Showing posts with label Poetry Project. Show all posts
Showing posts with label Poetry Project. Show all posts

Saturday, March 2, 2013

Poetry Project: Pablo Neruda

I joined The Poetry Project hosted by Lu at Regular Rumination and Kelly at The Written World last year because of this post by Lu, which highlights a favorite poem of mine by Pablo Neruda - "Sonnet XVII" - whose first stanza decries, "I don't love you as if you were the salt-rose, topaz / or arrow of carnations that propagate fire: / I love you as certain dark things are loved, / secretly, between the shadow and the soul."

Neruda has been a favorite poet of mine since I discovered his slim volume Twenty Love Poems and a Song of Despair years ago.  Partly what I love about him is the earthy, concrete quality of his poetry.  There is nothing ethereal or effervescent about his love poetry.  It is occasionally dark, often fleshy, and always rooted in the reality of everyday life and objects - like his book Ode to Common Things.

For February, I decided to re-read Twenty Love Poems and a Song of Despair as well as a compilation of Neruda poems by Mary Heebner and Alastair Reid (translator) entitled, simply, Intimacies, as a way to celebrate this month of love.  I've read and re-read Twenty Love Poems and a Song of Despair many times, but it is one of those collections that I know I will return to again and again.  The language and imagery is just as fresh and evocative as when Neruda penned his poems in 1924.  Every time I return to it, a new poem catches my eye or a line makes my breath catch in my throat.

My copies of Twenty Love Poems and a Song of Despair and Intimacies are not just intellectually stimulating; they are also visually captivating.  Each poem in Twenty Love Poems and a Song of Despair is matched with a sensual, pencil drawing by Pablo Picasso.  Intimacies pairs various love poems by Neruda with coppery "elusive as water, yet sculptural" nudes by artist Mary Heebner.

Below are two of my favorite poems - one from each collection:

from Twenty Love Poems and a Song of Despair

"So That You Will Hear Me"

So that you will hear me
my words
sometimes grow thin
as the tracks of gulls on the beaches.

Necklace, drunken bell
for your hands smooth as grapes.

And I watch my words from a long way off.
They are more yours than mine.
They climb on my old suffering like ivy.

It climbs the same way on damp walls.
You are to blame for this cruel sport.
They are fleeing from my dark lair.
You fill everything, you fill everything.

Before you they peopled the solitude that you occupy,
and they are more used to my sadness then you are.

Now I want them to say what I want to say to you
to make you hear as I want you to hear me.

The wind of anguish still hauls on them as usual.
Sometimes hurricanes of dreams still knock them over.
You listen to other voices in my painful voice.

Lament of old mouths, blood of old supplications.
Love me, companion.  Don't forsake me.  Follow me.
Follow me, companion, on this way of anguish.

But my words become stained with your love.
You occupy everything, you occupy everything.

I am making them into an endless necklace
for your white hands, smooth as grapes.

I love the effect of the repetition of "You fill everything" and "You occupy everything."  It is as if the speaker of the poem is in quiet awe of his lover.  I relate to this poem because, although I am wordy, I have difficulty expressing deep rooted emotion to those I love, and I understand Neruda completely when he writes, "Now I want them to say what I want to say to you / to make you hear as I want you to hear me."  I understand that desire for your words to carry more than just their explicit meaning and for that subtext to be understood by the receiver.

from Intimacies: Poems of Love

"Love"

So many days, oh so many days
seeing you so tangible and so close,
how do I pay, with what do I pay?

The bloodthirsty spring
has awakened in the woods.
The foxes start from their earths,
the serpents drink the dew,
and I go with you in the leaves
between the pines and the silence,
asking myself how and when
I will have to pay for my luck.

Of everything I have seen,
it's you I want to go on seeing;
of everything I've touched,
it's your flesh I want to go on touching.
I love your orange laughter.
I am moved by the sight of you sleeping.

What am I to do, love, loved one?
I don't know how others love
or how people loved in the past.
I live, watching you, loving you.
Being in love is my nature.

You please me more each afternoon.

Where is she?  I keep on asking
if your eyes disappear.
How long she's taking!  I think, and I'm hurt.
I feel poor, foolish and sad,
and you arrive and you are lightning
glancing off the peach trees.

That's why I love you and yet not why.
There are so many reasons, and yet so few,
for love has to be so,
involving and general,
particular and terrifying,
joyful and grieving,
flowering like the stars,
and measureless as a kiss.

