Poem of the Day

I’m going out of town for the weekend (and supposed to be running out the door now), and will likely not have time to post poems. I’m sorry I’m so inconsistent lately.

Sleep hasn’t been coming easily to me this week (or ever, really).

Variations on the Word Sleep
By Margaret Atwood

I would like to watch you sleeping,
which may not happen.
I would like to watch you,
sleeping. I would like to sleep
with you, to enter
your sleep as its smooth dark wave
slides over my head

and walk with you through that lucent
wavering forest of bluegreen leaves
with its watery sun & three moons
towards the cave where you must descend,
towards your worst fear

I would like to give you the silver
branch, the small white flower, the one
word that will protect you
from the grief at the center
of your dream, from the grief
at the center. I would like to follow
you up the long stairway
again & become
the boat that would row you back
carefully, a flame
in two cupped hands
to where your body lies
beside me, and you enter
it as easily as breathing in

I would like to be the air
that inhabits you for a moment
only. I would like to be that unnoticed
& that necessary.

I could save this for winter, but I’m going to post it now. I can really picture the scene.

Boy at the Window
By Richard Wilbur

Seeing the snowman standing all alone
In dusk and cold is more than he can bear.
The small boy weeps to hear the wind prepare
A night of gnashings and enormous moan.
His tearful sight can hardly reach to where
The pale-faced figure with bitumen eyes
Returns him such a God-forsaken stare
As outcast Adam gave to Paradise.

The man of snow is, nonetheless, content,
Having no wish to go inside and die.
Still, he is moved to see the youngster cry.
Though frozen water is his element,
He melts enough to drop from one soft eye
A trickle of the purest rain, a tear
For the child at the bright pane surrounded by
Such warmth, such light, such love, and so much fear.

I have to admit that both my mother and I love doing crossword puzzles. I used to do the NYT puzzle with my grandfather when I was a little girl. My uncle and I used to do the puzzle when I lived in Austin. So what does that say about nature vs. nurture?

Genetics
By Naomi Shihab Nye

From my father I inherited the ability
to stand in a field and stare.

Look, look at that gray dot by the fence.
It’s his donkey. My father doesn’t have
a deep interest in donkeys, more a figurative one.
To know it’s out there nuzzling the ground.

That’s how I feel about my life.
I like to skirt the edges. There it is in the field.
Feeding itself.

*

From my mother, an obsession about the stove
and correct spelling. The red stove, old as I am, must be
polished at all times. You don’t know this about me.
I do it when you’re not home.

The Magic Chef gleams in his tipped hat.
Oven shoots to 500 when you set it low.
Then fluctuates. Like a personality.

Thanks to my mother I now have an oven thermometer
but must open the oven door to check it.
Even when a cake’s in there. Isn’t that supposed to be
disaster for a cake?

My mother does crosswords, which I will never do.
But a word spelled wrongly anywhere
prickles my skin. Return to beginning
with pencil, black ink.
Cross you at the “a.” Rearrange.
We had family discussions
about a preference for the British grey.

In the spelling bee I tripped on reveille,
a bugle call, a signal at dawn.
I have risen early
ever since.

I found this one in The Norton Anthology of Contemporary Poetry. I don’t even know what to say about it except that it’s really cool!

In Plaster
By Sylvia Plath

I shall never get out of this! There are two of me now:
This new absolutely white person and the old yellow one,
And the white person is certainly the superior one.
She doesn’t need food, she is one of the real saints.
At the beginning I hated her, she had no personality—
She lay in bed with me like a dead body
And I was scared, because she was shaped just the way I was

Only much whiter and unbreakable and with no complaints.
I couldn’t sleep for a week, she was so cold.
I blamed her for everything, but she didn’t answer.
I couldn’t understand her stupid behavior!
When I hit her she held still, like a true pacifist.
Then I realized what she wanted was for me to love her:
She began to warm up, and I saw her advantages.

Without me, she wouldn’t exist, so of course she was grateful.
I gave her a soul, I bloomed out of her as a rose
Blooms out of a vase of not very valuable porcelain,
And it was I who attracted everybody’s attention,
Not her whiteness and beauty, as I had at first supposed.
I patronized her a little, and she lapped it up—
You could tell almost at once she had a slave mentality.

I didn’t mind her waiting on me, and she adored it.
In the morning she woke me early, reflecting the sun
From her amazingly white torso, and I couldn’t help but notice
Her tidiness and her calmness and her patience:
She humored my weakness like the best of nurses,
Holding my bones in place so they would mend properly.
In time our relationship grew more intense.

She stopped fitting me so closely and seemed offish.
I felt her criticizing me in spite of herself,
As if my habits offended her in some way.
She let in the drafts and became more and more absent-minded.
And my skin itched and flaked away in soft pieces
Simply because she looked after me so badly.
Then I saw what the trouble was: she thought she was immortal.

