Middle age refers more
to landscape than to time:
it's as if you'd reached
the top of a hill
and could see all the way
to the end of your life,
so you know without a doubt
that it has an end—
not that it will have,
but that it does have,
if only in outline—
so for the first time
you can see your life whole,
beginning and end not far
from where you stand,
the horizon in the distance—
the view makes you weep,
but it also has the beauty
of symmetry, like the earth
seen from space: you can't help
but admire it from afar,
especially now, while it's simple
to re-enter whenever you choose,
lying down in your life,
waking up to it
just as you always have—
except that the details resonate
by virtue of being contained,
as your own words
coming back to you
define the landscape,
remind you that it won't go on
like this forever.
-Sharon Bryan
Saturday, May 16, 2009
In Blackwater Woods
Look, the trees
are turning
their own bodies
into pillars
of light,
are giving off the rich
fragrance of cinnamon
and fulfillment,
the long tapers
of cattails
are bursting and floating away over
the blue shoulders
of the ponds,
and every pond,
no matter what its
name is, is
nameless now.
Every year
everything
I have ever learned
in my lifetime
leads back to this: the fires
and the black river of loss
whose other side
is salvation,
whose meaning
none of us will ever know.
To live in this world
you must be able
to do three things:
to love what is mortal;
to hold it
against your bones knowing
your own life depends on it;
and, when the time comes to let it go,
to let it go.
-Mary Oliver
-Mary Oliver
On a Perfect Day
... I eat an artichoke in front
of the Charles Street Laundromat
and watch the clouds bloom
into white flowers out of
the building across the way.
The bright air moves on my face
like the touch of someone who loves me.
Far overhead a dart-shaped plane softens
through membranes of vacancy. A ship,
riding the bright glissade of the Hudson, slips
past the end of the street. Colette's vagabond
says the sun belongs to the lizard
that warms in its light. I own these moments
when my skin like a drumhead stretches on the frame
of my bones, then swells, a bellows filled
with sacred breath seared by this flame,
this happiness.
- Jane Gentry
of the Charles Street Laundromat
and watch the clouds bloom
into white flowers out of
the building across the way.
The bright air moves on my face
like the touch of someone who loves me.
Far overhead a dart-shaped plane softens
through membranes of vacancy. A ship,
riding the bright glissade of the Hudson, slips
past the end of the street. Colette's vagabond
says the sun belongs to the lizard
that warms in its light. I own these moments
when my skin like a drumhead stretches on the frame
of my bones, then swells, a bellows filled
with sacred breath seared by this flame,
this happiness.
- Jane Gentry
Ready
I remember a Sunday with the smell of food drifting
out the door of the cavernous kitchen, and my serious
teenage sister and her girlfriends Jean and Marybelle
standing on the bank above the dirt road in their
white sandals ready to walk to the country church
a mile away, and ready to return to the fried
chicken, green beans and ham, and fresh bread
spread on the table. The sun was bright and
their clean cotton dresses swirled as they turned.
I was a witness to it, and I assure you that it's true.
I remembered this thirty years later as I got
up from the hospital bed, favoring my right side
where something else had been removed.
Pushing a cart that held practically all of my
vital fluids, I made my way down the hall
because I wanted to stand up, for no reason.
I had no future plans, and I would never
found a movement nor understand the
simplest equation; I would never chair the
Department of Importance. Nevertheless,
I was about to embark on a third life, having
used up the first two, as I would this one,
but I shoved the IV with its sugars and tubes
steadily ahead of me, passing a frail man in a hospital
gown pushing his cart from the other direction.
Because I was determined to pull this together,
hooking this lifeline into the next one.
- Irene McKinney
out the door of the cavernous kitchen, and my serious
teenage sister and her girlfriends Jean and Marybelle
standing on the bank above the dirt road in their
white sandals ready to walk to the country church
a mile away, and ready to return to the fried
chicken, green beans and ham, and fresh bread
spread on the table. The sun was bright and
their clean cotton dresses swirled as they turned.