That's why I love you and yet not why.
There are so many reasons, and yet so few,
for love has to be so,
involving and general,
particular and terrifying,
joyful and grieving,
flowering like the stars,
and measureless as a kiss.

As I noted previously, I love Neruda's use of repetition - this time an entire stanza.  It is always so intentional, and in this poem, it serves to highlight the lines "That's why I love you and yet not why. / There are so many reasons, and yet so few."  The repetition of the catalog that follows underscores these are the reasons and yet they are not.  I cannot name them all and even the ones I can name are constantly changing.  Also, the stanza which begins "Of everything I have seen, / it's you I want to go on seeing; / of everything I've touched, / it's your flesh I want to go on touching." strikes me as one of the simplest yet most romantic expressions of love I've ever read.

Neruda was a tremendous poetic and political influence in his native Chile, and I encourage you if you have not to read some of his other work and even check into his history.  He is a fascinating man with an uncanny ability to express universal observations and emotions in a unique way.

Wednesday, January 2, 2013

A Christmas Carol by Christina Rossetti

I have already posted several poems by Christina Rossetti since I started participating in the Poetry Project hosted by Lu at Regular Rumination and Kelly at The Written World in July.  I didn't realize how big of an impact her poetry had on me until I would look at the month's poetic theme, and a poem of hers would immediately pop in my head, like "Goblin Market" did in October, or I would stumble across one of her poems and think I have to post this, like "A Christmas Carol (For My Godchildren)" in December.  I knew January was Christina Rossetti month, and every time I posted one of her poems here, I thought, Maybe I should save this for January, but I knew I would think of something else wonderful to share.  While I was reading up on "A Christmas Carol (For My Godchildren)," I ran across a poem that for my entire life I thought was only a hymn we sang at Christmas time.  I had no idea it was first a poem by Rossetti.  Also entitled "A Christmas Carol" (apparently Rossetti wrote lots of Christmas Carols), this poem has been turned into a hymn by Gustav Holst known by its first line "In the Bleak Midwinter."  It is a beautiful, melodic piece.  I still think it is appropriate to share in January due to its winter theme.  I'm sure I'll find another Rossetti gem to share before the month is over.  I have also included a link to a video of the poem being sung, so readers can get the full effect.

Happy New Year!

In the Bleak Midwinter sung by Choir of Kings College, Cambridge (that means it's good, y'all)

A Christmas CarolChristina Rossetti

Source: The Poetical Works of Christina Georgina Rossetti, with a Memoir and Notes by William Michael Rossetti (1904), p. 246

In the bleak mid-winter
Frosty wind made moan,
Earth stood hard as iron,
Water like a stone;
Snow had fallen, snow on snow,
Snow on snow,
In the bleak mid-winter
Long ago.

Our God, Heaven cannot hold Him
Nor earth sustain;
Heaven and earth shall flee away
When He comes to reign:
In the bleak mid-winter
A stable-place sufficed
The Lord God Almighty
Jesus Christ.

Enough for Him, whom cherubim
Worship night and day,
A breastful of milk
And a mangerful of hay;
Enough for Him, whom angels
Fall down before,
The ox and ass and camel
Which adore.

Angels and archangels
May have gathered there,
Cherubim and seraphim
Thronged the air,
But only His mother
In her maiden bliss
Worshipped the Beloved
With a kiss.

What can I give Him,
Poor as I am?
If I were a shepherd
I would bring a lamb,
If I were a Wise Man
I would do my part, –
Yet what I can I give Him,
Give my heart.

Before 1872

Monday, December 31, 2012

Poetry Project Mid-Year Reflection

The Poetry Project is hosted by Regular Rumination and The Written World.

1) What has been the most rewarding aspect of The Poetry Project so far?

Reading poetry again, sticking to a blogging schedule, and reigniting my love for writing poetry
 

2) What is your favorite post from a fellow Poetry Project participant this year?

Lu's How to Love a Poem
Nancy's [Readings in Philippine Literature: Poetry #3] Filipino poets on the "burning" power of love (with Pulitzer Prize in Poetry winners as guests)

3) What is your favorite poem that you have read because of The Poetry Project?

