Poem of the Day

This was shared in a particularly meaningful comment on yesterday’s poem. At this point in my life, I’m trying very hard not to think about the past year(s) or make any resolutions for next year. However, I am touched any time someone takes the effort to comment on a poem and share something with me and all the PotD readers. Thank you and Happy New Year.

In your light I learn how to love
By Rumi

In your light I learn how to love.
In your beauty, how to make poems.

You dance inside my chest,
where no one sees you,

but sometimes I do,
and that sight becomes this art.

It was pointed out that I’ve never posted this poem by my beloved ESVM. One can never read too much of ESVM’s poetry (as I may have mentioned in the past) and I’m glad that there will always be more of her poems to post (it would take longer than I will likely be posting poems to share them all).

Childhood Is the Kingdom Where Nobody Dies
By Edna St. Vincent Millay

Childhood is not from birth to a certain age and at a certain age
The child is grown, and puts away childish things.
Childhood is the kingdom where nobody dies.

Nobody that matters, that is. Distant relatives of course
Die, whom one never has seen or has seen for an hour,
And they gave one candy in a pink-and-green stripèd bag, or a jack-knife,
And went away, and cannot really be said to have lived at all.

And cats die. They lie on the floor and lash their tails,
And their reticent fur is suddenly all in motion
With fleas that one never knew were there,
Polished and brown, knowing all there is to know,
Trekking off into the living world.
You fetch a shoe-box, but it’s much too small, because she won’t curl up now:
So you find a bigger box, and bury her in the yard, and weep.

But you do not wake up a month from then, two months,
A year from then, two years, in the middle of the night
And weep, with your knuckles in your mouth, and say Oh, God! Oh, God!
Childhood is the kingdom where nobody dies that matters,—mothers and fathers don’t die.

And if you have said, “For heaven’s sake, must you always be kissing a person?”
Or, “I do wish to gracious you’d stop tapping on the window with your thimble!”
Tomorrow, or even the day after tomorrow if you’re busy having fun,
Is plenty of time to say, “I’m sorry, mother.”

To be grown up is to sit at the table with people who have died, who neither listen nor speak;
Who do not drink their tea, though they always said
Tea was such a comfort.

Run down into the cellar and bring up the last jar of raspberries; they are not tempted.
Flatter them, ask them what was it they said exactly
That time, to the bishop, or to the overseer, or to Mrs. Mason;
They are not taken in.
Shout at them, get red in the face, rise,
Drag them up out of their chairs by their stiff shoulders and shake them and yell at them;
They are not startled, they are not even embarrassed; they slide back into their chairs.

Your tea is cold now.
You drink it standing up,
And leave the house.

I have a houseful of family and I have to work this week (well through tomorrow at least), so I don’t have much spare time for poetry. Luckily, my poetry pal bails me out by sending me great poems to share. This reminds me of an updated version of Interim by ESVM.

The Answering Machine
By Linda Pastan

I call and hear your voice
on the answering machine
weeks after your death,
a fledgling ghost still longing
for human messages.

Shall I leave one, telling
how the fabric of our lives
has been ripped before
but that this sudden tear will not
be mended soon or easily?

In your emptying house, others
roll up rugs, pack books,
drink coffee at your antique table,
and listen to messages left
on a machine haunted

by the timbre of your voice,
more palpable than photographs
or fingerprints. On this first day
of this first fall without you,
ashamed and resisting

but compelled, I dial again
the number I know by heart,
thankful in a diminished world
for the accidental mercy of machines,
then listen and hang up.

I came across this poem today and realized I hadn’t shared anything of Miss Emily’s lately, and I had never posted this poem. Perfect!

There’s a certain Slant of light
By Emily Dickinson

There’s a certain Slant of light,
Winter Afternoons—
That oppresses, like the Heft
Of Cathedral Tunes—

Heavenly Hurt, it gives us—
We can find no scar,
But internal difference,
Where the Meanings, are—

None may teach it—Any—
‘Tis the Seal Despair—
An imperial affliction
Sent us of the Air—

When it comes, the Landscape listens—
Shadows—hold their breath—
When it goes, ’tis like the Distance
On the look of Death—

This was requested by a reader, and I like to oblige when possible.