She wanted to leave me, she thought she was superior,
And I’d been keeping her in the dark, and she was resentful—
Wasting her days waiting on a half-corpse!
And secretly she began to hope I’d die.
Then she could cover my mouth and eyes, cover me entirely,
And wear my painted face the way a mummy-case
Wears the face of a pharaoh, though it’s made of mud and water.

I wasn’t in any position to get rid of her.
She’d supported me for so long I was quite limp—
I had forgotten how to walk or sit,
So I was careful not to upset her in any way
Or brag ahead of time how I’d avenge myself.
Living with her was like living with my own coffin:
Yet I still depended on her, though I did it regretfully.

I used to think we might make a go of it together—
After all, it was a kind of marriage, being so close.
Now I see it must be one or the other of us.
She may be a saint, and I may be ugly and hairy,
But she’ll soon find out that that doesn’t matter a bit.
I’m collecting my strength; one day I shall manage without her,
And she’ll perish with emptiness then, and begin to miss me.

So much for my inspiration and resolve to keep up with the PotD. On Friday and Saturday, it seemed like I only came home to sleep, due to various family activities. It was a no brainer to come up with a poem to post today, though. I’m listening to Richard Russo’s Bridge of Sighs audiobook and this poem was used in a high school English class.

Hope
By Langston Hughes

He rose up on his dying bed
and asked for fish.
His wife looked it up in her dream book
and played it.

Saved again by a generous poetry-sharer! I love just about everything I’ve ever read by Sara Teasdale, which is sadly, not nearly enough. I need to get a collection or two of hers, I think. Thanks for introducing me to a new (to me) poem of hers.

There Will Come Soft Rains
By Sara Teasdale

There will come soft rains and the smell of the ground,
And swallows circling with their shimmering sound;

And frogs in the pools singing at night,
And wild plum trees in tremulous white;

Robins will wear their feathery fire,
Whistling their whims on a low fence-wire;

And not one will know of the war, not one
Will care at last when it is done.

Not one would mind, neither bird nor tree,
If mankind perished utterly;

And Spring herself, when she woke at dawn
Would scarcely know that we were gone.

I’m still being kept afloat by reader-suggested poems. This one is from someone who was impressed with Elizabeth Bishop’s Sestina. I will confess that I knew nothing about the poetic form, but chose Bishop’s poem because it simply appealed to me. Now I’m more intrigued.

The Shrinking Lonesome Sestina
By Miller Williams

Somewhere in everyone’s head something points toward home,
a dashboard’s floating compass, turning all the time
to keep from turning. It doesn’t matter how we come
to be wherever we are, someplace where nothing goes
the way it went once, where nothing holds fast
to where it belongs, or what you’ve risen or fallen to.

What the bubble always points to,
whether we notice it or not, is home.
It may be true that if you move fast
everything fades away, that given time
and noise enough, every memory goes
into the blackness, and if new ones come—

small, mole-like memories that come
to live in the furry dark—they, too,
curl up and die. But Carol goes
to high school now. John works at home
what days he can to spend some time
with Sue and the kids. He drives too fast.

Ellen won’t eat her breakfast.
Your sister was going to come
but didn’t have the time.
Some mornings at one or two
or three I want you home
a lot, but then it goes.

It all goes.
Hold on fast
to thoughts of home
when they come.
They’re going to
less with time.

Time
goes
too
fast.
Come
home.

Forgive me that. One time it wasn’t fast.
A myth goes that when the quick years come
then you will, too. Me, I’ll still be home.

The leaves are starting to turn around here and it’s getting a little cooler at night. I’m eagerly awaiting full-blown fall, which I haven’t really experienced since before I moved to Texas.

Autumn Leaves
By Marilyn Chin

The dead piled up, thick, fragrant, on the fire escape.
My mother ordered me again, and again, to sweep it clean.
All that blooms must fall. I learned this not from the Tao,
   but from high school biology.

Oh, the contradictions of having a broom and not a dustpan!
I swept the leaves down, down through the iron grille
and let the dead rain over the Wong family’s patio.

And it was Achilles Wong who completed the task.
&nbsp  We called her:
The-one-who-cleared-away-another-family’s-autumn.
She blossomed, tall, benevolent, notwithstanding.

This is such an interesting poem that could have endless meanings. I think that it will make me think of something different every time I read it.

Sestina
By Elizabeth Bishop

September rain falls on the house.
In the failing light, the old grandmother
sits in the kitchen with the child
beside the Little Marvel Stove,
reading the jokes from the almanac,
laughing and talking to hide her tears.

She thinks that her equinoctial tears
and the rain that beats on the roof of the house
were both foretold by the almanac,
but only known to a grandmother.
The iron kettle sings on the stove.
She cuts some bread and says to the child,

It’s time for tea now; but the child
is watching the teakettle’s small hard tears
dance like mad on the hot black stove,
the way the rain must dance on the house.
Tidying up, the old grandmother
hangs up the clever almanac

on its string. Birdlike, the almanac
hovers half open above the child,
hovers above the old grandmother
and her teacup full of dark brown tears.
She shivers and says she thinks the house
feels chilly, and puts more wood in the stove.