I was a witness to it, and I assure you that it's true.
I remembered this thirty years later as I got
up from the hospital bed, favoring my right side
where something else had been removed.
Pushing a cart that held practically all of my
vital fluids, I made my way down the hall
because I wanted to stand up, for no reason.
I had no future plans, and I would never
found a movement nor understand the
simplest equation; I would never chair the
Department of Importance. Nevertheless,
I was about to embark on a third life, having
used up the first two, as I would this one,
but I shoved the IV with its sugars and tubes
steadily ahead of me, passing a frail man in a hospital
gown pushing his cart from the other direction.
Because I was determined to pull this together,
hooking this lifeline into the next one.
- Irene McKinney
The End of Science Fiction
This is not fantasy, this is our life.
We are the characters
Who have invaded the moon,
Who cannot stop their computers.
We are the gods who can unmake
The world in seven days.
Both hands are stopped at noon.
We are beginning to live forever,
In lightweight, aluminum bodies
With numbers stamped on our backs.
We dial our words like muzak.
We hear each other through water.
The genre is dead. Invent something new.
Invent a man and a woman
Naked in a garden;
Invent a child that will save the world,
A man who carries his father
Out of a burning city,
Invent a spool of thread
That leads a hero to safety;
Invent an island on which he abandons
The woman who saved his life,
With no loss of sleep of the betrayal.
Invent us as we were
Before our bodies glittered
And we stopped bleeding:
Invent a shepherd who kills a giant,
A girl who grows into a tree,
A woman who refuses to turn
Her back on the past and is changed to salt,
A boy who steals his brother’s birthright
And becomes the head of a nation.
Invent real tears, hard love,
Slow-spoken, ancient words,
Difficult as a child’s
First steps across a room.
-Lisel Mueller
We are the characters
Who have invaded the moon,
Who cannot stop their computers.
We are the gods who can unmake
The world in seven days.
Both hands are stopped at noon.
We are beginning to live forever,
In lightweight, aluminum bodies
With numbers stamped on our backs.
We dial our words like muzak.
We hear each other through water.
The genre is dead. Invent something new.
Invent a man and a woman
Naked in a garden;
Invent a child that will save the world,
A man who carries his father
Out of a burning city,
Invent a spool of thread
That leads a hero to safety;
Invent an island on which he abandons
The woman who saved his life,
With no loss of sleep of the betrayal.
Invent us as we were
Before our bodies glittered
And we stopped bleeding:
Invent a shepherd who kills a giant,
A girl who grows into a tree,
A woman who refuses to turn
Her back on the past and is changed to salt,
A boy who steals his brother’s birthright
And becomes the head of a nation.
Invent real tears, hard love,
Slow-spoken, ancient words,
Difficult as a child’s
First steps across a room.
-Lisel Mueller
We Have Come to Be Danced
We have come to be danced
Not the pretty dance
Not the pretty, pretty pick me, pick me dance
But the claw our way back into the belly
Of the sacred, sensual animal dance
The unhinged, unplugged cat is out of its box dance
The holding the precious moment in the palms
Of our hands and feet dance.
We have come to be danced
Not the jiffy booby, shake your booty for him dance
But the wring the sadness from our skin dance
The blow the chip off our shoulder dance
The slap the apology from our posture dance.
We have come to be danced
Not the monkey see, monkey do dance
One two dance like you
One two three dance like me dance
But the grave robber, tomb stalker
Tearing scabs and scars open dance
The rub the rhythm raw against our soul dance.
We have come to be danced
Not the nice, invisible, self-conscious shuffle
But the matted hair flying, voodoo mamma
Shaman shakin' ancient bones dance
The strip us from our casings, restore our wings
Sharpen our claws and tongues dance
The shed dead cells and slip into
The luminous skin of love dance.
We have come to be danced
Not the hold our breath and wallow in the shallow end of the floor dance
But the meeting of the trinity: the body, breath and beat dance
The shout hallelujah from the top of our thighs dance
The mother may I?