It was impossible to choose just one!  The Poetry Project has introduced me to lots of fantastic poetry and poets - some old, some new.  Surprisingly since I am not a fan of Halloween or "scary" motifs in general, most of my favorite poems came from the October round-up.

A Spiral Notebook by Ted Kooser
Wind by Ted Hughes
Cemetery by Marra PL. Lanot
Haunted Houses by Henry Wadsworth Longfellow

4) What are some poetry-related goals you’d like to set for the coming year?
  1. read a little poetry at least once a week
  2. read more new/modern poets
  3. work through some of my favorite poets' canons (Pablo Neruda, Anne Sexton)
  4. write more poetry - as the new year begins, I am planning on beginning a new feature on my blog called "Scripted Verses" where I post an original poem every Friday. 
5) Do you have any suggestions for The Poetry Project in 2013? What would you like to see happen?

I would like to see monthly themes dedicated to the most unusual poem you've ever read or a poem translated from a different language or your favorite poem from childhood.  As a child, I was partial to "The Purple Cow" by Gelett Burgess, "Sick" by Shel Silverstien, and "I'm Nobody! Who Are You?" by Emily Dickinson.

6) Share with us one line of poetry that you think we need to read.

I've already shared one of my favorite lines from a Pablo Neruda poem here when I began this project, but here are some other favorites lines and poems I recommend:

Gibbons Ruark's "To The Swallows of Viterbo"

The flawed hinges of our shoulders shine

Gibbons Ruark's "Basil" (posted with commentary by poet Kathryn Stripling Byer) 

Your quick hand on my face the scent of basil

I also highly recommend Michael McFee's The Smallest Talk - a collection of one line poems.  I've read this book over and over again, and I still find something to love every time.  Here's a teaser (or two): 

Dermatographia

Look how her nails spoke in tongues all over my back

Sharing Chapstick

The closest his lips may come to touching hers  

7) Is there a new poet that you have discovered through The Poetry Project?

I can always count on Snowball @ Come, Sit by the Hearth to post diverse poems and poets.

8) Anything else you would like to share?

In keeping with my first posts as part of this project where I shared my personal poetry, often inspired by the very poets whose poems I posted, I thought I would share my ode to Gibbons Ruark in the mode of "To The Swallows of Viterbo"; also, keep an eye out for more of my original poems.  I plan on posting one every Friday in the New Year. 

To the Swallows                                                                                 

We are all angels fallen down,
Gingerly feeling the points where our
Wings once sprouted, reminders rounded
And hunched in a menacing glower,

Warning others to stay away.
These “flawed hinges of our shoulders”
That one poet once enshrined lay
On our backs like Atlas’s boulders;

A heavy burden we all carry
As a result of our swift tumble
From grace that left us frightened and wary
Of loving another and fumbling

Our way through life knowing something
Is just out of reach or missing.    


Sunday, December 23, 2012

A Christmas Carol (For My Godchildren) by Christina Rossetti

I read an abbreviated version of this poem in my church's Advent Devotional and thought it was a lovely proclamation of the Christmas spirit as well as a way to honor the 27 new angels in heaven sent from Connecticut last week.

A Christmas Carol (For My Godchildren)
Christina Rossetti

Source: The Poetical Works of Christina Georgina Rossetti, with a Memoir and Notes by William Michael Rossetti (1904), page 187

The Shepherds had an Angel,
The Wise Men had a star,
But what have I, a little child,
To guide me home from far,
Where glad stars sing together
And singing angels are? –

Lord Jesus is my Guardian,
So I can nothing lack:
The lambs lie in His bosom
Along life's dangerous track:
The wilful lambs that go astray
He bleeding fetches back.

Lord Jesus is my guiding star,
My beacon-light in heaven:
He leads me step by step along
The path of life uneven:
He, true light, leads me to that land
Whose day shall be as seven.

Those Shepherds through the lonely night
Sat watching by their sheep,
Until they saw the heavenly host
Who neither tire nor sleep,
All singing 'Glory glory'
In festival they keep.

Christ watches me, His little lamb,
Cares for me day and night,
That I may be His own in heaven:
So angels clad in white
Shall sing their 'Glory glory'
For my sake in the height.

The Wise Men left their country
To journey morn by morn,
With gold and frankincense and myrrh,
Because the Lord was born:
God sent a star to guide them
And sent a dream to warn.

My life is like their journey,
Their star is like God's book;
I must be like those good Wise Men
With heavenward heart and look:
But shall I give no gifts to God? –
What precious gifts they took!

