their cross.
But in all, you sent this song
down to us, the only to survive
from that cité des dames, your score-
settling rhymes clinging more to the flesh
than most of your fellows’ fantasies
in this game of fin’amor.
Still, we don’t know
whether you yourself
sang the tale you didn’t
want to tell, or, as in
your verse you sent a
messenger, whether your mes-
meric melismas sailed over
the spare drone of the hurdy-
gurdy or were mirrored
by cithern and psaltery, lute and
vielle, or whether, like the arab-
esques of a rebec longing
for a rabāb, you too
were dreaming
of Jerusalem.
The word trobairitz, to describe women who compose or sing poetry, appears in the thirteenth-century Occitan verse narrative Roman de Flamenca.
Recommended listening: “A Chantar M’er” by Azad Ali on the album Portals of Grace.
SPILLVILLE
listening to Lento, String Quartet No.12 in F-Major, “American,” by Antonín Dvořák (1841-1904), composed during a summer holiday in Spillville, Iowa in 1893
Passengers take turns mile-marking
the siloed straightaway, flat and broad
as vowels. Gaze fixed, one finds infinity’s
freedom in moonlit rows of newly-planted
corn, leans into the light trails of farmhouse
lanterns painting the night sky for passersby.
The vireo too takes the red eye,
a nocturnal migrant come to canopy
for the season.
They don’t know it yet, but it will prove
to be a good one, familiar. Walks along
the banks of the Turkey, the organ at
St. Wenceslaus, games of darda, pilsner
amber as fields of grain. A summer
rhapsody, Bohemian.
One that will be remembered, and
forgotten, burying down into rich
black soil, Black Hawk’s, the many
layers that have sung, and hope
to sing, this land, Driftless, is ours.
But this night, as the carriage
from Calmar turns onto Main Street,
the passengers shiver, not accustomed
to such dark.
Recommended listening: Lento, String Quartet No.12 in F-Major, OP. 96, “American,” performed by the Pavel Haas Quartet on the album Dvořák String Quartets.
A GLORIOUS REVOLUTION
listening to “Sound the Trumpet,” Come Ye Sons of Art, Ode for Queen Mary’s Birthday by Henry Purcell (1659-1695)
With one look across the room,
gilding each other with their gaze,
two tenors counter the paeans to power
with theirs to each other.
From the first high-octane con-
sonants of encounter, this day
in court, for a woman first
created, is wholly theirs. They
have a ball, ornaments ever-more
daring, anticipating the articulation
of the body, the mimesis
so come-hither, so electric,
it’s all accomplished, this time
around, quite bloodlessly.
Recommended listening: “Sound the Trumpet,” Come Ye Sons of Art, Andreas Scholl and Christophe Dumaux on the album O Solitude.
The Author
Susanna Schantz’s debut collection SIGN BROKEN, MESSAGE INSIDE (UMass Press, 2027) was awarded the 2026 Juniper Literary Prize, and Quarter Rest with Fermata, the collection in which the Sam Hill! Review poems appear, is the inaugural winner of the J. Alfred Prufrock Prize for Poetry (Indirect Press, 2027). Her poems have appeared or are forthcoming in The Common, Abridged Magazine, Porchlight: A Journal of Southern Literature, coastlines review: a journal of docupoetics, dadakuku, La Piccioletta Barca, PHIL LIT, and elsewhere. Find her at hemicraniacontinua.com.