It was to be, says the Marvel Stove.
I know what I know, says the almanac.
With crayons the child draws a rigid house
and a winding pathway. Then the child
puts in a man with buttons like tears
and shows it proudly to the grandmother.

But secretly, while the grandmother
busies herself about the stove,
the little moons fall down like tears
from between the pages of the almanac
into the flower bed the child
has carefully placed in the front of the house.

Time to plant tears, says the almanac.
The grandmother sings to the marvelous stove
and the child draws another inscrutable house.

I’ve noticed there have been quite a few new user registrations lately. Welcome! I’ve been in a bit of a slump lately (which I tell myself is allowed since I’ve posted 1338 poems since I started over at livejournal), but those who have shared poems and left comments have been an inspiration. I spent some time yesterday updating the archives (alphabetical by title and alphabetical by author), which were long in arrears. Hopefully this will help inspire me to stay more on the ball! This one is from the Norton Anthology of Contemporary Poetry.

God, a Poem
By James Fenton

A nasty surprise in a sandwich,
A drawing-pin caught in your sock,
The limpest of shakes from a hand which
You’d thought would be firm as a rock,

A serious mistake in a nightie,
A grave disappointment all round
Is all that you’ll get from th’Almighty,
Is all that you’ll get underground.

Oh he said: ‘If you lay off the crumpet
I’ll see you alright in the end.
Just hang on until the last trumpet.
Have faith in me, chum—I’m your friend.’

But if you remind him, he’ll tell you:
‘I’m sorry, I must have been pissed—
Though your name rings a sort of a bell. You
Should have guessed that I do not exist.

‘I didn’t exist at Creation,
I didn’t exist at the Flood,
And I won’t be around for Salvation
To sort out the sheep from the cud—

‘Or whatever the phrase is. The fact is
In soteriological terms
I’m a crude existential malpractice
And you are a diet of worms.

‘You’re a nasty surprise in a sandwich.
You’re a drawing-pin caught in my sock.
You’re the limpest of shakes from a hand which
I’d have thought would be firm as a rock,

‘You’re a serious mistake in a nightie,
You’re a grave disappointment all round-
That’s all you are, ‘ says th’Almighty,
‘And that’s all that you’ll be underground.’

I love Amy Clampitt’s use of language. P.S. I had no idea what a syrinx was so I went and looked it up.

Syrinx
By Amy Clampitt

Like the foghorn that’s all lung,
the wind chime that’s all percussion,
like the wind itself, that’s merely air
in a terrible fret, without so much
as a finger to articulate
what ails it, the aeolian
syrinx, that reed
in the throat of a bird,
when it comes to the shaping of
what we call consonants, is
too imprecise for consensus
about what it even seems to
be saying: is it o-ka-lee
or con-ka-ree, is it really jug jug,
is it cuckoo for that matter?—
much less whether a bird’s call
means anything in
particular, or at all.

Syntax comes last, there can be
no doubt of it: came last,
can be thought of (is
thought of by some) as a
higher form of expression:
is, in extremity, first to
be jettisoned: as the diva
onstage, all soaring
pectoral breathwork,
takes off, pure vowel
breaking free of the dry,
the merely fricative
husk of the particular, rises
past saying anything, any
more than the wind in
the trees, waves breaking,
or Homer’s gibbering
Thespesiae iache:

those last-chance vestiges
above the threshold, the all—
but dispossessed of breath.

This is another suggested by a reader. I do love Yeats!

Tom the Lunatic
By William Butler Yeats

Sang old Tom the lunatic
That sleeps under the canopy;
‘What change has put my thoughts astray
And eyes that had so keen a sight?
What has turned to smoking wick
Nature’s pure unchanging light?

‘Huddon and Duddon and Daniel O’Leary,
Holy Joe, the beggar-man,
Wenching, drinking, still remain
Or sing a penance on the road;
Something made these eyeballs weary
That blinked and saw them in a shroud.

‘Whatever stands in field or flood,
Bird, beast, fish or man,
Mare or stallion, cock or hen,
Stands in God’s unchanging eye
In all the vigour of its blood;
In that faith I live or die.’

This came from my cousin and her husband, as appropriate to post today. It’s very sobering.