Yes you may take ten giant leaps dance
The olly olly oxen free free free dance
The everyone can come to our heaven dance.
We have come to be danced
Where the kingdoms collide
In the cathedral of flesh
To burn back into the light
To unravel, to play, to fly, to pray
To root in skin sanctuary
We have come to be danced
We have come.
by Jewel Mathieson
Not the pretty dance
Not the pretty, pretty pick me, pick me dance
But the claw our way back into the belly
Of the sacred, sensual animal dance
The unhinged, unplugged cat is out of its box dance
The holding the precious moment in the palms
Of our hands and feet dance.
We have come to be danced
Not the jiffy booby, shake your booty for him dance
But the wring the sadness from our skin dance
The blow the chip off our shoulder dance
The slap the apology from our posture dance.
We have come to be danced
Not the monkey see, monkey do dance
One two dance like you
One two three dance like me dance
But the grave robber, tomb stalker
Tearing scabs and scars open dance
The rub the rhythm raw against our soul dance.
We have come to be danced
Not the nice, invisible, self-conscious shuffle
But the matted hair flying, voodoo mamma
Shaman shakin' ancient bones dance
The strip us from our casings, restore our wings
Sharpen our claws and tongues dance
The shed dead cells and slip into
The luminous skin of love dance.
We have come to be danced
Not the hold our breath and wallow in the shallow end of the floor dance
But the meeting of the trinity: the body, breath and beat dance
The shout hallelujah from the top of our thighs dance
The mother may I?
Yes you may take ten giant leaps dance
The olly olly oxen free free free dance
The everyone can come to our heaven dance.
We have come to be danced
Where the kingdoms collide
In the cathedral of flesh
To burn back into the light
To unravel, to play, to fly, to pray
To root in skin sanctuary
We have come to be danced
We have come.
by Jewel Mathieson
Wednesday, January 28, 2009
The Big Picture
I try to look at the big picture
The sun, ardent tongue
Licking us like a mother besotted
With her new cub, will wear itself out.
Everything is transitory.
Think of the meteor
That annihilated all the dinosaurs.
And before that, the volcanoes
Of the Permian period all those burnt ferns
And reptiles, sharks and bony fish—
That was extinction on a scale
That makes our losses look like a bad day at the slots.
And perhaps we’re slated to ascend
To some kind of intelligence
That doesn’t need bodies, or clean water, or even air.
But I can’t shake my longing
For the last six hundred
Lberian lynx with their tufted ears.
Brazillian guitarfish, the 4
Percent of them still cruising
The seafloor, eyes staring straight up.
And all the newborn marsupials-
Red kangaroos, joeys the size of honeybees—
Steelhead trout, river dolphins,
So many species of frogs
Breathing through their damp
Permeable membranes.
Today on the buss, a woman
In a sweater the exact shade of cardinals,
And her cardinal-colored bra strap, exposed
On her pale shoulder, makes me ache
For those bright flashes in the snow.
And polar bears, the cream and amber
Of their fur, the long hollow
Hairs through which the sun slips,
Swallowed into their dark skin. When I get home
My son has a headache, and though he’s
Almost grown, asks me to sing him a song.
We lie together on the lumpy couch
And I warble out the old show tunes, “Night and Day,”…
“They Can’t take That Away from Me,”…a cheap
silver chain shimmers across his throat
rising and falling with his pulse. There never was
anything else. Only these excruciatingly
insignificant creatures we love.
Ellen Bass
The sun, ardent tongue
Licking us like a mother besotted
With her new cub, will wear itself out.
Everything is transitory.
Think of the meteor
That annihilated all the dinosaurs.
And before that, the volcanoes
Of the Permian period all those burnt ferns
And reptiles, sharks and bony fish—
That was extinction on a scale
That makes our losses look like a bad day at the slots.
And perhaps we’re slated to ascend
To some kind of intelligence
That doesn’t need bodies, or clean water, or even air.
But I can’t shake my longing
For the last six hundred
Lberian lynx with their tufted ears.
Brazillian guitarfish, the 4
Percent of them still cruising
The seafloor, eyes staring straight up.