Six Years Later
By Joseph Brodsky

So long had life together been that now
the second of January fell again
on Tuesday, making her astonished brow
lift like a windshield wiper in the rain,
so that her misty sadness cleared, and showed
a cloudless distance waiting up the road.

So long had life together been that once
the snow began to fall, it seemed unending;
that, lest the flakes should make her eyelids wince,
I’d shield them with my hand, and they, pretending
not to believe that cherishing of eyes,
would beat against my palm like butterflies.

So alien had all novelty become
that sleep’s entanglements would put to shame
whatever depths the analysts might plumb;
that when my lips blew out the candle flame,
her lips, fluttering from my shoulder, sought
to join my own, without another thought.

So long had life together been that all
that tattered brood of papered roses went,
and a whole birch grove grew upon the wall,
and we had money, by some accident,
and tonguelike on the sea, for thirty days,
the sunset threatened Turkey with its blaze.

So long had life together been without
books, chairs, utensils—only that ancient bed—
that the triangle, before it came about,
had been a perpendicular, the head
of some acquaintance hovering above
two points which had been coalesced by love.

So long had life together been that she
and I, with our joint shadows, had composed
a double door, a door which, even if we
were lost in work or sleep, was always closed:
somehow its halves were split and we went right
through them into the future, into night.

My poetry buddy is introducing me to Wendy Brown-Báez, and I’m so glad!

Absence
By Wendy Brown-Báez

I am more here in your bed
than anywhere without you.
It is after all your breath I am
breathing in the thick midnight
walls. Remembering how you told

me you wake up at three, I
awake. You need no mention
of dreams. I carry them
stillborn over the threshold
of this place so mine because

it belongs to you. Even your
past cannot creep between
us when I cradle you in my
hunger. When I stoke your
black hair like silk in my

hands, never doubting the
beat I hear is the high tide coming
to beach me on the precipice
over which I float away,
using my wings like love.

My poetry buddy was inspired by yesterday’s poem to share today’s with me.

Prayer
By Kim Addonizio

Sometimes, when we’re lying after love,
I look at you and see your body’s future
of lying beneath the earth; putting the heel
of my hand against your rib I feel how faint
and far away the heartbeat is. I rest
my cheek against your left nipple and listen
to the surge of blood, seeing your life splashed out,
filmy water hurled from a pot
onto dry grass. And I want to be pressed
deep into the bed and covered over,
the way a seed is pressed into a hole,
the dirt tramped down with a trowel.
I want to be a failed seed, the kind
that doesn’t grow, that doesn’t know it’s meant to.
I want to lie here without moving, lifeless
as an animal that’s slaughtered, its blood smeared
on a doorpost, I want death to take me if it
has to, to spare you, I want it to pass over.

Another one mentioned in Truck: A Love Story. Michael Perry’s books are a treasure trove of poetry references…

Touch Me
By Stanley Kunitz

Summer is late, my heart.
Words plucked out of the air
some forty years ago
when I was wild with love
and torn almost in two
scatter like leaves this night
of whistling wind and rain.
It is my heart that’s late,
it is my song that’s flown.
Outdoors all afternoon
under a gunmetal sky
staking my garden down,
I kneeled to the crickets trilling
underfoot as if about
to burst from their crusty shells;
and like a child again
marveled to hear so clear
and brave a music pour
from such a small machine.
What makes the engine go?
Desire, desire, desire.
The longing for the dance
stirs in the buried life.
One season only,
                        and it’s done.
So let the battered old willow
thrash against the windowpanes
and the house timbers creak.
Darling, do you remember
the man you married? Touch me,
remind me who I am.

I think I came across this poem after “discovering” David Ignatow through Poetry on Record. It wasn’t one of the ones he read, but it’s so beautiful.

For My Daughter
By David Ignatow

When I die choose a star
and name it after me
that you may know
I have not abandoned
or forgotten you.
You were such a star to me,
following you through birth
and childhood, my hand
in your hand.

When I die
choose a star and name it
after me so that I may shine
down on you, until you join
me in darkness and silence
together.

Between getting a comment about the Yeats mention in yesterday’s poem and a line from The Second Coming being quoted by Michael Perry in Truck: A Love Story, I decided I needed to post another Yeats poem.