Lord, I will give my love to Thee,
Than gold much costlier,
Sweeter to Thee than frankincense,
More prized than choicest myrrh:
Lord, make me dearer day by day,
Day by day holier;

Nearer and dearer day by day:
Till I my voice unite,
And I sing my 'Glory glory'
With angels clad in white;
All 'Glory glory' given to Thee
Through all the heavenly height.

6 October 1856

Posted for The Poetry Project hosted by Regular Rumination and The Written World

Saturday, December 1, 2012

Questions About Angels by Billy Collins

The same day that my intrepid English teacher introduced Thomas Hardy's "The Oxen," she also introduced Billy Collins; therefore, the two are often linked in my mind.  While perusing the Internet for some of Billy Collins' later work, I stumbled across one of my favorites "Questions About Angels" and decided it would make an excellent addition to The Poetry Project's holiday poems.*  The mystery that surrounds the divine origins of the traditional Christmas season is one that scholars, poets, and the average person have been researching and writing about for centuries.  Collins' poem is just one reflection on the manifestation of the angel.

Questions About Angels
By Billy Collins

Of all the questions you might want to ask
about angels, the only one you ever hear
is how many can dance on the head of a pin.

No curiosity about how they pass the eternal time
besides circling the Throne chanting in Latin
or delivering a crust of bread to a hermit on earth
or guiding a boy and girl across a rickety wooden bridge.

Do they fly through God's body and come out singing?
Do they swing like children from the hinges
of the spirit world saying their names backwards and forwards?
Do they sit alone in little gardens changing colors?

What about their sleeping habits, the fabric of their robes,
their diet of unfiltered divine light?
What goes on inside their luminous heads? Is there a wall
these tall presences can look over and see hell?

If an angel fell off a cloud, would he leave a hole
in a river and would the hole float along endlessly
filled with the silent letters of every angelic word?

If an angel delivered the mail, would he arrive
in a blinding rush of wings or would he just assume
the appearance of the regular mailman and
whistle up the driveway reading the postcards?

No, the medieval theologians control the court.
The only question you ever hear is about
the little dance floor on the head of a pin
where halos are meant to converge and drift invisibly.

It is designed to make us think in millions,
billions, to make us run out of numbers and collapse
into infinity, but perhaps the answer is simply one:
one female angel dancing alone in her stocking feet,
a small jazz combo working in the background.

She sways like a branch in the wind, her beautiful
eyes closed, and the tall thin bassist leans over
to glance at his watch because she has been dancing
forever, and now it is very late, even for musicians.

*The Poetry Project is hosted by Regular Rumination and The Written World.

The Oxen by Thomas Hardy

A word of caution faithful readers: I am about to reveal just how much of a compulsive organizer I am.

I am obsessive about my to-do list.  When I got an iPhone, it only got worse.  Now I had a way to sync, update, and keep track of multiple items all in one place.  Heaven.  My husband jokingly says to me, "You really use your electronic devices to the fullest, don't you?"  And though he means it in jest, I very seriously respond, "Yes, otherwise what would be the point?  And besides, the dog has never once missed her Frontline or Heartguard."

What does this have to do with Christmas poems you might ask?  Well, when I joined The Poetry Project hosted by Lu at Regular Rumination and Kelly at The Written World this summer, I went ahead and put every month's theme on my calendar, so when the first of the month rolls around, I remember to post a poem on my blog.  (By the way, this is the only blog schedule I stick to.)  When I added the holiday poems for December, I also added a note about Thomas Hardy's "The Oxen."  So when I woke up this morning and saw "PP Holdiay poems" on my to-do list.  I immediately thought, "I'm going to post Thomas Hardy's "The Oxen."  In short, this poem epitomizes Christmas for me.  I'm not sure why other than I was introduced to it by a favorite teacher of mine on my first day of ENG 101, and isn't that what Christmas is all about?  Memories and traditions?  And hope - upon re-reading this poem, I am struck by the last two lines, "I should go with him in the gloom / Hoping it might be so."  I wish each and everyone of you a Merry Christmas rich with your own memories and traditions no matter how quirky they may be.

"The Oxen"
Thomas Hardy

Christmas Eve, and twelve of the clock.
"Now they are all on their knees,"
An elder said as we sat in a flock
By the embers in hearthside ease.