And all the newborn marsupials-
Red kangaroos, joeys the size of honeybees—
Steelhead trout, river dolphins,
So many species of frogs
Breathing through their damp
Permeable membranes.
Today on the buss, a woman
In a sweater the exact shade of cardinals,
And her cardinal-colored bra strap, exposed
On her pale shoulder, makes me ache
For those bright flashes in the snow.
And polar bears, the cream and amber
Of their fur, the long hollow
Hairs through which the sun slips,
Swallowed into their dark skin. When I get home
My son has a headache, and though he’s
Almost grown, asks me to sing him a song.
We lie together on the lumpy couch
And I warble out the old show tunes, “Night and Day,”…
“They Can’t take That Away from Me,”…a cheap
silver chain shimmers across his throat
rising and falling with his pulse. There never was
anything else. Only these excruciatingly
insignificant creatures we love.
Ellen Bass
Barbie Joins a Twelve Step Program
Barbie is bottoming out,
She’s sitting on the pity pot. She hasn’t the know-how to express
Any of her emotions. Before she even gets
To her first meeting, she takes the first step, admits
Her life has become unmanageable.
She been kidnapped by boys
And tortured with pins. She’s been left
For months at a time between scratchy couch cushions
With cracker crumbs, pens and loose change.
She can’t help herself from being a fashion doll.
She is the ultimate victim.
She humbly sits on a folding chair
In a damp church basement. The cigarette smoke
Clouds the faces around her, the smell of bad coffee
Permeates the air. The group booms the serenity prayer:
God, grant me serenity to accept the things I cannot change,
Courage to change the things I can, and wisdom
To know the difference. Poor Barbie is lost
In a philosophical quandary. Her God must be Mattel.
How can she turn her life and will over to a toy company?
Must she accept her primary form of locomotion
Being the fists of young careless humans?
And what can she change? The only reason Barbie
Is at the meeting at all is because she wound up in the tote bag
Of a busy mother. She tipped out when the woman,
Putting on lipstick at the bathroom mirror, spilled the contents
Of her bag onto the floor. The mother didn’t see Barbie skid under a stall door
Where a confused drunk, at the meeting for warmth,
Was peeing. Never thought Barbie had problems,
She said, picking up the doll. She thought it would be funny
To prop Barbie in the last row. Now one else noticed the doll
As she fidgeted in her seat. The hungry drunk
Went on to spoon a cupful of sugar into her coffee.
Barbie sat through the meeting wondering:
What is wisdom? What is letting go?
She wished she could clap like the others
When there was a good story about recovery. She accepted
She couldn’t, hoping that if she stopped struggling,
Her higher power, Mattel, would finally let her move.
Miracles don’t happen overnight, said a speaker.
Take the action and leave the rest to God, said another.
Barbie’s prayer that she would be at the next meeting was answered.
A member of the clean-up committee squished her between the seat
And back of the folding chair and stacked her, with the others, against the wall.
—Denise Duhamel Queen For a Day.
She’s sitting on the pity pot. She hasn’t the know-how to express
Any of her emotions. Before she even gets
To her first meeting, she takes the first step, admits
Her life has become unmanageable.
She been kidnapped by boys
And tortured with pins. She’s been left
For months at a time between scratchy couch cushions
With cracker crumbs, pens and loose change.
She can’t help herself from being a fashion doll.
She is the ultimate victim.
She humbly sits on a folding chair
In a damp church basement. The cigarette smoke
Clouds the faces around her, the smell of bad coffee
Permeates the air. The group booms the serenity prayer:
God, grant me serenity to accept the things I cannot change,
Courage to change the things I can, and wisdom
To know the difference. Poor Barbie is lost
In a philosophical quandary. Her God must be Mattel.
How can she turn her life and will over to a toy company?
Must she accept her primary form of locomotion
Being the fists of young careless humans?