He Remembers Forgotten Beauty
By William Butler Yeats

When my arms wrap you round I press
My heart upon the loveliness
That has long faded from the world;
The jewelled crowns that kings have hurled
In shadowy pools, when armies fled;
The love-tales wrought with silken thread
By dreaming ladies upon cloth
That has made fat the murderous moth;
The roses that of old time were
Woven by ladies in their hair,
The dew-cold lilies ladies bore
Through many a sacred corridor
Where such grey clouds of incense rose
That only God’s eyes did not close:
For that pale breast and lingering hand
Come from a more dream-heavy land,
A more dream-heavy hour than this;
And when you sigh from kiss to kiss
I hear white Beauty sighing, too,
For hours when all must fade like dew,
But flame on flame, and deep on deep,
Throne over throne where in half sleep,
Their swords upon their iron knees,
Brood her high lonely mysteries.

I read this one in 180 More and I kind of love it.

Lives of the Poets
By Louis Simpson

Dickinson had a cockatoo
she called Sémiramis
and loved dearly.

Whitman was a trencherman,
his favorite dish
a mulligan stew.

Frost went for long walks,
Eliot played croquet,
Pound took fencing lessons.

There is a snapshot of Yeats
in a garden with a woman
naked to the waist and smiling.

Auden when he was old
counted the sheets of toilet paper
that a visitor used.

My poetry buddy has been filling my inbox with poems again, which always makes me happy! The following is from I Heard God Laughing: Renderings of Hafiz by Daniel Ladinsky.

When I read this poem, I was reminded of reading (and enjoying!) Stealing Athena by Karen Essex, and that I want to read Mistress of the Elgin Marbles by Susan Nagel.

On Seeing the Elgin Marbles
By John Keats

My spirit is too weak—mortality
   Weighs heavily on me like unwilling sleep,
   And each imagined pinnacle and steep
Of godlike hardship tells me I must die
Like a sick eagle looking at the sky.
   Yet ’tis a gentle luxury to weep
   That I have not the cloudy winds to keep
Fresh for the opening of the morning’s eye.
Such dim-conceived glories of the brain
   Bring round the heart an undescribable feud;
So do these wonders a most dizzy pain,
   That mingles Grecian grandeur with the rude
Wasting of old time—with a billowy main—
   A sun—a shadow of a magnitude.

After working a 10-hour day, with a 1 1/2 hour commute, I spent a couple hours painting (ceilings and walls, not art) and now I’m totally pooped. I went on a hunt for a poem about painting and found quite a few goodies (more about art than painting a wall). I realized I haven’t posted anything by Amy Lowell in quite a while and I was reminded why I like her work so much.

The Artist
By Amy Lowell

Why do you subdue yourself in golds and purples?
Why do you dim yourself with folded silks?
Do you not see that I can buy brocades in any draper’s shop,
And that I am choked in the twilight of all these colours.
How pale you would be, and startling,
How quiet;
But your curves would spring upward
Like a clear jet of flung water,
You would quiver like a shot-up spray of water,
You would waver, and relapse, and tremble.
And I too should tremble,
Watching.

Murex-dyes and tinsel—
And yet I think I could bear your beauty unshaded.

This poem was quoted in Truck: A Love Story.

The force that through the green fuse drives the flower
By Dylan Thomas

The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees
Is my destroyer.
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.

The force that drives the water through the rocks
Drives my red blood; that dries the mouthing streams
Turns mine to wax.
And I am dumb to mouth unto my veins
How at the mountain spring the same mouth sucks.

The hand that whirls the water in the pool
Stirs the quicksand; that ropes the blowing wind
Hauls my shroud sail.
And I am dumb to tell the hanging man
How of my clay is made the hangman’s lime.

The lips of time leech to the fountain head;
Love drips and gathers, but the fallen blood
Shall calm her sores.
And I am dumb to tell a weather’s wind
How time has ticked a heaven round the stars.

And I am dumb to tell the lover’s tomb
How at my sheet goes the same crooked worm.

I’m reading Truck: A Love Story by Michael Perry and he talks about gardening quite a bit. He quoted Bruce Taylor as a writer of gardening poems (in Pity the World).

Our Back Yards
By Bruce Taylor

The morning after the funeral
Doris carries her grand-daughter
through the garden that has joined
the two houses for more than forty years.

