Poem of the Day

This poem was sent to me by a dear friend. When I was in college I had to read some of Chuang Tzu’s work (though I can’t for the life of me remember what edition/translation), as well as Lao Tzu’s Tao Te Ching. Anyway, that was an ice age ago, so I don’t even remember if I read this poem. The version provided is the Thomas Merton translation. I like the idea that worldly cares (gain, success, praise, criticism) may prevent one from producing true art.

Poem of the Woodcarver
By Chuang Tzu

Khing, the master carver, made a bell stand
Of precious wood. When it was finished,
All who saw it were astounded. They said it must be
The work of spirits.
The Prince of Lu said to the master carver:
“What is your secret?”

Khing replied: “I am only a workman:
I have no secret. There is only this:
When I began to think about the work you commanded
I guarded my spirit, did not expend it
On trifles, that were not to the point.
I fasted in order to set
My heart at rest.
After three days fasting,
I had forgotten gain and success.
After five days
I had forgotten praise or criticism.
After seven days
I had forgotten my body
With all its limbs.

“By this time all thought of your Highness
And of the court had faded away.
All that might distract me from the work
Had vanished.
I was collected in the single thought
Of the bell stand.

“Then I went to the forest
To see the trees in their own natural state.
When the right tree appeared before my eyes,
The bell stand also appeared in it, clearly, beyond doubt.
All I had to do was to put forth my hand
and begin.

“If I had not met this particular tree
There would have been
No bell stand at all.

“What happened?
My own collected thought
Encountered the hidden potential in the wood;
From this live encounter came the work
Which you ascribe to the spirits.”

I joined a poetry discussion group (yay!). This month’s book was Draft of a Letter by James Longenbach. This poem made me think of Not marble, nor the gilded monuments by Shakespeare. Both refer to man-made structures that do not endure. Shakespeare (perhaps egotistically?) claimed that his words would outlast monuments, while Longenbach implied that natural life (such as trees) will grow again, though they are cut down to build cities.

Buried Life
By James Longenbach

Imagine cities you’ve
Inhabited, streets
Paved in lava stone.
You never intended to pray

In the temples, had
Nothing to sell.
Now imagine yourself

Returning to those same cities.
Hunt for people you knew,
Knock on their doors.
Ask yourself

Where are the vases, animals
Etched in gold?
Where are the wines

From distant places,
Banquets ferreted
From the bowels of the earth?
While you were missing

Other people wore
Your garments,
Slept in your bed.

How frightening
The man who said
In his affliction

Wood has hope.
Cut down
It will flourish.

If the root grows old
And the trunk withers
In dust, at the scent of water
It will germinate.

I’ve been sitting around like a lump all evening, and was rewarded by getting a couple e-mails from my poetry buddy. (ha ha ha!)

Don’t Come Home
By Todd Boss

ranks first among
the worst things
someone you love
can say. Not even
the common I
hate you does
the damage Don’t
come home will
do. You can live
with I hate you,
same as you live
with the past.
You abide it. I
hate you in fact
can be worth
coming home to,
like anything built
to last. I hate you
may be the mythical
two in the bush
the bird in the hand
is worth, while
Don’t come home,
by contrast, is
that first bird,
caught bird, scared
to sing its song,
percussive wings
held fist-fast just
so long.

I found this one through the Poetry Foundation, too.

Altruism
By Molly Peacock

What if we got outside ourselves and there
really was an outside out there, not just
our insides turned inside out? What if there
really were a you beyond me, not just
the waves off my own fire, like those waves off
the backyard grill you can see the next yard through,
though not well—just enough to know that off
to the right belongs to someone else, not you.
What if, when we said I love you, there were
a you to love as there is a yard beyond
to walk past the grill and get to? To endure
the endless walk through the self, knowing through a bond
that has no basis (for ourselves are all we know)
is altruism: not giving, but coming to know
someone is there through the wavy vision
of the self’s heat, love become a decision.

This is a darn good wedding poem! Not too sappy, and full of lovely images. I might have to call it a front-runner.

A Blessing for a Wedding
By Jane Hirshfield

Today when persimmons ripen
Today when fox-kits come out of their den into snow
Today when the spotted egg releases its wren song
Today when the maple sets down its red leaves
Today when windows keep their promise to open
Today when fire keeps its promise to warm
Today when someone you love has died
   or someone you never met has died
Today when someone you love has been born
   or someone you will not meet has been born
Today when rain leaps to the waiting of roots in their dryness
Today when starlight bends to the roofs of the hungry and tired
Today when someone sits long inside his last sorrow
Today when someone steps into the heat of her first embrace
Today, let this light bless you
With these friends let it bless you
With snow-scent and lavender bless you
Let the vow of this day keep itself wildly and wholly
Spoken and silent, surprise you inside your ears
Sleeping and waking, unfold itself inside your eyes
Let its fierceness and tenderness hold you
Let its vastness be undisguised in all your days

I just finished listening to Kidnapped by Robert Louis Stevenson. I hadn’t expected to get such a Scottish history lesson, not knowing anything about it beforehand. The reader had a lovely Scottish accent, and I really didn’t have any trouble understanding the meaning of the dialect (though I’m sure I couldn’t have spelled everything). I think after reading Kidnapped, I may have less trouble understanding Burns. (ha!)