And what can she change? The only reason Barbie
Is at the meeting at all is because she wound up in the tote bag
Of a busy mother. She tipped out when the woman,
Putting on lipstick at the bathroom mirror, spilled the contents
Of her bag onto the floor. The mother didn’t see Barbie skid under a stall door
Where a confused drunk, at the meeting for warmth,
Was peeing. Never thought Barbie had problems,
She said, picking up the doll. She thought it would be funny
To prop Barbie in the last row. Now one else noticed the doll
As she fidgeted in her seat. The hungry drunk
Went on to spoon a cupful of sugar into her coffee.
Barbie sat through the meeting wondering:
What is wisdom? What is letting go?
She wished she could clap like the others
When there was a good story about recovery. She accepted
She couldn’t, hoping that if she stopped struggling,
Her higher power, Mattel, would finally let her move.
Miracles don’t happen overnight, said a speaker.
Take the action and leave the rest to God, said another.
Barbie’s prayer that she would be at the next meeting was answered.
A member of the clean-up committee squished her between the seat
And back of the folding chair and stacked her, with the others, against the wall.
—Denise Duhamel Queen For a Day.
Two Bears
Once
After a hard day’s forage
Two bears sat together in silence
On a beautiful vista
Watching the sun go down
And feeling deeply grateful
For life
Though, after a while
A thought-provoking conversation began
Which turned to the topic of
Fame
The one bear said,
“Did you hear about Rustam?
He has become famous
And travels from city to city
In a golden cage;
He performs to hundreds of people
Who laugh and applaud
His carnival
Stunts.”
The other bear thought for
A few seconds
Then started
Weeping.
rumi
After a hard day’s forage
Two bears sat together in silence
On a beautiful vista
Watching the sun go down
And feeling deeply grateful
For life
Though, after a while
A thought-provoking conversation began
Which turned to the topic of
Fame
The one bear said,
“Did you hear about Rustam?
He has become famous
And travels from city to city
In a golden cage;
He performs to hundreds of people
Who laugh and applaud
His carnival
Stunts.”
The other bear thought for
A few seconds
Then started
Weeping.
rumi
Ars Poetica #100: I Believe
by Elizabeth Alexander
Poetry, I tell my students,
is idiosyncratic. Poetry
is where we are ourselves, (though Sterling Brown said
"Every 'I' is a dramatic 'I'") digging in the clam flats
for the shell that snaps,
emptying the proverbial pocketbook.
Poetry is what you find
in the dirt in the corner,
overhear on the bus, God
in the details, the only way
to get from here to there.
Poetry (and now my voice is rising) is not all love, love, love
and I'm sorry the dog died.
Poetry (here I hear myself loudest) is the human voice,
and are we not of interest to each other
Poetry, I tell my students,
is idiosyncratic. Poetry
is where we are ourselves, (though Sterling Brown said
"Every 'I' is a dramatic 'I'") digging in the clam flats
for the shell that snaps,
emptying the proverbial pocketbook.
Poetry is what you find
in the dirt in the corner,
overhear on the bus, God
in the details, the only way
to get from here to there.
Poetry (and now my voice is rising) is not all love, love, love
and I'm sorry the dog died.
Poetry (here I hear myself loudest) is the human voice,
and are we not of interest to each other
Everyone is Afraid of Something
by Dannye Romine Powell
Once I was afraid of ghosts, of the dark,
of climbing down from the highest
limb of the backyard oak. Now I'm afraid
my son will die alone in his apartment.
I'm afraid when I break down the door,
I'll find him among the empties-bloated,
discolored, his face a stranger's face.
My granddaughter is afraid of blood
and spider webs and of messing up.
Also bees. Especially bees. Everyone,
she says, is afraid of something.
Another fear of mine: that it will fall to me
to tell this child her father is dead.
Perhaps I should begin today stringing
her a necklace of bees. When they sting
and welts quilt her face, when her lips
whiten and swell, I'll take her
by the shoulders. Child, listen to me.
One day, you'll see. These stings
Are nothing. Nothing at all.
Once I was afraid of ghosts, of the dark,
of climbing down from the highest
limb of the backyard oak. Now I'm afraid
my son will die alone in his apartment.