She coos as she walks the child
in and out of the shade,
“These are my mother’s
hibiscus, her hyacinth, hydrangea.

This is the chair.” She sits
and I hear how her mother
used to sit with her and hold her
and sing, but Doris doesn’t.

I sit on my own back stairs,
new again to this kind of living,
new it seems to me once more
to everything, and wait

for my own mother to die
some thousand miles away,
my own baby daughter held
for this moment beside me

my boy, five, playing
with trucks in the dust
at my feet, looks up
and asks,

“How sad will you be
when your momma dies?”
“Show me,” he says,
“show me with your hands?”
WAYY’s on her kitchen radio
and her kitchen window’s open.
September is “Nostalgia Month”
and sometimes we’re almost ashamed
at how little it takes to make us happy.

I heard the author read this on Poetry on Record. I like the images.

Late Air
By Elizabeth Bishop

From a magician’s midnight sleeve
the radio-singers
distribute all their love-songs
over the dew-wet lawns.
And like a fortune-teller’s
their marrow-piercing guesses are whatever you believe.

But on the Navy Yard aerial I find
better witnesses
for love on summer nights.
Five remote lights
keep their nests there; Phoenixes
burn quietly, where the dew cannot climb.

A fellow poetry-lover recommended James Galvin to me, so I found some of his work at poets.org. This was the first poem I clicked on, based on the title. I love it.

Dear Miss Emily
By James Galvin

I knew the end would be gone before I got there.
After all, all rainbows lie for a living.
And as you have insisted, repeatedly,
The difference between death and the Eternal
Present is about as far as one
Eyelash from the next, not wished upon.
Rainbows are not forms or stories, are they?
They are not doors ajar so much as far-
Flung situations without true beginnings
Or any ends—why bother—unless, as you
Suggest—repeatedly—there’s nothing wrong
With this life, and we should all stop whining.
So I shift my focus now on how to end
A letter. In XOXOXO,
For example, Miss, which are the hugs
And which the kisses? Does anybody know?
I could argue either way: the O’s
Are circles of embrace, the X is someone
Else’s star burning inside your mouth;
Unless the O is a mouth that cannot speak,
Because, you know, it’s busy.
X is the crucifixion all embraces
Are, here at the nowhere of the rainbow’s end,
Where even light has failed its situation,
Slant the only life it ever had,
Where even the most gallant sunset can’t
Hold back for more than a nonce the rain-laden
Eastern sky of night. It’s clear. It’s clear.
X’s are both hugs and kisses, O’s
Where stars that died gave out, gave up, gave in—
Where no one meant the promises they made.
Oh, and one more thing. I send my love
However long and far it takes—through light,
Through time, thorough all the faithlessness of men,

James Augustin Galvin,

          X,

His mark.

This poem was quoted in Population: 485, which I’ve finished reading, and very much enjoyed. Now I’m into Truck: A Love Story, also by Michael Perry. He is a great source of poetry references!

Toward an Organic Philosophy
By Kenneth Rexroth

          SPRING, COAST RANGE

The glow of my campfire is dark red and flameless,
The circle of white ash widens around it.
I get up and walk off in the moonlight and each time
I look back the red is deeper and the light smaller.
Scorpio rises late with Mars caught in his claw;
The moon has come before them, the light
Like a choir of children in the young laurel trees.
It is April; the shad, the hot headed fish,
Climbs the rivers; there is trillium in the damp canyons;
The foetid adder’s tongue lolls by the waterfall.
There was a farm at this campsite once, it is almost gone now.
There were sheep here after the farm, and fire
Long ago burned the redwoods out of the gulch,
The Douglas fir off the ridge; today the soil
Is stony and incoherent, the small stones lie flat
And plate the surface like scales.
Twenty years ago the spreading gully
Toppled the big oak over onto the house.
Now there is nothing left but the foundations
Hidden in poison oak, and above on the ridge,
Six lonely, ominous fenceposts;
The redwood beams of the barn make a footbridge
Over the deep waterless creek bed;
The hills are covered with wild oats
Dry and white by midsummer.
I walk in the random survivals of the orchard.
In a patch of moonlight a mole
Shakes his tunnel like an angry vein;
Orion walks waist deep in the fog coming in from the ocean;
Leo crouches under the zenith.
There are tiny hard fruits already on the plum trees.
The purity of the apple blossoms is incredible.
As the wind dies down their fragrance
Clusters around them like thick smoke.
All the day they roared with bees, in the moonlight
They are silent and immaculate.