Lament for Culloden
By Robert Burns

The lovely lass o’ Inverness,
   Nae joy nor pleasure can she see;
For e’en and morn she cries, ‘Alas!’
   And aye the saut tear blin’s her e’e:

‘Drumossie moor—Drumossie day—
   A waefu’ day it was to me!
For there I lost my father dear,
   My father dear and brethren three.

‘Their winding-sheet the bluidy clay,
   Their graves are growing green to see;
And by them lies the dearest lad
   That ever blest a woman’s e’e!

Now wae to thee, thou cruel lord,
   A bluidy man I trow thou be;
For mony a heart thou hast made sair,
   That ne’er did wrang to thine or thee.’

I haven’t posted one from Marge Piercy in a while. I’m still evaluating wedding poems and found this one through the Poetry Foundation.

Colors passing through us
By Marge Piercy

Purple as tulips in May, mauve
into lush velvet, purple
as the stain blackberries leave
on the lips, on the hands,
the purple of ripe grapes
sunlit and warm as flesh.

Every day I will give you a color,
like a new flower in a bud vase
on your desk. Every day
I will paint you, as women
color each other with henna
on hands and on feet.

Red as henna, as cinnamon,
as coals after the fire is banked,
the cardinal in the feeder,
the roses tumbling on the arbor
their weight bending the wood
the red of the syrup I make from petals.

Orange as the perfumed fruit
hanging their globes on the glossy tree,
orange as pumpkins in the field,
orange as butterflyweed and the monarchs
who come to eat it, orange as my
cat running lithe through the high grass.

Yellow as a goat’s wise and wicked eyes,
yellow as a hill of daffodils,
yellow as dandelions by the highway,
yellow as butter and egg yolks,
yellow as a school bus stopping you,
yellow as a slicker in a downpour.

Here is my bouquet, here is a sing
song of all the things you make
me think of, here is oblique
praise for the height and depth
of you and the width too.
Here is my box of new crayons at your feet.

Green as mint jelly, green
as a frog on a lily pad twanging,
the green of cos lettuce upright
about to bolt into opulent towers,
green as Grand Chartreuse in a clear
glass, green as wine bottles.

Blue as cornflowers, delphiniums,
bachelors’ buttons. Blue as Roquefort,
blue as Saga. Blue as still water.
Blue as the eyes of a Siamese cat.
Blue as shadows on new snow, as a spring
azure sipping from a puddle on the blacktop.

Cobalt as the midnight sky
when day has gone without a trace
and we lie in each other’s arms
eyes shut and fingers open
and all the colors of the world
pass through our bodies like strings of fire.

This one is also from Poetry on Record. I think it’s worth posting for the title alone.

Skunk Hour
By Robert Lowell

        (For Elizabeth Bishop)

Nautilus Island’s hermit
heiress still lives through winter in her Spartan cottage;
her sheep still graze above the sea.
Her son’s a bishop. Her farmer
is first selectman in our village;
she’s in her dotage.

Thirsting for
the hierarchic privacy
of Queen Victoria’s century,
she buys up all
the eyesores facing her shore,
and lets them fall.

The season’s ill—
we’ve lost our summer millionaire,
who seemed to leap from an L. L. Bean
catalogue. His nine-knot yawl
was auctioned off to lobstermen.
A red fox stain covers Blue Hill.

And now our fairy
decorator brightens his shop for fall;
his fishnet’s filled with orange cork,
orange, his cobbler’s bench and awl;
there is no money in his work,
he’d rather marry.

One dark night,
my Tudor Ford climbed the hill’s skull;
I watched for love-cars. Lights turned down,
they lay together, hull to hull,
where the graveyard shelves on the town. . . .
My mind’s not right.

A car radio bleats,
“Love, O careless Love. . . .” I hear
my ill-spirit sob in each blood cell,
as if my hand were at its throat. . . .
I myself am hell;
nobody’s here—

only skunks, that search
in the moonlight for a bite to eat.
They march on their soles up Main Street:
white stripes, moonstruck eyes’ red fire
under the chalk-dry and spar spire
of the Trinitarian Church.

I stand on top
of our back steps and breathe the rich air—
a mother skunk with her column of kittens swills the garbage pail
She jabs her wedge-head in a cup
of sour cream, drops her ostrich tail,
and will not scare.

I discovered this one through Poetry on Record. I like that it’s short, but thought-provoking.

Passing Remark
By William Stafford

In scenery I like flat country.
In life I don’t like much to happen.

In personalities I like mild colorless people.
And in colors I prefer gray and brown.

My wife, a vivid girl from the mountains,
says, “Then why did you choose me?”

Mildly I lower my brown eyes—
there are so many things admirable people do not understand.

I came across this one while looking for Miller Williams poems based on Michael Perry’s mention of him (though I can’t remember if it was in Population: 485, Truck: A Love Story, or Coop).

Love Poem With Toast
By Miller Williams

Some of what we do, we do
to make things happen,
the alarm to wake us up, the coffee to perc,
the car to start.