The Names
By Billy Collins

06 September 2002, New York

Yesterday, I lay awake in the palm of the night.
A soft rain stole in, unhelped by any breeze,
And when I saw the silver glaze on the windows,
I started with A, with Ackerman, as it happened,
Then Baxter and Calabro,
Davis and Eberling, names falling into place
As droplets fell through the dark.
Names printed on the ceiling of the night.
Names slipping around a watery bend.
Twenty-six willows on the banks of a stream.
In the morning, I walked out barefoot
Among thousands of flowers
Heavy with dew like the eyes of tears,
And each had a name—
Fiori inscribed on a yellow petal
Then Gonzalez and Han, Ishikawa and Jenkins.
Names written in the air
And stitched into the cloth of the day.
A name under a photograph taped to a mailbox.
Monogram on a torn shirt,
I see you spelled out on storefront windows
And on the bright unfurled awnings of this city.
I say the syllables as I turn a corner—
Kelly and Lee,
Medina, Nardella, and O’Connor.
When I peer into the woods,
I see a thick tangle where letters are hidden
As in a puzzle concocted for children.
Parker and Quigley in the twigs of an ash,
Rizzo, Schubert, Torres, and Upton,
Secrets in the boughs of an ancient maple.
Names written in the pale sky.
Names rising in the updraft amid buildings.
Names silent in stone
Or cried out behind a door.
Names blown over the earth and out to sea.
In the evening—weakening light, the last swallows.
A boy on a lake lifts his oars.
A woman by a window puts a match to a candle,
And the names are outlined on the rose clouds—
Vanacore and Wallace,
(let X stand, if it can, for the ones unfound)
Then Young and Ziminsky, the final jolt of Z.
Names etched on the head of a pin.
One name spanning a bridge, another undergoing a tunnel.
A blue name needled into the skin.
Names of citizens, workers, mothers and fathers,
The bright-eyed daughter, the quick son.
Alphabet of names in a green field.
Names in the small tracks of birds.
Names lifted from a hat
Or balanced on the tip of the tongue.
Names wheeled into the dim warehouse of memory.
So many names, there is barely room on the walls of the heart.

I missed posting this one on September 1st since the PotD was on hiatus. Better late than never…

September 1, 1939
By W.H. Auden

I sit in one of the dives
On Fifty-Second Street
Uncertain and afraid
As the clever hopes expire
Of a low dishonest decade:
Waves of anger and fear
Circulate over the bright
And darkened lands of the earth,
Obsessing our private lives;
The unmentionable odour of death
Offends the September night.

Accurate scholarship can
unearth the whole offence
From Luther until now
That has driven a culture mad,
Find what occurred at Linz,
What huge imago made
A psychopathic god:
I and the public know
What all schoolchildren learn,
Those to whom evil is done
Do evil in return.

Exiled Thucydides knew
All that a speech can say
About Democracy,
And what dictators do,
The elderly rubbish they talk
To an apathetic grave;
Analysed all in his book,
The enlightenment driven away,
The habit-forming pain,
Mismanagement and grief:
We must suffer them all again.

Into this neutral air
Where blind skyscrapers use
Their full height to proclaim
The strength of Collective Man,
Each language pours its vain
Competitive excuse:
But who can live for long
In an euphoric dream;
Out of the mirror they stare,
Imperialism’s face
And the international wrong.

Faces along the bar
Cling to their average day:
The lights must never go out,
The music must always play,
All the conventions conspire
To make this fort assume
The furniture of home;
Lest we should see where we are,
Lost in a haunted wood,
Children afraid of the night
Who have never been happy or good.

The windiest militant trash
Important Persons shout
Is not so crude as our wish:
What mad Nijinsky wrote
About Diaghilev
Is true of the normal heart;
For the error bred in the bone
Of each woman and each man
Craves what it cannot have,
Not universal love
But to be loved alone.

From the conservative dark
Into the ethical life
The dense commuters come,
Repeating their morning vow,
“I will be true to the wife.
I’ll concentrate more on my work,”
And helpless governors wake
To resume their compulsory game:
Who can release them now,
Who can reach the deaf,
Who can speak for the dumb?

All I have is a voice
To undo the folded lie,
The romantic lie in the brain
Of the sensual man-in-the-street
And the lie of Authority
Whose buildings grope the sky:
There is no such thing as the State
And no one exists alone;
Hunger allows no choice
To the citizen or the police;
We must love one another or die.

Defenceless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages;
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.

This is another reader-submitted poem.

The Story We Know
By Martha Collins

The way to begin is always the same. Hello,
Hello. Your hand, your name. So glad, Just fine,
And Good-bye at the end. That’s every story we know,

And why pretend? But lunch tomorrow? No?
Yes? An omelette, salad, chilled white wine?
The way to begin is simple, sane, Hello,

And then it’s Sunday, coffee, the Times, a slow
Day by the fire, dinner at eight or nine
And Good-bye. In the end, this is a story we know

So well we don’t turn the page, or look below
The picture, or follow the words to the next line:
The way to begin is always the same Hello.

But one night, through the latticed window, snow
Begins to whiten the air, and the tall white pine.
Good-bye is the end of every story we know

That night, and when we close the curtains, oh,
We hold each other against that cold white sign
Of the way we all begin and end. Hello,
Good-bye is the only story. We know, we know.

This one was sent to me by a faithful PotD reader, who’s sent me lots of good suggestions in the past. Thanks! It’s taken from Laux’s collection: Facts About the Moon.