          SPRING, SIERRA NEVADA

Once more golden Scorpio glows over the col
Above Deadman Canyon, orderly and brilliant,
Like an inspiration in the brain of Archimedes.
I have seen its light over the warm sea,
Over the coconut beaches, phosphorescent and pulsing;
And the living light in the water
Shivering away from the swimming hand,
Creeping against the lips, filling the floating hair.
Here where the glaciers have been and the snow stays late,
The stone is clean as light, the light steady as stone.
The relationship of stone, ice and stars is systematic and enduring:
Novelty emerges after centuries, a rock spalls from the cliffs,
The glacier contracts and turns grayer,
The stream cuts new sinuosities in the meadow,
The sun moves through space and the earth with it,
The stars change places.
                                  The snow has lasted longer this year,
Than anyone can remember. The lowest meadow is a lake,
The next two are snowfields, the pass is covered with snow,
Only the steepest rocks are bare. Between the pass
And the last meadow the snowfield gapes for a hundred feet,
In a narrow blue chasm through which a waterfall drops,
Spangled with sunset at the top, black and muscular
Where it disappears again in the snow.
The world is filled with hidden running water
That pounds in the ears like ether;
The granite needles rise from the snow, pale as steel;
Above the copper mine the cliff is blood red,
The white snow breaks at the edge of it;
The sky comes close to my eyes like the blue eyes
Of someone kissed in sleep.
                                      I descend to camp,
To the young, sticky, wrinkled aspen leaves,
To the first violets and wild cyclamen,
And cook supper in the blue twilight.
All night deer pass over the snow on sharp hooves,
In the darkness their cold muzzles find the new grass
At the edge of the snow.

          FALL, SIERRA NEVADA

This morning the hermit thrush was absent at breakfast,
His place was taken by a family of chickadees;
At noon a flock of humming birds passed south,
Whirling in the wind up over the saddle between
Ritter and Banner, following the migration lane
Of the Sierra crest southward to Guatemala.
All day cloud shadows have moved over the face of the mountain,
The shadow of a golden eagle weaving between them
Over the face of the glacier.
At sunset the half-moon rides on the bent back of the Scorpion,
The Great Bear kneels on the mountain.
Ten degrees below the moon
Venus sets in the haze arising from the Great Valley.
Jupiter, in opposition to the sun, rises in the alpenglow
Between the burnt peaks. The ventriloquial belling
Of an owl mingles with the bells of the waterfall.
Now there is distant thunder on the east wind.
The east face of the mountain above me
Is lit with far off lightnings and the sky
Above the pass blazes momentarily like an aurora.
It is storming in the White Mountains,
On the arid fourteen-thousand-foot peaks;
Rain is falling on the narrow gray ranges
And dark sedge meadows and white salt flats of Nevada.
Just before moonset a small dense cumulus cloud,
Gleaming like a grape cluster of metal,
Moves over the Sierra crest and grows down the westward slope.
Frost, the color and quality of the cloud,
Lies over all the marsh below my campsite.
The wiry clumps of dwarfed whitebark pines
Are smoky and indistinct in the moonlight,
Only their shadows are really visible.
The lake is immobile and holds the stars
And the peaks deep in itself without a quiver.
In the shallows the geometrical tendrils of ice
Spread their wonderful mathematics in silence.
All night the eyes of deer shine for an instant
As they cross the radius of my firelight.
In the morning the trail will look like a sheep driveway,
All the tracks will point down to the lower canyon.
“Thus,” says Tyndall, “the concerns of this little place
Are changed and fashioned by the obliquity of the earth’s axis,
The chain of dependence which runs through creation,
And links the roll of a planet alike with the interests
Of marmots and of men.”

I’m nearly done with Population: 485, Meeting Your Neighbors One Siren at a Time by Michael Perry. He talks about poetry quite a bit and this poem was quoted.