The rest of what we do, we do
trying to keep something from doing something,
the skin from aging, the hoe from rusting,
the truth from getting out.

With yes and no like the poles of a battery
powering our passage through the days,
we move, as we call it, forward,
wanting to be wanted,
wanting not to lose the rain forest,
wanting the water to boil,
wanting not to have cancer,
wanting to be home by dark,
wanting not to run out of gas,

as each of us wants the other
watching at the end,
as both want not to leave the other alone,
as wanting to love beyond this meat and bone,
we gaze across breakfast and pretend.

We’ve had nearly a solid week of “warm” weather (ie: over freezing) and a ton of snow has melted (as evidenced by the raging rivers in the drainage ditches and monstrous lakes in front yards). I’m not naive enough to think we won’t get another snowstorm, but I can pretend it’s spring when it actually feels like spring. A friend suggested this poem a while ago and it seems appropriate this week.

Spring is like a perhaps hand
By e e cummings

           III

Spring is like a perhaps hand
(which comes carefully
out of Nowhere)arranging
a window,into which people look(while
people stare
arranging and changing placing
carefully there a strange
thing and a known thing here)and

changing everything carefully

spring is like a perhaps
Hand in a window
(carefully to
and fro moving New and
Old things,while
people stare carefully
moving a perhaps
fraction of flower here placing
an inch of air there)and

without breaking anything.

I randomly came across this poem while searching for something else. Bonus!

Fever 103°
By Sylvia Plath

Pure? What does it mean?
The tongues of hell
Are dull, dull as the triple

Tongues of dull, fat Cerberus
Who wheezes at the gate. Incapable
Of licking clean

The aguey tendon, the sin, the sin.
The tinder cries.
The indelible smell

Of a snuffed candle!
Love, love, the low smokes roll
From me like Isadora’s scarves, I’m in a fright

One scarf will catch and anchor in the wheel,
Such yellow sullen smokes
Make their own element. They will not rise,

But trundle round the globe
Choking the aged and the meek,
The weak

Hothouse bred baby in its crib,
The ghastly orchid
Hanging its hanging garden in the air,

Devilish leopard!
Radiation turned it white
And killed it in an hour.

Greasing the bodies of adulterers
Like Hiroshima ash and eating in.
The sin. The sin.

Darling, all night
I have been flickering, off, on, off, on.
The sheets grow heavy as a lecher’s kiss.

Three days. Three nights.
Lemon water, chicken
Water, water make me retch.

I am too pure for you or anyone.
Your body
Hurts me as the world hurts God. I am a lantern—

My head a moon
Of Japanese paper, my gold beaten skin
Infinitely delicate and infinitely expensive.

Does not my heat astound you! And my light!
All by myself I am a huge camellia
Glowing and coming and going, flush on flush.

I think I am going up,
I think I may rise—
The beads of hot metal fly, and I love, I

Am a pure acetylene
Virgin
Attended by roses,

By kisses, by cherubim,
By whatever these pink things mean!
Not you, nor him

Nor him, nor him
(My selves dissolving, old whore petticoats)—
To Paradise.

Having just finished 1776 by David McCullough, I’ve heard about a fair number of crossings. A recording of the poet reading this poem is included on Poetry on Record, so I thought I’d share it today. To my shame, I’ve never actually read Uncle Tom’s Cabin (though I do know the plot outline thanks to The King and I… again, shame!).

Crossing Over
By William Meredith

It was now early spring, and the river was swollen and turbulent: great cakes of floating ice were swinging heavily to and fro in the turbid waters. Owing to a peculiar form of the shore, on the Kentucky side, the land bending far out into the water, the ice had been lodged and detained in great quantities, and the narrow channel which swept round the bend was full of ice, piled one cake over another, thus forming a temporary barrier to the descending ice, which lodged, and formed a great undulating raft… Eliza stood, for a moment, contemplating this unfavorable aspect of things.
—Uncle Tom’s Cabin, Harriet Beecher Stowe

That’s what love is like. The whole river
is melting. We skim along in great peril,

having to move faster than ice goes under
and still find foothold in the soft floe.

We are one another’s floe. Each displaces the weight
of his own need. I am fat as a bloodhound,

hold me up. I won’t hurt you. Though I bay,
I would swim with you on my back until the cold

seeped into my heart. We are committed, we
are going across this river willy-nilly.

No one, black or white, is free in Kentucky,
old gravity owns everybody. We’re weighty.

I contemplate this unfavorable aspect of things.
Where is something solid? Only you and me.

Has anyone ever been to Ohio?
Do the people there stand firmly on icebergs?

Here all we have is love, a great undulating
raft, melting steadily. We go out on it

anyhow. I love you, I love this fool’s walk.
The thing we have to learn is how to walk light.

Dylan Thomas is included in Poetry on Record and he certainly read with a dramatic flair.

And Death Shall Have No Dominion
By Dylan Thomas

And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.

