Published Work of Miriam C. Jacobs

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Monthly Archives: April 2006

“The Storm Upon Las Tortugas,” Recovery Literary Magazine, Spring 2006

Cayman Islands 2006, photo by Herb Yoon

Cayman Islands 2006, photo by Herb Yoon

The Storm Upon Las Tortugas

These were always our islands.
Before memory, and within it, still, the small brown men
Sweep our shores in their bark boats,
Laughing to see our great girth, and our swiftness,
Dragging their widely sieved nets, taking, in a single tear,
A dozen of our number, the weakest among us,
While the bright blue fish flutter like banners.

So, when you came, we knew not what to look for:
Not for a democrat, noble in dimension,
Who would embrace without argument or remorse
The puny and powerful alike.
Down came the Butterfeld Bank and the Hyatt Hotel.
Down came the roofs of our tiny yellow houses.
Our resin kitchen chairs were scattered upon the wreckage and the deep.

Even our dead were not spared
But forced, protesting, from their graves into the yards and streets.
Our friends, too, succumbed to your fearsome integrity.
The aging palm planters, los mercantos and the tremendous ships,
All we had known turned their faces from ours, shrugging at memory,
Choosing, instead, to cruise the waters in search of pleasant, unscathed shores.
But we will not forget how we opened our windows to the seas

Rushing toward us, how we scrubbed our shells upon the ruins,
How our young ones wept through the hot nights, calling
Not for comfort, but for comrades lost,
And how the trade of billions
Offers us, now, only the waste-filled sand hills to rebuild upon
(The reef, alone, persists, veiled in a sparkling blue blind).
We scorn pity, and call you El Terrible.


“Violette Verdy’s Inoui Rossini at Atlanta Ballet,” Dance Magazine, April 2006

Dance Magazine April 2006

Dance Magazine April 2006

Violette Verdy is in love – with “the tenderness in the European character,” she says, “tenderness about life, food, children and the arts.” Verdy’s neoclassical piece, Inoui Rossini, meaning ‘Extraordinary’ and set to Rossini’s evocative music, draws upon this culture. “So much of my career has centered on teaching. I find my choreography seems naturally to be about educating dancers in what a disciplined body can suggest, and audiences in how ballet transforms the body into an articulate instrument. The Atlanta company dancers are receptive, generous. They can do extraordinary things. I had to show off their talents.”

Currently a Distinguished Professor of Ballet at Indiana University, Verdy is a retired NYCB principal, and has held artistic directorships for the Paris Opera and Boston Ballet companies. – Colleen M. Payton

May 5 – 6, 2006, 8pm

Ferst Center for the Performing Arts, Atlanta, Georgia