Tiara
By Mark Doty

Peter died in a paper tiara
cut from a book of princess paper dolls;
he loved royalty, sashes

and jewels. I don’t know,
he said, when he woke in the hospice,
I was watching the Bette Davis film festival

on Channel 57 and then—
At the wake, the tension broke
when someone guessed

the casket closed because
he was in there in a big wig
and heels, and someone said,

You know he’s always late,
he probably isn’t here yet—
he’s still fixing his makeup.

And someone said he asked for it.
Asked for it—
when all he did was go down

into the salt tide
of wanting as much as he wanted,
giving himself over so drunk

or stoned it almost didn’t matter who,
though they were beautiful,
stampeding into him in the simple,

ravishing music of their hurry.
I think heaven is perfect stasis
poised over the realms of desire,

where dreaming and waking men lie
on the grass while wet horses
roam among them, huge fragments

of the music we die into
in the body’s paradise.
Sometimes we wake not knowing

how we came to lie here,
or who has crowned us with these temporary,
precious stones. And given

the world’s perfectly turned shoulders,
the deep hollows blued by longing,
given the irreplaceable silk

of horses rippling in orchards,
fruit thundering and chiming down,
given the ordinary marvels of form

and gravity, what could he do,
what could any of us ever do
but ask for it.

I went to Sonnet Central to find a poem for tonight. I like the phrase solace of silence and the idea that it can soothe a troubled spirit.

Solace
By Hugh J. Evans

I lay beneath the Afric stars awake,
While all the neighbour-noise of city slept,
And all the solace of the silence crept
Into the turmoil of my spirit’s ache;
And this worn heart, whereon life’s billows break,
Was smoothed; the futile cares o’er which had wept
These weary eyes, where careless joys had leapt,
A slow and sweet transfiguring grace did take.

With wide lids open to the glorious night,
With soul and sense entranquill’d by the calm,
I lay awake, while in procession bright
The holy-hymning stars with spheric psalm
Bedew’d my inmost being with delight—
Yea, with the fragrance of enduring balm.

I think my inner (or outer, more often than I’d like…) drama queen loves Shelley. He doesn’t really screw around with throwing all his emotions out there. One line that’s always stuck with me is O World! O Life! O Time! / On whose last steps I climb. And then there’s this one: I die! I faint! I fail! / Let thy love in kisses rain / On my lips and eyelids pale. I don’t know about you, but I don’t know anyone who talks like that. Of course, while I can accept it from Shelley (who seems to have adopted the persona of a passionate youth, in my mind), it would seem cheesy from pretty much anyone else. Maybe it’s because he is such a tragic figure. At any rate, it will take a long time to post all his poems, so I like that I can just go hunting for a new one to post whenever the urge strikes me.

The Indian Serenade
By Percy Bysshe Shelley

I arise from dreams of thee
In the first sweet sleep of night,
When the winds are breathing low,
And the stars are shining bright.
I arise from dreams of thee,
And a spirit in my feet
Hath led me—who knows how?
To thy chamber window, Sweet!

The wandering airs they faint
On the dark, the silent stream—
And the Champak’s odours [pine]
Like sweet thoughts in a dream;
The nightingale’s complaint,
It dies upon her heart,
As I must on thine,
O belovèd as thou art!

O lift me from the grass!
I die! I faint! I fail!
Let thy love in kisses rain
On my lips and eyelids pale.
My cheek is cold and white, alas!
My heart beats loud and fast:
O press it to thine own again,
Where it will break at last!

I read this one in 180 More. I tend to like poems about poets and/or historical figures, but then again, I love reading historical fiction, too.

Keats
By Christopher Howell

When Keats, at last beyond the curtain
of love’s distraction, lay dying in his room
on the Piazza di Spagna, the melody of the Bernini
Fountain “filling him like flowers,”
he held his breath like a coin, looked out
into the moonlight and thought he saw snow.
He did not suppose it was fever or the body’s
weakness turning the mind. He thought, “England!”
and there he was, secretly, for the rest
of his improvidently short life: up to his neck
in sleigh bells and the impossibly English cries
of street vendors, perfect
and affectionate as his soul.
For days the snow and statuary sang him so far
beyond regret that if now you walk rancorless
and alone there, in the piazza, the white shadow
of his last words to Severn, “Don’t be frightened,”
may enter you.

Here’s another reader-suggested poem. Honestly, I don’t know what’s keeping me from just buying all Billy Collins’s books… besides sloth and lack of capital. (ha!)