I'm afraid when I break down the door,
I'll find him among the empties-bloated,
discolored, his face a stranger's face.
My granddaughter is afraid of blood
and spider webs and of messing up.
Also bees. Especially bees. Everyone,
she says, is afraid of something.
Another fear of mine: that it will fall to me
to tell this child her father is dead.
Perhaps I should begin today stringing
her a necklace of bees. When they sting
and welts quilt her face, when her lips
whiten and swell, I'll take her
by the shoulders. Child, listen to me.
One day, you'll see. These stings
Are nothing. Nothing at all.
Praise song for the day.
- Elizabeth alexander
Each day we go about our business, walking past each other, catching each others' eyes or not, about to speak or speaking. All about us is noise. All about us is noise and bramble, thorn and din, each one of our ancestors on our tongues. Someone is stitching up a hem, darning a hole in a uniform, patching a tire, repairing the things in need of repair.
Someone is trying to make music somewhere with a pair of wooden spoons on an oil drum with cello, boom box, harmonica, voice.
A woman and her son wait for the bus.
A farmer considers the changing sky; A teacher says, "Take out your pencils. Begin."
We encounter each other in words, words spiny or smooth, whispered or declaimed; words to consider, reconsider.
We cross dirt roads and highways that mark the will of someone and then others who said, "I need to see what's on the other side; I know there's something better down the road."
We need to find a place where we are safe; We walk into that which we cannot yet see.
Say it plain, that many have died for this day. Sing the names of the dead who brought us here, who laid the train tracks, raised the bridges, picked the cotton and the lettuce, built brick by brick the glittering edifices they would then keep clean and work inside of.
Praise song for struggle; praise song for the day. Praise song for every hand-lettered sign; The figuring it out at kitchen tables.
Some live by "Love thy neighbor as thy self."
Others by first do no harm, or take no more than you need.
What if the mightiest word is love, love beyond marital, filial, national. Love that casts a widening pool of light. Love with no need to preempt grievance.
In today's sharp sparkle, this winter air, anything can be made, any sentence begun.
On the brink, on the brim, on the cusp -- praise song for walking forward in that light.
Each day we go about our business, walking past each other, catching each others' eyes or not, about to speak or speaking. All about us is noise. All about us is noise and bramble, thorn and din, each one of our ancestors on our tongues. Someone is stitching up a hem, darning a hole in a uniform, patching a tire, repairing the things in need of repair.
Someone is trying to make music somewhere with a pair of wooden spoons on an oil drum with cello, boom box, harmonica, voice.
A woman and her son wait for the bus.
A farmer considers the changing sky; A teacher says, "Take out your pencils. Begin."
We encounter each other in words, words spiny or smooth, whispered or declaimed; words to consider, reconsider.
We cross dirt roads and highways that mark the will of someone and then others who said, "I need to see what's on the other side; I know there's something better down the road."
We need to find a place where we are safe; We walk into that which we cannot yet see.
Say it plain, that many have died for this day. Sing the names of the dead who brought us here, who laid the train tracks, raised the bridges, picked the cotton and the lettuce, built brick by brick the glittering edifices they would then keep clean and work inside of.
Praise song for struggle; praise song for the day. Praise song for every hand-lettered sign; The figuring it out at kitchen tables.
Some live by "Love thy neighbor as thy self."
Others by first do no harm, or take no more than you need.
What if the mightiest word is love, love beyond marital, filial, national. Love that casts a widening pool of light. Love with no need to preempt grievance.
In today's sharp sparkle, this winter air, anything can be made, any sentence begun.
On the brink, on the brim, on the cusp -- praise song for walking forward in that light.
Singapore
In Singapore, in the airport,
A darkness was ripped from my eyes.
In the woman’s restroom, one compartment stood open.
A woman knelt there, washing something
In the white bowl.
Disgust argued in my stomach
And I felt, in my pocket, for my ticket.
A poem should always have birds in it.
Kingfishers, say, with their bold eyes and gaudy wings.