And death shall have no dominion.
Under the windings of the sea
They lying long shall not die windily;
Twisting on racks when sinews give way,
Strapped to a wheel, yet they shall not break;
Faith in their hands shall snap in two,
And the unicorn evils run them through;
Split all ends up they shan’t crack;
And death shall have no dominion.

And death shall have no dominion.
No more may gulls cry at their ears
Or waves break loud on the seashores;
Where blew a flower may a flower no more
Lift its head to the blows of the rain;
Though they be mad and dead as nails,
Heads of the characters hammer through daisies;
Break in the sun till the sun breaks down,
And death shall have no dominion.

I can’t say I think it’s sage advice to look a lion in the eye, but I do think the poem is kind of cute. I look my own little “lion” in the eye all the time, and pet her quite a bit, too. Plus, I don’t have to feed her raw meat. Ah, the joys of domestication… (heh)

Why Nobody Pets the Lion at the Zoo
By John Ciardi

The morning that the world began
The Lion growled a growl at Man.

And I suspect the Lion might
(If he’d been closer) have tried a bite.

I think that’s as it ought to be
And not as it was taught to me.

I think the Lion has a right
To growl a growl and bite a bite.

And if the Lion bothered Adam,
He should have growled right back at ‘im.

The way to treat a Lion right
Is growl for growl and bite for bite.

True, the Lion is better fit
For biting than for being bit.

But if you look him in the eye
You’ll find the Lion’s rather shy.

He really wants someone to pet him.
The trouble is: his teeth won’t let him.

He has a heart of gold beneath
But the Lion just can’t trust his teeth.

I listened to more of Poetry on Record today and was highly entertained by Lawrence Ferlinghetti. In his reading of this poem, there were a few additional lines compared to the text I found at The Poetry Foundation, but I think the poem can also be enjoyed as posted. If you can find an audio recording, it’s well worth listening to Ferlinghetti perform.

Underwear
By Lawrence Ferlinghetti

I didn’t get much sleep last night
thinking about underwear
Have you ever stopped to consider
underwear in the abstract
When you really dig into it
some shocking problems are raised
Underwear is something
we all have to deal with
Everyone wears
some kind of underwear
The Pope wears underwear I hope
The Governor of Louisiana
wears underwear
I saw him on TV
He must have had tight underwear
He squirmed a lot
Underwear can really get you in a bind
You have seen the underwear ads
for men and women
so alike but so different
Women’s underwear holds things up
Men’s underwear holds things down
Underwear is one thing
men and women have in common
Underwear is all we have between us
You have seen the three-color pictures
with crotches encircled
to show the areas of extra strength
and three-way stretch
promising full freedom of action
Don’t be deceived
It’s all based on the two-party system
which doesn’t allow much freedom of choice
the way things are set up
America in its Underwear
struggles thru the night
Underwear controls everything in the end
Take foundation garments for instance
They are really fascist forms
of underground government
making people believe
something but the truth
telling you what you can or can’t do
Did you ever try to get around a girdle
Perhaps Non-Violent Action
is the only answer
Did Gandhi wear a girdle?
Did Lady Macbeth wear a girdle?
Was that why Macbeth murdered sleep?
And that spot she was always rubbing—
Was it really in her underwear?
Modern anglosaxon ladies
must have huge guilt complexes
always washing and washing and washing
Out damned spot
Underwear with spots very suspicious
Underwear with bulges very shocking
Underwear on clothesline a great flag of freedom
Someone has escaped his Underwear
May be naked somewhere
Help!
But don’t worry
Everybody’s still hung up in it
There won’t be no real revolution
And poetry still the underwear of the soul
And underwear still covering
a multitude of faults
in the geological sense—
strange sedimentary stones, inscrutable cracks!
If I were you I’d keep aside
an oversize pair of winter underwear
Do not go naked into that good night
And in the meantime
keep calm and warm and dry
No use stirring ourselves up prematurely
‘over Nothing’
Move forward with dignity
hand in vest
Don’t get emotional
And death shall have no dominion
There’s plenty of time my darling
Are we not still young and easy
Don’t shout

There are a lot of “puzzlers” in my family, and when I was a child, I really enjoyed doing jigsaw puzzles. I like challenges (at least those that aren’t impossible) and I hate leaving things unfinished. I don’t really enjoy jigsaw puzzles any more, preferring crossword puzzles instead. At any rate, I like how Laux juxtaposes the jumble on the table with the inner turmoil of coming of age.

Break
By Dorianne Laux

We put the puzzle together piece
by piece, loving how one curved
notch fits so sweetly with another.
A yellow smudge becomes
the brush of a broom, and two blue arms
fill in the last of the sky.
We patch together porch swings and autumn
trees, matching gold to gold. We hold
the eyes of deer in our palms, a pair
of brown shoes. We do this as the child
circles her room, impatient
with her blossoming, tired
of the neat house, the made bed,
the good food. We let her brood
as we shuffle through the pieces,
setting each one into place with a satisfied
tap, our backs turned for a few hours
to a world that is crumbling, a sky
that is falling, the pieces
we are required to return to.

I don’t particularly care for eating alone in restaurants. I find this poem very sad and lonely, and I can really imagine myself in the speaker’s position, inside the luncheonette, yet feeling isolated from everyone including the kitchen staff.