The Country
By Billy Collins

I wondered about you
when you told me never to leave
a box of wooden, strike-anywhere matches
lying around the house because the mice

might get into them and start a fire.
But your face was absolutely straight
when you twisted the lid down on the round tin
where the matches, you said, are always stowed.

Who could sleep that night?
Who could whisk away the thought
of the one unlikely mouse
padding along a cold water pipe

behind the floral wallpaper
gripping a single wooden match
between the needles of his teeth?
Who could not see him rounding a corner,

the blue tip scratching against a rough-hewn beam,
the sudden flare, and the creature
for one bright, shining moment
suddenly thrust ahead of his time—

now a fire-starter, now a torchbearer
in a forgotten ritual, little brown druid
illuminating some ancient night.
Who could fail to notice,

lit up in the blazing insulation,
the tiny looks of wonderment on the faces
of his fellow mice, onetime inhabitants
of what once was your house in the country?

A reader suggested today’s poem (as well as the one I will post tomorrow). I may have said this before, but Anne Sexton’s poetry is amazing. Thanks for the contribution!

I Remember
By Anne Sexton

By the first of August
the invisible beetles began
to snore and the grass was
as tough as hemp and was
no color—no more than
the sand was a color and
we had worn our bare feet
bare since the twentieth
of June and there were times
we forgot to wind up your
alarm clock and some nights
we took our gin warm and neat
from old jelly glasses while
the sun blew out of sight
like a red picture hat and
one day I tied my hair back
with a ribbon and you said
that I looked almost like
a puritan lady and what
I remember best is that
the door to your room was
the door to mine.

The book I’m reading has quoted The Deserted Village by Oliver Goldsmith several times. Since I’ve already posted that one, I went looking for another by the same poet.

Memory
By Oliver Goldsmith

O Memory, thou fond deceiver,
Still importunate and vain,
To former joys recurring ever,
And turning all the past to pain:

Thou, like the world, th’ oppress’d oppressing,
Thy smiles increase the wretch’s woe:
And he who wants each other blessing
In thee must ever find a foe.

I like the circle this poem makes, starting with the speaker hearing the birds and ending with the idea of hearing them again in the future after they have been forgotten. Perhaps I’m just feeling nostalgic because I read a few blog posts today about things I had forgotten.

Far Company
By W. S. Merwin

At times now from some margin of the day
I can hear birds of another country
not the whole song but a brief phrase of it
out of a music that I may have heard
once in a moment I appear to have
forgotten for the most part that full day
no sight of which I can remember now
though it must have been where my eyes were then
that knew it as the present while I thought
of somewhere else without noticing that
singing when it was there and still went on
whether or not I noticed now it falls
silent when I listen and leaves the day
and flies before it to be heard again
somewhere ahead when I have forgotten

I came across this one in 180 More. I have to say that I was amused. In general I try to be a friendly person, but I think I secretly want to say “Thank God for the duck” to totally confuse a complete stranger.

The Booksigning
By James Tate

An ad in the newspaper said that a local author
would be signing his new book at the bookstore today.
I didn’t even know we had any local authors. I was
going to be downtown anyway, so I decided to drop in
and see what he looked like. He was short and fat
and ugly, but all kinds of beautiful women were flirting
with him and laughing at every little joke he made.
Even though I didn’t know anything about his book, I
wished I had written it. A man came up to me and said,
“I hated it when the little girl died. I just couldn’t
stop crying.” “Thank God for the duck,” I said. He
took a step back from me. “I don’t remember the duck,”
he said. “Well, then, I’m afraid you missed the whole
point of the book. The duck is absolutely central,
it’s the veritable linchpin of the whole denouement,”
I said. (I had learned that word in high school, and
now it served me well.) “But what about the little
girl?” the man asked, with a painful look of bewilder-
ment on his face. “She should have been shot a hundred
pages earlier,” I said. “I don’t think I like you,”
the man said, and walked away clutching his book.
I looked over at the author. He was signing a young
woman’s cleavage, and the other women were laughing
and pulling open their blouses to be signed. I had
never even thought of writing a novel. Now, my mind
was thrashing about. The man I had offended earlier
walked up to me and offered me a glass of wine. “If
I may ask you, sir, why were you so rude to me?” he
said. I looked up from the abyss and said, “Because
I am nothing. Because I am a speck of dust floating
in infinite darkness. Because you have feelings and
you care. Do you understand me now?” “Perfectly,”
he said. “Cheers!”