We pictured the meek mild creatures where
They dwelt in their strawy pen,
Nor did it occur to one of us there
To doubt they were kneeling then.

So fair a fancy few would weave
In these years! Yet, I feel,
If someone said on Christmas Eve,
"Come; see the oxen kneel

"In the lonely barton by yonder coomb
Our childhood used to know,"
I should go with him in the gloom,
Hoping it might be so.  


*Coming soon!  How I met Ellen Hopkins, Sonya Sones, David Levithan, and Maggie Stiefvater as well as reviews of their respective works

*Also! Poetry Project mid-year reflection and End of the Year Book Survey 2012

Sunday, November 4, 2012

"The Cherry Trees" by Edward Thomas

I'm not really one for war poetry or politics, which is generally at the root of war, so it took a bit of browsing for me to find something for this month's Poetry Project theme.*  I remembered, though, a short poem I had read in college that is about war but not really. Edward Thomas' "The Cherry Trees" evokes the image of the cherry blossom in two forms for me - one strewing the coffins of the dead and the other blanketing the path for young lovers to be wed.  Published in 1916 during WWI, the twist is no lovers walk this way today for the war has changed the landscape and culture.

"The Cherry Trees"

The cherry trees bend over and are shedding,
On the old road where all that passed are dead,
Their petals, strewing the grass as for a wedding
This early May morn when there is none to wed.

*The Poetry Project is hosted by Regular Rumination and The Written World.

Saturday, October 6, 2012

Goblin Market by Christina Rossetti

This month's Poetry Project, hosted by Lu at Regular Rumination and Kelly at The Written World, calls for a Halloween poem - appropriate for October.  Immediately when I saw the prompt for this month, I thought of Christina Rossetti's "Goblin Market."  Although not technically a Halloween poem, it does feature goblins and the main character, Laura, turns into something of a zombie; in fact, it is downright creepy.  Yet, there is something sexy about it too - what with all the pomegranates, sucking, and forbidden fruits - again, appropriate considering how sexy Halloween has gotten.  Above all though, "Goblin Market" is intended as a warning akin to the one we all got as a kid - "Don't take candy from strangers!" - another lesson applicable to celebrating All Hallow's Eve.  If you are a long time fan or a first timer to Rossetti's "Goblin Market," I also encourage you to check out Laini Taylor's Lips Touch: Three Times, a collection of short stories about the power of the kiss.  The first in the series, "Goblin Fruit," parallels "Goblin Market."

Goblin Market
Christina Rossetti

Morning and evening
Maids heard the goblins cry:
“Come buy our orchard fruits,
Come buy, come buy:
Apples and quinces,
Lemons and oranges,
Plump unpeck’d cherries,
Melons and raspberries,
Bloom-down-cheek’d peaches,
Swart-headed mulberries,
Wild free-born cranberries,
Crab-apples, dewberries,
Pine-apples, blackberries,
Apricots, strawberries;—
All ripe together
In summer weather,—
Morns that pass by,
Fair eves that fly;
Come buy, come buy:
Our grapes fresh from the vine,
Pomegranates full and fine,
Dates and sharp bullaces,
Rare pears and greengages,
Damsons and bilberries,
Taste them and try:
Currants and gooseberries,
Bright-fire-like barberries,
Figs to fill your mouth,
Citrons from the South,
Sweet to tongue and sound to eye;
Come buy, come buy.”

               Evening by evening
Among the brookside rushes,
Laura bow’d her head to hear,
Lizzie veil’d her blushes:
Crouching close together
In the cooling weather,
With clasping arms and cautioning lips,
With tingling cheeks and finger tips.
“Lie close,” Laura said,
Pricking up her golden head:
“We must not look at goblin men,
We must not buy their fruits:
Who knows upon what soil they fed
Their hungry thirsty roots?”
“Come buy,” call the goblins
Hobbling down the glen.