Rivers are pleasant, and of course trees.
A waterfall, or if that’s not possible, a fountain
Rising and falling.
A person wants to stand in a happy place, in a poem.
When the woman turned I could not answer her face.
Her beauty and her embarrassment struggled together, and
Neither could win.
She smiled and I smiled. What kind of nonsense is this?
Everybody needs a job.
Yes, a person wants to stand in a happy place, in a poem.
But first we must watcher her as she stares down at her labor,
Which is dull enough.
She is washing the tops of the airport ashtrays, as big as
Hubcaps, with a blue rag.
Her small hands turn the metal, scrubbing and rinsing.
She does not work slowly, nor quickly, but like a river.
Her dark hair is like the wing of a bird.
I don’t doubt for a moment that she loves her life.
And I want her to rise up from the crust and the slop
And fly down to the river.
This probably won’t happen.
But maybe it will.
If the world were only pain and logic, who would want it?
Of course, it isn’t.
Neither do I mean anything miraculous, but only
The light that can shine out of a life. I mean
The way she unfolded and refolded the blue cloth,
The way her smile was only for my sake; I mean
The way this poem is filled with trees, and birds.
—Mary Oliver
A darkness was ripped from my eyes.
In the woman’s restroom, one compartment stood open.
A woman knelt there, washing something
In the white bowl.
Disgust argued in my stomach
And I felt, in my pocket, for my ticket.
A poem should always have birds in it.
Kingfishers, say, with their bold eyes and gaudy wings.
Rivers are pleasant, and of course trees.
A waterfall, or if that’s not possible, a fountain
Rising and falling.
A person wants to stand in a happy place, in a poem.
When the woman turned I could not answer her face.
Her beauty and her embarrassment struggled together, and
Neither could win.
She smiled and I smiled. What kind of nonsense is this?
Everybody needs a job.
Yes, a person wants to stand in a happy place, in a poem.
But first we must watcher her as she stares down at her labor,
Which is dull enough.
She is washing the tops of the airport ashtrays, as big as
Hubcaps, with a blue rag.
Her small hands turn the metal, scrubbing and rinsing.
She does not work slowly, nor quickly, but like a river.
Her dark hair is like the wing of a bird.
I don’t doubt for a moment that she loves her life.
And I want her to rise up from the crust and the slop
And fly down to the river.
This probably won’t happen.
But maybe it will.
If the world were only pain and logic, who would want it?
Of course, it isn’t.
Neither do I mean anything miraculous, but only
The light that can shine out of a life. I mean
The way she unfolded and refolded the blue cloth,
The way her smile was only for my sake; I mean
The way this poem is filled with trees, and birds.
—Mary Oliver
Curriculum Vita
1) I was born in a Free City, near the North Sea.
2) In the year of my birth, money was shredded into confetti. A loaf of bread cost a million marks. Of course I do not remember this.
3) Parents and grandparents hovered around me. The world I lived in had a soft voice and no claws.
4) A cornucopia filled with treats took me into a building with bells. A wide-bosomed teacher took me in.
5) At home the bookshelves connected heaven and earth.
6) On Sundays the city child waded through pinecones and primrose marshes, a short train ride away.
7) My country was struck by history more deadly than earthquakes or hurricanes.
8) My father was busy eluding the monsters. My mother told me the walls had ears. I learned the burden of secrets.
9) I moved into the too bright days, the too dark nights of adolescence.
10) Two parents, two daughters, we followed the sun and the moon across the ocean. My grandparents stayed behind in darkness.
11) In the new language everyone spoke too fast. Eventually I caught up with them.
12) When I met you, the new language became the language of love.
13) The death of the mother hurt the daughter into poetry. The daughter became a mother of daughters.
14) Ordinary life: the plenty and thick of it. Knots tying threads to everywhere. The past pushed away, the future left unimagined for the sake of the glorious, difficult, passionate
present.
15) Years and years of this.
16) The children no longer children. An old man's pain, an old man's loneliness.
17) And then my father too disappeared.