Kissing Again
By Dorianne Laux

Kissing again, after a long drought of
not kissing—too many kids, bills, windows

needing repair. Sex, yes, though squeezed in
between the minor depths of anger, despair—

standing up amid the laundry
or fumbling onto the strip of rug between

the coffee table and the couch. Quick, furtive,
like birds. A dance on the wing, but no time

for kissing, the luxuriant tonguing of another
spongy tongue, the deft flicking and feral sucking,

that prolonged lapping that makes a smooth stone
of the brain. To be lost in it, your body tumbled

in sea waves, no up or down, just salt
and the liquid swells set in motion

by the moon, by a tremor in Istanbul, the waft
of a moth wing before it plows into a halo of light.

Praise the deep lustrous kiss that lasts minutes,
blossoms into what feels like days, fields of tulips

glossy with dew, low purple clouds piling in
beneath the distant arch of a bridge. One

after another they storm your lips, each kiss
a caress, autonomous and alive, spilling

into each other, streams into creeks into rivers
that grunt and break upon the gorge. Let the tongue,

in its wisdom, release its stores, let the mouth,
tired of talking, relax into its shapes of give

and receive, its plush swelling, its slick
round reveling, its primal reminiscence

that knows only the one robust world.

Let’s hope this marks my return to consistency with the PotD. Thanks to everyone who has suggested poems. Look for them in the days to come. I’ve been saving this poem and it’s quite appropriate for this time of year, I think. I’ve been cooking/baking lots of delicacies containing squash!

Look what my cousin brought when she and her husband came for dinner. She claimed they were “awash in squash”. Then my mom brought another huge zucchini and a yellow squash.

Attack of the squash people
By Marge Piercy

And thus the people every year
in the valley of humid July
did sacrifice themselves
to the long green phallic god
and eat and eat and eat.

They’re coming, they’re on us,
the long striped gourds, the silky
babies, the hairy adolescents,
the lumpy vast adults
like the trunks of green elephants.
Recite fifty zucchini recipes!

Zucchini tempura; creamed soup;
sauté with olive oil and cumin,
tomatoes, onion; frittata;
casserole of lamb; baked
topped with cheese; marinated;
stuffed; stewed; driven
through the heart like a stake.

Get rid of old friends: they too
have gardens and full trunks.
Look for newcomers: befriend
them in the post office, unload
on them and run. Stop tourists
in the street. Take truckloads
to Boston. Give to your Red Cross.
Beg on the highway: please
take my zucchini, I have a crippled
mother at home with heartburn.

Sneak out before dawn to drop
them in other people’s gardens,
in baby buggies at churchdoors.
Shot, smuggling zucchini into
mailboxes, a federal offense.

With a suave reptilian glitter
you bask among your raspy
fronds sudden and huge as
alligators. You give and give
too much, like summer days
limp with heat, thunderstorms
bursting their bags on our heads,
as we salt and freeze and pickle
for the too little to come.

You may have noticed that the PotD seems to be on a hiatus. My file of poems is getting rather low and I’ve been watching the Olympics whenever I’m not at work, so I slacked off. I’ll try to find some new inspiration and I hope to start up again next week. Thanks for reading!

I think this is a really sweet adolescent story.

Oranges
By Gary Soto

The first time I walked
With a girl, I was twelve,
Cold, and weighted down
With two oranges in my jacket.
December. Frost cracking
Beneath my steps, my breath
Before me, then gone,
As I walked toward
Her house, the one whose
Porch light burned yellow
Night and day, in any weather.
A dog barked at me, until
She came out pulling
At her gloves, face bright
With rouge. I smiled,
Touched her shoulder, and led
Her down the street, across
A used car lot and a line
Of newly planted trees,
Until we were breathing
Before a drugstore. We
Entered, the tiny bell
Bringing a saleslady
Down a narrow aisle of goods.
I turned to the candies
Tiered like bleachers,
And asked what she wanted—
Light in her eyes, a smile
Starting at the corners
Of her mouth. I fingered
A nickle in my pocket,
And when she lifted a chocolate
That cost a dime,
I didn’t say anything.
I took the nickle from
My pocket, then an orange,
And set them quietly on
The counter. When I looked up,
The lady’s eyes met mine,
And held them, knowing
Very well what it was all
About.

          Outside,
A few cars hissing past,
Fog hanging like old
Coats between the trees.
I took my girl’s hand
In mine for two blocks,
Then released it to let
Her unwrap the chocolate.
I peeled my orange
That was so bright against
The gray of December
That, from some distance,
Someone might have thought
I was making a fire in my hands.

Here’s another from Margaret Atwood, from Selected Poems II: 1976-1986. She rules.

Precognition
By Margaret Atwood

Living backwards means only
I must suffer everything twice.
Those picnics were already loss:
with the dragonflies and the clear streams halfway.

What good did it do me to know
how far along you would come with me
and when you would return?
By yourself, to a life you call daily.