The Partial Explanation
By Charles Simic

Seems like a long time
Since the waiter took my order.
Grimy little luncheonette,
The snow falling outside.

Seems like it has grown darker
Since I last heard the kitchen door
Behind my back
Since I last noticed
Anyone pass on the street.

A glass of ice-water
Keeps me company
At this table I chose myself
Upon entering.

And a longing,
Incredible longing
To eavesdrop
On the conversation
Of cooks.

I found this one over at American Life in Poetry.

The Paleontologist’s Blind Date
By Philip Memmer

You have such lovely bones, he says,
holding my face in his hands,

and although I can almost feel
the stone and the sand

sifting away, his fingers
like the softest of brushes,

I realize after this touch
he would know me

years from now, even
in the dark, even

without my skin.
Thank you, I smile—

then I close the door
and never call him again.

I’m listening to the audio recording of David McCullough’s 1776, and this poem by Phillis Wheatley was quoted, as was Washington’s reply. I took the text from here.

To His Excellency
George Washington

Sir,

I have taken the freedom to address your Excellency in the enclosed poem, and entreat your acceptance, though I am not insensible of its inaccuracies. Your being appointed by the Grand Continental Congress to be Generalissimo of the armies of North America, together with the fame of your virtues, excite sensations not easy to suppress. Your generosity, therefore, I presume, will pardon the attempt. Wishing your Excellency all possible success in the great cause you are so generously engaged in. I am,

Your Excellency’s most obedient humble servant,
Phillis Wheatley
1776

Cambridge, February 28, 1776.

Mrs. Phillis,

Your favour of the 26th of October did not reach my hands ’till the middle of December. Time enough, you will say, to have given an answer ere this. Granted. But a variety of important occurrences, continually interposing to distract the mind and withdraw the attention, I hope will apologize for the delay, and plead my excuse for the seeming, but not real neglect.

I thank you most sincerely for your polite notice of me, in the elegant Lines you enclosed; and however undeserving I may be of such encomium and panegyrick, the style and manner exhibit a striking proof of your great poetical Talents. In honour of which, and as a tribute justly due to you, I would have published the Poem, had I not been apprehensive, that, while I only meant to give the World this new instance of your genius, I might have incurred the imputation of Vanity. This and nothing else, determined me not to give it place in the public Prints.

If you should ever come to Cambridge, or near Head Quarters, I shall be happy to see a person so favoured by the Muses, and to whom Nature has been so liberal and beneficent in her dispensations.

I am, with great Respect, etc.

To His Excellency, General Washington
By Phillis Wheatley

Celestial choir! enthron’d in realms of light,
Columbia’s scenes of glorious toils I write.
While freedom’s cause her anxious breast alarms,
She flashes dreadful in refulgent arms.
See mother earth her offspring’s fate bemoan,
And nations gaze at scenes before unknown!
See the bright beams of heaven’s revolving light
Involved in sorrows and veil of night!

The goddess comes, she moves divinely fair,
Olive and laurel bind her golden hair:
Wherever shines this native of the skies,
Unnumber’d charms and recent graces rise.

Muse! bow propitious while my pen relates
How pour her armies through a thousand gates,
As when Eolus heaven’s fair face deforms,
Enwrapp’d in tempest and a night of storms;
Astonish’d ocean feels the wild uproar,
The refluent surges beat the sounding shore;
Or thick as leaves in Autumn’s golden reign,
Such, and so many, moves the warrior’s train.
In bright array they seek the work of war,
Where high unfurl’d the ensign waves in air.
Shall I to Washington their praise recite?
Enough thou know’st them in the fields of fight.
Thee, first in peace and honours,—we demand
The grace and glory of thy martial band.
Fam’d for thy valour, for thy virtues more,
Hear every tongue thy guardian aid implore!

One century scarce perform’d its destined round,
When Gallic powers Columbia’s fury found;
And so may you, whoever dares disgrace
The land of freedom’s heaven-defended race!
Fix’d are the eyes of nations on the scales,
For in their hopes Columbia’s arm prevails.
Anon Britannia droops the pensive head,
While round increase the rising hills of dead.
Ah! cruel blindness to Columbia’s state!
Lament thy thirst of boundless power too late.

Proceed, great chief, with virtue on thy side,
Thy ev’ry action let the goddess guide.
A crown, a mansion, and a throne that shine,
With gold unfading, WASHINGTON! be thine.

I thought the scenes of sadness in Nodar Kumaritashvili’s village in Georgia were heartbreaking. During NBC’s small tribute to the athlete last night, this poem was quoted, and I realized I hadn’t posted it before.

To an Athlete Dying Young
By A.E. Housman

The time you won your town the race
We chaired you through the market-place;
Man and boy stood cheering by,
And home we brought you shoulder-high.

To-day, the road all runners come,
Shoulder-high we bring you home,
And set you at your threshold down,
Townsman of a stiller town.

Smart lad, to slip betimes away
From fields were glory does not stay
And early though the laurel grows
It withers quicker than the rose.