“Oh,” cried Lizzie, “Laura, Laura,
You should not peep at goblin men.”
Lizzie cover’d up her eyes,
Cover’d close lest they should look;
Laura rear’d her glossy head,
And whisper’d like the restless brook:
“Look, Lizzie, look, Lizzie,
Down the glen tramp little men.
One hauls a basket,
One bears a plate,
One lugs a golden dish
Of many pounds weight.
How fair the vine must grow
Whose grapes are so luscious;
How warm the wind must blow
Through those fruit bushes.”
“No,” said Lizzie, “No, no, no;
Their offers should not charm us,
Their evil gifts would harm us.”
She thrust a dimpled finger
In each ear, shut eyes and ran:
Curious Laura chose to linger
Wondering at each merchant man.
One had a cat’s face,
One whisk’d a tail,
One tramp’d at a rat’s pace,
One crawl’d like a snail,
One like a wombat prowl’d obtuse and furry,
One like a ratel tumbled hurry skurry.
She heard a voice like voice of doves
Cooing all together:
They sounded kind and full of loves
In the pleasant weather.

               Laura stretch’d her gleaming neck
Like a rush-imbedded swan,
Like a lily from the beck,
Like a moonlit poplar branch,
Like a vessel at the launch
When its last restraint is gone.

               Backwards up the mossy glen
Turn’d and troop’d the goblin men,
With their shrill repeated cry,
“Come buy, come buy.”
When they reach’d where Laura was
They stood stock still upon the moss,
Leering at each other,
Brother with queer brother;
Signalling each other,
Brother with sly brother.
One set his basket down,
One rear’d his plate;
One began to weave a crown
Of tendrils, leaves, and rough nuts brown
(Men sell not such in any town);
One heav’d the golden weight
Of dish and fruit to offer her:
“Come buy, come buy,” was still their cry.
Laura stared but did not stir,
Long’d but had no money:
The whisk-tail’d merchant bade her taste
In tones as smooth as honey,
The cat-faced purr’d,
The rat-faced spoke a word
Of welcome, and the snail-paced even was heard;
One parrot-voiced and jolly
Cried “Pretty Goblin” still for “Pretty Polly;”—
One whistled like a bird.

               But sweet-tooth Laura spoke in haste:
“Good folk, I have no coin;
To take were to purloin:
I have no copper in my purse,
I have no silver either,
And all my gold is on the furze
That shakes in windy weather
Above the rusty heather.”
“You have much gold upon your head,”
They answer’d all together:
“Buy from us with a golden curl.”
She clipp’d a precious golden lock,
She dropp’d a tear more rare than pearl,
Then suck’d their fruit globes fair or red:
Sweeter than honey from the rock,
Stronger than man-rejoicing wine,
Clearer than water flow’d that juice;
She never tasted such before,
How should it cloy with length of use?
She suck’d and suck’d and suck’d the more
Fruits which that unknown orchard bore;
She suck’d until her lips were sore;
Then flung the emptied rinds away
But gather’d up one kernel stone,
And knew not was it night or day
As she turn’d home alone.

               Lizzie met her at the gate
Full of wise upbraidings:
“Dear, you should not stay so late,
Twilight is not good for maidens;
Should not loiter in the glen
In the haunts of goblin men.
Do you not remember Jeanie,
How she met them in the moonlight,
Took their gifts both choice and many,
Ate their fruits and wore their flowers
Pluck’d from bowers
Where summer ripens at all hours?
But ever in the noonlight
She pined and pined away;
Sought them by night and day,
Found them no more, but dwindled and grew grey;
Then fell with the first snow,
While to this day no grass will grow
Where she lies low:
I planted daisies there a year ago
That never blow.
You should not loiter so.”
“Nay, hush,” said Laura:
“Nay, hush, my sister:
I ate and ate my fill,
Yet my mouth waters still;
To-morrow night I will
Buy more;” and kiss’d her:
“Have done with sorrow;
I’ll bring you plums to-morrow
Fresh on their mother twigs,
Cherries worth getting;
You cannot think what figs
My teeth have met in,
What melons icy-cold
Piled on a dish of gold
Too huge for me to hold,
What peaches with a velvet nap,
Pellucid grapes without one seed:
Odorous indeed must be the mead
Whereon they grow, and pure the wave they drink
With lilies at the brink,
And sugar-sweet their sap.”

               Golden head by golden head,
Like two pigeons in one nest
Folded in each other’s wings,
They lay down in their curtain’d bed:
Like two blossoms on one stem,
Like two flakes of new-fall’n snow,
Like two wands of ivory
Tipp’d with gold for awful kings.
Moon and stars gaz’d in at them,
Wind sang to them lullaby,
Lumbering owls forbore to fly,
Not a bat flapp’d to and fro
Round their rest:
Cheek to cheek and breast to breast
Lock’d together in one nest.