You did not consider me a soul
but a landscape, not even one
I recognize as mine, but foreign
and rich in curios:
an egg of blue marble,
a dried pod,
a clay goddess you picked up at a stall
somewhere among the dun and dust-green
hills and the bronze-hot
sun and the odd shadows,

not knowing what would be protection,
or even the need for it then.

I wake in the early dawn and there is the roadway
shattered, and the glass and the blood,
from an intersection that has happened
already, though I can’t say when.
Simply that it will happen.

What could I tell you now that would keep you
safe or warn you?
What good would it do?
Live and be happy.

I would rather cut myself loose
from time, shave off my hair
and stand at a crossroads
with a wooden bowl, throwing
myself on the dubious mercy
of the present, which is innocent
and forgetful and hits the eye bare

and without words and without even love
than do this mourning over.

Here’s another from The Norton Anthology of Contemporary Poetry.

The Wild Iris
By Louise Glück

At the end of my suffering
there was a door.

Hear me out: that which you call death
I remember.

Overhead, noises, branches of the pine shifting.
Then nothing. The weak sun
flickered over the dry surface.

It is terrible to survive
as consciousness
buried in the dark earth.

Then it was over: that which you fear, being
a soul and unable
to speak, ending abruptly, the stiff earth
bending a little. And what I took to be
birds darting in low shrubs.

You who do not remember
passage from the other world
I tell you I could speak again: whatever
returns from oblivion returns
to find a voice:

from the center of my life came
a great fountain, deep blue
shadows on azure sea water.

I found this one in The Norton Anthology of Contemporary Poetry. I’d already posted Vallejo’s poem, and Justice’s subtitle is taken from the first line: “I will die in Paris in a rainstorm.”

Variations on a Text by Vallejo
By Donald Justice

          Me moriré en París con aguacero…

I will die in Miami in the sun,
On a day when the sun is very bright,
A day like the days I remember, a day like other days,
A day that nobody knows or remembers yet,
And the sun will be bright then on the dark glasses of strangers
And in the eyes of a few friends from my childhood
And of the surviving cousins by the graveside,
While the diggers, standing apart, in the still shade of the palms,
Rest on their shovels, and smoke,
Speaking in Spanish softly, out of respect.

I think it will be on a Sunday like today,
Except that the sun will be out, the rain will have stopped,
And the wind that today made all the little shrubs kneel down;
And I think it will be a Sunday because today,
When I took out this paper and began to write,
Never before had anything looked so blank,
My life, these words, the paper, the gray Sunday;
And my dog, quivering under a table because of the storm,
Looked up at me, not understanding,
And my son read on without speaking, and my wife slept.

Donald Justice is dead. One Sunday the sun came out,
It shone on the bay, it shone on the white buildings,
The cars moved down the street slowly as always, so many,
Some with their headlights on in spite of the sun,
And after a while the diggers with their shovels
Walked back to the graveside through the sunlight,
And one of them put his blade into the earth
To lift a few clods of dirt, the black marl of Miami,
And scattered the dirt, and spat,
Turning away abruptly, out of respect.

I’d like to state for the record that I do not feel this way about my father. However, I have a lot of respect for how visceral Plath’s poetry is. Also, the PotD will likely be on hiatus until Monday since I’m going out of town and leaving my computer at home.

Daddy
By Sylvia Plath

You do not do, you do not do
Any more, black shoe
In which I have lived like a foot
For thirty years, poor and white,
Barely daring to breath or Achoo.

Daddy, I have had to kill you.
You died before I had time—
Marble-heavy, a bag full of God,
Ghastly statue with one gray toe
Big as a Frisco seal

And a head in the freakish Atlantic
Where it pours bean green over blue
In the waters off beautiful Nauset.
I used to pray to recover you.
Ach, du.

In the German tongue, in the Polish town
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.
My Polack friend

Says there are a dozen or two.
So I never could tell where you
Put your foot, your root,
I never could talk to you.
The tongue stuck in my jaw.

It stuck in a barb wire snare.
Ich, ich, ich, ich,
I could hardly speak.
I thought every German was you.
And the language obscene

An engine, an engine
Chuffing me off like a Jew.
A Jew to Dachau, Auschwitz, Belsen.
I began to talk like a Jew.
I think I may well be a Jew.

The snows of the Tyrol, the clear beer of Vienna
Are not very pure or true.
With my gipsy ancestress and my weird luck
And my Taroc pack and my Taroc pack
I may be a bit of a Jew.

I have always been scared of you,
With your Luftwaffe, your gobbledygoo.
And your neat mustache
And your Aryan eye, bright blue.
Panzer-man, panzer-man, O You—

Not God but a swastika
So black no sky could squeak through.
Every woman adores a Fascist,
The boot in the face, the brute
Brute heart of a brute like you.

You stand at the blackboard, daddy,
In the picture I have of you,
A cleft in your chin instead of your foot
But no less a devil for that, no not
Any less the black man who

Bit my pretty red heart in two.
I was ten when they buried you.
At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.