Eyes the shady night has shut
Cannot see the record cut,
And silence sounds no worse than cheers
After earth has stopped the ears:

Now you will not swell the rout
Of lads that wore their honours out,
Runners whom renown outran
And the name died before the man.

So set, before its echoes fade,
The fleet foot on the sill of shade,
And hold to the low lintel up
The still-defended challenge-cup.

And round that early-laurelled head
Will flock to gaze the strengthless dead,
And find unwithered on its curls
The garland briefer than a girl’s.

A fellow poetry lover recommended J. Allyn Rosser’s Foiled Again, and I read it over the weekend. I was not previously familiar with the poet, and I liked this collection a lot. I feel I have to share this one because it very eloquently expresses my feelings every time someone runs a red light, flies up a lane about to be closed when tens (or hundreds!) of cars are more courteously merging and waiting, shows up in my lab expecting me to drop everything to address his/her issue, sends an e-mail demanding an immediate response. I can understand being in a hurry. I can’t understand such total disregard for the fact that someone else might be in a hurry, too. It’s the arrogance that takes my breath away, and I love how ridiculous Rosser makes the offender appear. My favorite line is: Can he catch up with his soul? Can he, indeed?

I hate rude behavior in a man; won’t tolerate it.
—Captain Woodrow F. Call in Lonesome Dove, after beating the snot (and various other bodily liquids) out of a decidedly rudely-behaving man.

Subway Seethe
By J. Allyn Rosser

What could have been the big to-do
that caused him to push me aside
on that platform? Was a woman who knew
there must be some good even inside
an ass like him on board that train?
Charity? Frances? His last chance
in a ratty string of last chances? Jane?
Surely in all of us is some good.
Better love thy neighbor, buddy,
lest she shove back. Maybe I should.
It’s probably just a cruddy
downtown interview leading to
some cheap-tie, careerist, dull
cul-de-sac he’s speeding to.
Can he catch up with his soul?
Really, what was the freaking crisis?
Did he need to know before me
if the lights searching the crowd’s eyes
were those of our train, or maybe
the train of who he might have been,
the person his own-heart-numbing,
me-shoving anxiety about being
prevents him from ever becoming?
How has his thoughtlessness defiled
who I was before he shoved me?
How might I be smiling now if he’d smiled,
hanging back, as though he might have loved me?

Yikes! Another zinger from Linda Pastan. She is so amazing!

The Quarrel
By Linda Pastan

If there were a monument
to silence, it would not be
the tree whose leaves
murmur continuously
among themselves;

nor would it be the pond
whose seeming stillness
is shattered
by the quicksilver
surfacing of fish.

If there were a monument
to silence, it would be you
standing so upright, so unforgiving,
your mute back deflecting
every word I say.

This one was also mentioned by a reader. It’s a horrifyingly matter-of-fact description of people’s last moments, before the bomb goes off.

The Terrorist, He Watches
By Wislawa Szymborska

The bomb will go off in the bar at one twenty p.m.
Now it’s only one sixteen p.m.
Some will still have time to get in,
Some to get out.

The terrorist has already crossed to the other side of the street.
The distance protects him from any danger,
And what a sight for sore eyes:

A woman in a yellow jacket, she goes in.
A man in dark glasses, he comes out.
Guys in jeans, they are talking.
One seventeen and four seconds.
That shorter guy’s really got it made, and gets on a scooter,
And that taller one, he goes in.

One seventeen and forty seconds.
That girl there, she’s got a green ribbon in her hair.
Too bad that bus just cut her off.
One eighteen p.m.
The girl’s not there any more.
Was she dumb enough to go in, or wasn’t she?
That we’ll see when they carry them out.

One nineteen p.m.
No one seems to be going in.
Instead a fat baldy’s coming out.
Like he’s looking for something in his pockets and
at one nineteen and fifty seconds
he goes back for those lousy gloves of his.

It’s one twenty p.m.
The time, how it drags.
Should be any moment now.
Not yet.
Yes, this is it.
The bomb, it goes off.

Here’s another one from The World’s Wife by Carol Ann Duffy.

Queen Kong
By Carol Ann Duffy

I remember peeping in at his skyscraper room
and seeing him fast asleep. My little man.
I’d been in Manhattan a week,
making my plans; staying at 2 quiet hotels
in the Village, where people were used to strangers
and more or less left you alone. To this day
I’m especially fond of pastrami on rye.

I digress. As you see, this island’s a paradise.
He’d arrived, my man, with a documentary team
to make a film. (There’s a particular toad
that lays its eggs only here.) I found him alone
in a clearing, scooped him up in my palm,
and held his wriggling, shouting life till he calmed.
For me, it was absolutely love at first sight.

I’d been so lonely. Long nights in the heat
of my own pelt, rumbling an animal blues.
All right, he was small, but perfectly formed
and gorgeous. There were things he could do
for me with the sweet finesse of those hands
that no gorilla could. I swore in my huge heart
to follow him then to the ends of the earth.

For he wouldn’t stay here. He was nervous.
I’d go to his camp each night at dusk,
crouch by the delicate tents, and wait. His colleagues
always sent him out pretty quick. He’d climb
into my open hand, sit down; and then I’d gently pick
at his shirt and his trews, peel him, put
the tip of my tongue to the grape of his flesh.