18) I tried to go home again. I stood at the door to my childhood, but it was closed to the public.
19) One day, on a crowded elevator, everyone's face was younger than mine.
20) So far, so good. The brilliant days and nights are breathless in their hurry. We follow, you and I.
—Lisel Mueller
2) In the year of my birth, money was shredded into confetti. A loaf of bread cost a million marks. Of course I do not remember this.
3) Parents and grandparents hovered around me. The world I lived in had a soft voice and no claws.
4) A cornucopia filled with treats took me into a building with bells. A wide-bosomed teacher took me in.
5) At home the bookshelves connected heaven and earth.
6) On Sundays the city child waded through pinecones and primrose marshes, a short train ride away.
7) My country was struck by history more deadly than earthquakes or hurricanes.
8) My father was busy eluding the monsters. My mother told me the walls had ears. I learned the burden of secrets.
9) I moved into the too bright days, the too dark nights of adolescence.
10) Two parents, two daughters, we followed the sun and the moon across the ocean. My grandparents stayed behind in darkness.
11) In the new language everyone spoke too fast. Eventually I caught up with them.
12) When I met you, the new language became the language of love.
13) The death of the mother hurt the daughter into poetry. The daughter became a mother of daughters.
14) Ordinary life: the plenty and thick of it. Knots tying threads to everywhere. The past pushed away, the future left unimagined for the sake of the glorious, difficult, passionate
present.
15) Years and years of this.
16) The children no longer children. An old man's pain, an old man's loneliness.
17) And then my father too disappeared.
18) I tried to go home again. I stood at the door to my childhood, but it was closed to the public.
19) One day, on a crowded elevator, everyone's face was younger than mine.
20) So far, so good. The brilliant days and nights are breathless in their hurry. We follow, you and I.
—Lisel Mueller
What To Do the First Morning the Sun Comes Back
by Roseann Lloyd
Find a clean cloth for the kitchen table, the red and blue one
you made that cold winter in Montana. Spread out
your paper and books. Tune the radio to the jazz station.
Look at the bright orange safflowers you found last August— how well they've held their color next to the black-spotted cat.
Make some egg coffee, in honor of all the people above the Arctic Circle. Give thanks to the Sufis,
who figured out how to brew coffee
from the dark, bitter beans. Remark
on the joyfulness of your dishes: black and yellow stars.
Reminisce with your lover about the history of this kitchen
where, between bites of cashew stir fry,
you first kissed each other on the mouth. Now that you're hungry,
toast some leftover cornbread, spread it with real butter,
honey from bees that fed on basswood blossoms.
The window is frosted over, but the sun's casting an eye
over all the books. Open your Spanish book.
The season for sleeping is over.
The pots and pans: quiet now, let them be.
It will be a short day.
Sit in the kitchen as long as you can, reading and writing.
At sundown, rub a smidgen of butter
on the western windowsill
to ask the sun:
Come back again tomorrow.
Find a clean cloth for the kitchen table, the red and blue one
you made that cold winter in Montana. Spread out
your paper and books. Tune the radio to the jazz station.
Look at the bright orange safflowers you found last August— how well they've held their color next to the black-spotted cat.
Make some egg coffee, in honor of all the people above the Arctic Circle. Give thanks to the Sufis,
who figured out how to brew coffee
from the dark, bitter beans. Remark
on the joyfulness of your dishes: black and yellow stars.
Reminisce with your lover about the history of this kitchen
where, between bites of cashew stir fry,
you first kissed each other on the mouth. Now that you're hungry,
toast some leftover cornbread, spread it with real butter,
honey from bees that fed on basswood blossoms.
The window is frosted over, but the sun's casting an eye
over all the books. Open your Spanish book.
The season for sleeping is over.
The pots and pans: quiet now, let them be.
It will be a short day.
Sit in the kitchen as long as you can, reading and writing.
At sundown, rub a smidgen of butter
on the western windowsill
to ask the sun:
Come back again tomorrow.
Subscribe to:
Posts (Atom)