But they pulled me out of the sack,
And they stuck me together with glue.
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look

And a love of the rack and the screw.
And I said I do, I do.
So daddy, I’m finally through.
The black telephone’s off at the root,
The voices just can’t worm through.

If I’ve killed one man, I’ve killed two—
The vampire who said he was you
and drank my blood for a year,
Seven years, if you want to know.
Daddy, you can lie back now.

There’s a stake in your fat, black heart
And the villagers never liked you.
They are dancing and stamping on you.
They always knew it was you.
Daddy, daddy, you bastard, I’m through.

Yet another brilliant example of NSN’s ability to take a very simple image and tell a beautiful story about it.

Supple Cord
By Naomi Shihab Nye

My brother, in his small white bed,
held one end,
I tugged the other
to signal I was still awake.
We could have spoken,
could have sung
to one another,
we were in the same room
for five years,
but the soft cord
with its little frayed ends
connected us
in the dark,
gave comfort
even if we had been bickering
all day.
When he fell asleep first
and his end of the cord
dropped to the floor,
I missed him terribly,
though I could hear his even breath
and we had such long and separate lives
ahead.

I recently listened to an audiobook version of Anne of Green Gables, which was like visiting an old childhood friend. Of course, Anne’s dramatization of the story of Elaine was based on Tennyson’s poem, but as I haven’t posted anything from ESVM in ages and I’ve already shared The Lady of Shalott, I thought I’d post this one.

Elaine
By Edna St. Vincent Millay

Oh, come again to Astolat!
I will not ask you to be kind.
And you may go when you will go,
And I will stay behind.

I will not say how dear you are,
Or ask you if you hold me dear,
Or trouble you with things for you
The way I did last year.

So still the orchard, Lancelot,
So very still the lake shall be,
You could not guess—though you should guess—
What is become of me.

So wide shall be the garden-walk,
The garden-seat so very wide,
You needs must think—if you should think—
The lily maid had died.

Save that, a little way away,
I’d watch you for a little while,
To see you speak, the way you speak,
And smile,—if you should smile.

I have probably mentioned this before, but Kenneth Koch’s poetry is just really cool! It’s so interesting to see all the ideas he got from one simple line.

One Train May Hide Another
By Kenneth Koch

(sign at a railroad crossing in Kenya)

In a poem, one line may hide another line,
As at a crossing, one train may hide another train.
That is, if you are waiting to cross
The tracks, wait to do it for one moment at
Least after the first train is gone. And so when you read
Wait until you have read the next line—
Then it is safe to go on reading.
In a family one sister may conceal another,
So, when you are courting, it’s best to have them all in view
Otherwise in coming to find one you may love another.
One father or one brother may hide the man,
If you are a woman, whom you have been waiting to love.
So always standing in front of something the other
As words stand in front of objects, feelings, and ideas.
One wish may hide another. And one person’s reputation may hide
The reputation of another. One dog may conceal another
On a lawn, so if you escape the first one you’re not necessarily safe;
One lilac may hide another and then a lot of lilacs and on the Appia Antica one tomb
May hide a number of other tombs. In love, one reproach may hide another,
One small complaint may hide a great one.
One injustice may hide another—one colonial may hide another,
One blaring red uniform another, and another, a whole column. One bath may hide another bath
As when, after bathing, one walks out into the rain.
One idea may hide another: Life is simple
Hide Life is incredibly complex, as in the prose of Gertrude Stein
One sentence hides another and is another as well. And in the laboratory
One invention may hide another invention,
One evening may hide another, one shadow, a nest of shadows.
One dark red, or one blue, or one purple—this is a painting
By someone after Matisse. One waits at the tracks until they pass,
These hidden doubles or, sometimes, likenesses. One identical twin
May hide the other. And there may be even more in there! The obstetrician
Gazes at the Valley of the Var. We used to live there, my wife and I, but
One life hid another life. And now she is gone and I am here.
A vivacious mother hides a gawky daughter. The daughter hides
Her own vivacious daughter in turn. They are in
A railway station and the daughter is holding a bag
Bigger than her mother’s bag and successfully hides it.
In offering to pick up the daughter’s bag one finds oneself confronted by the mother’s
And has to carry that one, too. So one hitchhiker
May deliberately hide another and one cup of coffee
Another, too, until one is over-excited. One love may hide another love or the same love
As when “I love you” suddenly rings false and one discovers
The better love lingering behind, as when “I’m full of doubts”
Hides “I’m certain about something and it is that”
And one dream may hide another as is well known, always, too. In the Garden of Eden
Adam and Eve may hide the real Adam and Eve.
Jerusalem may hide another Jerusalem.
When you come to something, stop to let it pass
So you can see what else is there. At home, no matter where,
Internal tracks pose dangers, too: one memory
Certainly hides another, that being what memory is all about,
The eternal reverse succession of contemplated entities. Reading A Sentimental Journey look around
When you have finished, for Tristram Shandy, to see
If it is standing there, it should be, stronger
And more profound and theretofore hidden as Santa Maria Maggiore
May be hidden by similar churches inside Rome. One sidewalk
May hide another, as when you’re asleep there, and
One song hide another song; a pounding upstairs
Hide the beating of drums. One friend may hide another, you sit at the foot of a tree
With one and when you get up to leave there is another
Whom you’d have preferred to talk to all along. One teacher,
One doctor, one ecstasy, one illness, one woman, one man
May hide another. Pause to let the first one pass.
You think, Now it is safe to cross and you are hit by the next one. It can be important
To have waited at least a moment to see what was already there.