Bliss. But when he’d finished his prize-winning film,
he packed his case; hopped up and down
on my heartline, miming the flight back home
to New York. Big metal bird. Didn’t he know
I could swat his plane from these skies like a gnat?
But I let him go, my man. I watched him fly
into the sun as I thumped at my breast, distraught.

I lasted a month. I slept for a week,
then woke to binge for a fortnight. I didn’t wash.
The parrots clacked their migraine chant.
The swinging monkeys whinged. Fevered, I drank
handfuls of river right by the spot where he’d bathed.
I bled with a fat, red moon rolled on the jungle roof.
And after that, I decided to get him back.

So I came to sail up the Hudson one June night,
with the New York skyline a concrete rainforest
of light; and felt, lovesick and vast, the first
glimmer of hope in weeks. I was discreet, prowled
those streets in darkness, pressing my passionate eye
to a thousand windows, each with its modest peep-show
of boredom or pain, of drama, consolation, remorse.

I found him, of course. At 3 a.m. on a Sunday,
dreaming alone in his single bed; over his lovely head
a blown-up photograph of myself. I stared for a long time
till my big brown eyes grew moist; then I padded away
through Central Park, under the stars. He was mine.
Next day, I shopped. Clothes for my main, mainly,
but one or two treats for myself from Bloomingdale’s.

I picked him, like a chocolate from the top layer
of a box, one Friday night, out of his room
and let him dangle in the air between my finger
and my thumb in a teasing, lover’s way. Then we sat
on the tip of the Empire State Building, saying farewell
to the Brooklyn Bridge, to the winking yellow cabs,
to the helicopters over the river, dragonflies.

Twelve happy years. He slept in my fur, woke early
to massage the heavy lids of my eyes. I liked that.
He liked me to gently blow on him; or scratch,
with care, the length of his back with my nail.
Then I’d ask him to play on the wooden pipes he’d made
in our first year. He’d sit, cross-legged, near my ear
for hours: his plaintive, lost tunes making me cry.

When he died, I held him all night, shaking him
like a doll, licking his face, breast, soles of his feet,
his little rod. But then, heartsore as I was, I set to work.
He would be pleased. I wear him now around my neck,
perfect, preserved, with tiny emeralds for eyes. No man
has been loved more. I’m sure that, sometimes, in his silent death,
against my massive, breathing lungs, he hears me roar.

It’s my birthday, and I’ll post an ESVM sonnet if I want to!

It came into her mind, seeing how the snow
By Edna St. Vincent Millay

It came into her mind, seeing how the snow
Was gone, and the brown grass exposed again,
And clothes-pins, and an apron—long ago,
In some white storm that sifted through the pane
And sent her forth reluctantly at last
To gather in, before the line gave way,
Garments, board-stiff, that galloped on the blast
Clashing like angel armies in a fray,
And apron long ago in such a night
Blown down and buried in the deepening drift,
To lie till April thawed it back to sight,
Forgotten, quaint and novel as a gift—
It struck her, as she pulled and pried and tore,
That here was spring, and the whole year to be lived through once more.

A reader alerted me to this poem with the comment, “it stopped my heart”. Of course, I had to go find the poem because I like poetry to have a strong effect on me. My heart is still beating, but it may have stopped for a moment… I found two translations, and went with the one by the author and Ted Hughes, found here. There is also an audio recording linked there, which I found worth listening to.

The Diameter of the Bomb
By Yehuda Amichai

The diameter of the bomb was thirty centimeters
and the diameter of its effective
range—about seven meters.
And in it four dead and eleven wounded.
And around them in a greater circle
of pain and time are scattered
two hospitals and one cemetery.
But the young woman who was
buried where she came from
over a hundred kilometres away
enlarges the circle greatly.
And the lone man who weeps over her death
in a far corner of a distant country
includes the whole world in the circle.
And I won’t speak at all about the crying of orphans
that reaches to the seat of God
and from there onward, making
the circle without end and without God.

After watching Davis and White’s original ice dance to an Indian folk song (yes, I’m obsessed with the Olympics), I went looking for a poem by an Indian poet. I was further inspired to post this poem because it’s “snowing for fair” here in western NY.

Snowmen
By Agha Shahid Ali

My ancestor, a man
of Himalayan snow,
came to Kashmir from Samarkand,
carrying a bag
of whale bones:
heirlooms from sea funerals.
His skeleton
carved from glaciers, his breath
arctic,
he froze women in his embrace.
His wife thawed into stony water,
her old age a clear
evaporation.

This heirloom,
his skeleton under my skin, passed
from son to grandson,
generations of snowmen on my back.
They tap every year on my window,
their voices hushed to ice.

No, they won’t let me out of winter,
and I’ve promised myself,
even if I’m the last snowman,
that I’ll ride into spring
on their melting shoulders.

I was reminded of Shelley’s passion (or some may think he’s just a drama queen) by the exclamation points.

Love
By Samuel Taylor Coleridge

All thoughts, all passions, all delights,
Whatever stirs this mortal frame,
All are but ministers of Love,
And feed his sacred flame.