I snagged this one from Civil War Poetry.

When Sherman Marched Down to the Sea
By Samuel Hawkins Marshall Byers

Our camp fires shone bright on the mountains
That frowned on the river below,
While we stood by our guns in the morning
And eagerly watched for the foe—
When a rider came out from the darkness
That hung over mountain and tree;
And shouted, “Boys, up and be ready,
For Sherman will march to the sea.”

Then cheer upon cheer for bold Sherman
Went up from each valley and glen;
And the bugles re-echoed the music
That came from the lips of the men.
For we knew that the stars in our banner
More bright in their splendor would be,
And that blessings from Northland would greet us
When Sherman marched down to the sea.

Then forward, boys, forward to battle,
We marched on our wearisome way;
And we stormed the wild hills of Resaca,—
God bless those who fell on that day—
Then Kennesaw, dark in its glory,
Frowned down on the flag of the free,
But the East and the West bore our standards,
And Sherman marched on to the sea.

Still onward we pressed, till our banners
Swept out from Atlanta’s grim walls,
And the blood of the patriot dampened
The soil where the traitor flag falls;
But we paused not to weep for the fallen,
We slept by each river and tree;
Yet we twined them a wreath of the laurel
As Sherman marched down to the sea.

O, proud was our army that morning
That stood where the pine darkly towers,
When Sherman said: “Boys, you are weary,
This day fair Savannah is ours.”
Then sang we a song for our chieftain
That echoed over river and lea,
And the stars in our banner shown brighter
When Sherman marched down to the sea.

Saved by my poetry buddy again! He sent an excerpt from this, but I decided to post the whole speech by Theseus.

More strange than true: I never may believe
FROM A MIDSUMMER NIGHT’S DREAM, ACT V, SCENE I
By William Shakespeare

More strange than true: I never may believe
These antique fables, nor these fairy toys.
Lovers and madmen have such seething brains,
Such shaping fantasies, that apprehend
More than cool reason ever comprehends.
The lunatic, the lover and the poet
Are of imagination all compact:
One sees more devils than vast hell can hold,
That is, the madman: the lover, all as frantic,
Sees Helen’s beauty in a brow of Egypt:
The poet’s eye, in fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven;
And as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.
Such tricks hath strong imagination,
That if it would but apprehend some joy,
It comprehends some bringer of that joy;
Or in the night, imagining some fear,
How easy is a bush supposed a bear!

I apologize for the hiatus, and regret to say that my return may be sporadic. At present my house (and subsequently my life) have been topsy-turvy. Luckily, a poetry pal sent me this one.

Shades
By R.T. Smith

When Odysseus descended to the underworld
and crossed the dark river to learn the key
to his destiny, he poured the ritual milk and honey,
the wine and barley and blood to summon the dead,
but he never expected to find his mother among
the shadows who were filled with mist and sifted
with the wind which had no source. He had thought
her alive and back in Ithaca expecting his return.
He had assumed the worst ordeals were his own.
But, when he reached out, shivering as he wept,
to embrace the ghost, that wanderer found
no substance, no flesh nor blood nor bone,
and he must have felt as I did that first time home
when my mother’s mind had begun to wander
and she disremembered not only the laughter,
the lightning-struck chinaberry, the sunset
peaches and fireflies and the sharp smell
of catfish frying, but also her name and the fact
that she was sitting in her kitchen of fifty years
beside my father who stood there straining
not to wring his hands or surrender to the tears
welling around his eyes. She gathered her purse,
her hat and wrap, then said, Please drive me home
before strangers take every damned thing I own.
Her eyes glaucous with terror, she was exhausted
and desperate, almost herself, “an empty, flitting
shade,” as Homer says it, uncertain in her haze
whether she was moving toward or away
from what might be called the Great Dream.
When she sobbed and cried, Where is my son?,
I, too, felt bewildered, and not even a seer
from the land of night and frost and smoke
could tell me what words would amount
to comfort, nor which constellation to steer by,
nor where all this heart-sorrow might end.