A reader recommended this poem and I’m so glad. I think it’s really wonderful. I’ve been feeling extra thankful for my wonderful parents, and I know that they do wonderful things for me without anticipation of a return. I still hope that I can repay them with more than childhood crafts, despite the beauty of this poem. P.S. I wear a lanyard at work, but it’s shamefully synthetic rather than lovingly handmade.

The Lanyard
By Billy Collins

The other day I was ricocheting slowly
off the blue walls of this room,
moving as if underwater from typewriter to piano,
from bookshelf to an envelope lying on the floor,
when I found myself in the L section of the dictionary
where my eyes fell upon the word lanyard.

No cookie nibbled by a French novelist
could send one into the past more suddenly—
a past where I sat at a workbench at a camp
by a deep Adirondack lake
learning how to braid long thin plastic strips
into a lanyard, a gift for my mother.

I had never seen anyone use a lanyard
or wear one, if that’s what you did with them,
but that did not keep me from crossing
strand over strand again and again
until I had made a boxy
red and white lanyard for my mother.

She gave me life and milk from her breasts,
and I gave her a lanyard.
She nursed me in many a sick room,
lifted spoons of medicine to my lips,
laid cold face-cloths on my forehead,
and then led me out into the airy light

and taught me to walk and swim,
and I, in turn, presented her with a lanyard.
Here are thousands of meals, she said,
and here is clothing and a good education.
And here is your lanyard, I replied,
which I made with a little help from a counselor.

Here is a breathing body and a beating heart,
strong legs, bones and teeth,
and two clear eyes to read the world, she whispered,
and here, I said, is the lanyard I made at camp.
And here, I wish to say to her now,
is a smaller gift—not the worn truth

that you can never repay your mother,
but the rueful admission that when she took
the two-tone lanyard from my hand,
I was as sure as a boy could be
that this useless, worthless thing I wove
out of boredom would be enough to make us even.

I wasn’t familiar with Derek Mahon until I came across this in The Norton Anthology of Contemporary Poetry.

Afterlives
By Derek Mahon

for James Simmons

1

I wake in a dark flat
To the soft roar of the world.
Pigeons neck on the white
Roofs as I draw the curtains
And look out over London
Rain-fresh in the morning light.

This is our element, the bright
Reason on which we rely
For the long-term solutions.
The orators yap, and guns
Go off in a back street;
But the faith does not die

That in our time these things
Will amaze the literate children
In their non-sectarian schools
And the dark places be
Ablaze with love and poetry
When the power of good prevails.

What middle-class twits we are
To imagine for one second
That our privileged ideals
Are divine wisdom, and the dim
Forms that kneel at noon
In the city not ourselves.

2

I am going home by sea
For the first time in years.
Somebody thumbs a guitar
On the dark deck, while a gull
Dreams at the mast-head,
The moon-splashed waves exult.

At dawn the ship trembles, turns
In a wide arc to back
Shuddering up the grey lough
Past lightship and buoy,
Slipway and dry dock
Where a naked bulb burns;

And I step ashore in a fine rain
To a city so changed
By five years of war
I scarcely recognize
The places I grew up in,
The faces that try to explain.

But the hills are still the same
Grey-blue above Belfast.
Perhaps if I’d stayed behind
And lived it bomb by bomb
I might have grown up at last
And learnt what is meant by home.

So we already know that Mary Oliver rules. Now that it’s August, I wanted to post this poem. I’ve been picking as many blackberries as I can…

August
By Mary Oliver

When the blackberries hang
swollen in the woods, in the brambles
nobody owns, I spend

all day among the high
branches, reaching
my ripped arms, thinking

of nothing, cramming
the black honey of summer
into my mouth; all day my body

accepts what it is. In the dark
creeks that run by there is
this thick paw of my life darting among

the black bells, the leaves; there is
this happy tongue.

We read The Camel Bookmobile for Storyslingers, and this poem was referenced therein. I was chagrinned that I’d not posted this one before, but also glad that I get a chance to now.

A Poet to His Beloved
By William Butler Yeats

I bring you with reverent hands
The books of my numberless dreams,
White woman that passion has worn
As the tide wears the dove-grey sands,
And with heart more old than the horn
That is brimmed from the pale fire of time:
White woman with numberless dreams,
I bring you my passionate rhyme.