Oft in my waking dreams do I
Live o’er again that happy hour,
When midway on the mount I lay,
Beside the ruined tower.

The moonshine, stealing o’er the scene
Had blended with the lights of eve;
And she was there, my hope, my joy,
My own dear Genevieve!

She leant against the arméd man,
The statue of the arméd knight ;
She stood and listened to my lay,
Amid the lingering light.

Few sorrows hath she of her own,
My hope! my joy! my Genevieve!
She loves me best, whene’er I sing
The songs that make her grieve.

I played a soft and doleful air,
I sang an old and moving story—
An old rude song, that suited well
That ruin wild and hoary.

She listened with a flitting blush,
With downcast eyes and modest grace;
For well she know, I could not choose
But gaze upon her face.

I told her of the Knight that wore
Upon his shield a burning brand;
And that for ten long years he wooed
The Lady of the Land.

I told her how he pined: and ah!
The deep, the low, the pleading tone
With which I sang another’s love,
Interpreted my own.

She listened with a flitting blush,
With downcast eyes, and modest grace;
And she forgave me, that I gazed
Too fondly on her face!

But when I told the cruel scorn
That crazed that bold and lovely Knight,
And that he crossed the mountain-woods,
Nor rested day nor night;

That sometimes from the savage den,
And sometimes from the darksome shade,
And sometimes starting up at once
In green and sunny glade,—

There came and looked him in the face
An angel beautiful and bright;
And that he knew it was a Fiend,
This miserable Knight!

And that unknowing what he did,
He leaped amid a murderous band,
And saved from outrage worse than death
The Lady of the Land!

And how she wept, and clasped his knees;
And how she tended him in vain—
And ever strove to expiate
The scorn that crazed his brain;—

And that she nursed him in a cave;
And how his madness went away,
When on the yellow forest-leaves
A dying man he lay;—

His dying words—but when I reached
That tenderest strain of all the ditty,
My faultering voice and pausing harp
Disturbed her soul with pity!

All impulses of soul and sense
Had thrilled my guileless Genevieve;
The music and the doleful tale,
The rich and balmy eve;

And hopes, and fears that kindle hope,
An undistinguishable throng,
And gentle wishes long subdued,
Subdued and cherished long!

She wept with pity and delight,
She blushed with love, and virgin-shame;
And like the murmur of a dream,
I heard her breathe my name.

Her bosom heaved—she stepped aside,
As conscious of my look she stepped—
The suddenly, with timorous eye
She fled to me and wept.

She half enclosed me with her arms,
She pressed me with a meek embrace;
And bending back her head, looked up,
And gazed upon my face.

‘Twas partly love, and partly fear,
And partly ’twas a bashful art,
That I might rather feel, than see,
The swelling of her heart.

I calmed her fears, and she was calm,
And told her love with virgin pride;
And so I won my Genevieve,
My bright and beauteous Bride.

This poem was suggested by a reader and I’m so glad to have found it. I went to college in Richmond, and drove down Monument Avenue many times. I don’t remember if I asked someone about the different poses of the statues, or I just heard about it. Lee died 5 years after the Civil War, and his (statue) horse has all four legs on the ground. Jeb Stuart was mortally wounded at the Battle of Yellow Tavern, and died the next day (his horse has one leg raised). Stonewall Jackson is a little trickier. I suppose he was not wounded in the heat of battle, but you could argue that he did succumb to effects from a wound sustained during a battle. His horse has all four hoofs on the ground, though. However, according to Wikipedia and Snopes, the whole equestrian sculpture theory is not supported by evidence. I still like the idea, though.

I enjoyed reading this interview with Collins, in which the genesis of the poem is described.

Statues in the Park
By Billy Collins

I thought of you today
when I stopped before an equestrian statue
in the middle of a public square,

you who had once instructed me
in the code of these noble poses.

A horse rearing up with two legs raised,
you told me, meant the rider had died in battle.

If only one leg was lifted,
the man had elsewhere succumbed to his wounds;

and if four legs were touching the ground,
as they were in this case—
bronze hooves affixed to a stone base—
it meant that the man on the horse,

this one staring intently
over the closed movie theater across the street,
had died of a cause other than war.

In the shadow of the statue,
I wondered about the others
who had simply walked through life
without a horse, a saddle, or a sword—

pedestrians who could no longer
place one foot in front of the other.

I pictured statues of the sickly
recumbent on their cold stone bed,
the suicides toeing the marble edge,

statues of accident victims covering their eyes,
and murdered covering their wounds,
the drowned silently treading the air.

And there was I,
up on a rosy-gray block of granite
near a cluster of shade trees in the local park,
my name and dates pressed into a plaque,

down on my knees, eyes lifted,
praying to the passing clouds,
forever begging for just one more day.

This poem was shared by a reader.

Debt
By Sara Teasdale

What do I owe to you
   Who loved me deep and long?
You never gave my spirit wings
   Nor gave my heart a song.

But oh, to him I loved,
   Who loved me not at all,
I owe the little open gate
   That led through heaven’s wall.