               Early in the morning
When the first cock crow’d his warning,
Neat like bees, as sweet and busy,
Laura rose with Lizzie:
Fetch’d in honey, milk’d the cows,
Air’d and set to rights the house,
Kneaded cakes of whitest wheat,
Cakes for dainty mouths to eat,
Next churn’d butter, whipp’d up cream,
Fed their poultry, sat and sew’d;
Talk’d as modest maidens should:
Lizzie with an open heart,
Laura in an absent dream,
One content, one sick in part;
One warbling for the mere bright day’s delight,
One longing for the night.

               At length slow evening came:
They went with pitchers to the reedy brook;
Lizzie most placid in her look,
Laura most like a leaping flame.
They drew the gurgling water from its deep;
Lizzie pluck’d purple and rich golden flags,
Then turning homeward said: “The sunset flushes
Those furthest loftiest crags;
Come, Laura, not another maiden lags.
No wilful squirrel wags,
The beasts and birds are fast asleep.”
But Laura loiter’d still among the rushes
And said the bank was steep.

               And said the hour was early still
The dew not fall’n, the wind not chill;
Listening ever, but not catching
The customary cry,
“Come buy, come buy,”
With its iterated jingle
Of sugar-baited words:
Not for all her watching
Once discerning even one goblin
Racing, whisking, tumbling, hobbling;
Let alone the herds
That used to tramp along the glen,
In groups or single,
Of brisk fruit-merchant men.

               Till Lizzie urged, “O Laura, come;
I hear the fruit-call but I dare not look:
You should not loiter longer at this brook:
Come with me home.
The stars rise, the moon bends her arc,
Each glowworm winks her spark,
Let us get home before the night grows dark:
For clouds may gather
Though this is summer weather,
Put out the lights and drench us through;
Then if we lost our way what should we do?”

               Laura turn’d cold as stone
To find her sister heard that cry alone,
That goblin cry,
“Come buy our fruits, come buy.”
Must she then buy no more such dainty fruit?
Must she no more such succous pasture find,
Gone deaf and blind?
Her tree of life droop’d from the root:
She said not one word in her heart’s sore ache;
But peering thro’ the dimness, nought discerning,
Trudg’d home, her pitcher dripping all the way;
So crept to bed, and lay
Silent till Lizzie slept;
Then sat up in a passionate yearning,
And gnash’d her teeth for baulk’d desire, and wept
As if her heart would break.

               Day after day, night after night,
Laura kept watch in vain
In sullen silence of exceeding pain.
She never caught again the goblin cry:
“Come buy, come buy;”—
She never spied the goblin men
Hawking their fruits along the glen:
But when the noon wax’d bright
Her hair grew thin and grey;
She dwindled, as the fair full moon doth turn
To swift decay and burn
Her fire away.

               One day remembering her kernel-stone
She set it by a wall that faced the south;
Dew’d it with tears, hoped for a root,
Watch’d for a waxing shoot,
But there came none;
It never saw the sun,
It never felt the trickling moisture run:
While with sunk eyes and faded mouth
She dream’d of melons, as a traveller sees
False waves in desert drouth
With shade of leaf-crown’d trees,
And burns the thirstier in the sandful breeze.

               She no more swept the house,
Tended the fowls or cows,
Fetch’d honey, kneaded cakes of wheat,
Brought water from the brook:
But sat down listless in the chimney-nook
And would not eat.

               Tender Lizzie could not bear
To watch her sister’s cankerous care
Yet not to share.
She night and morning
Caught the goblins’ cry:
“Come buy our orchard fruits,
Come buy, come buy;”—
Beside the brook, along the glen,
She heard the tramp of goblin men,
The yoke and stir
Poor Laura could not hear;
Long’d to buy fruit to comfort her,
But fear’d to pay too dear.
She thought of Jeanie in her grave,
Who should have been a bride;
But who for joys brides hope to have
Fell sick and died
In her gay prime,
In earliest winter time
With the first glazing rime,
With the first snow-fall of crisp winter time.

               Till Laura dwindling
Seem’d knocking at Death’s door:
Then Lizzie weigh’d no more
Better and worse;
But put a silver penny in her purse,
Kiss’d Laura, cross’d the heath with clumps of furze
At twilight, halted by the brook:
And for the first time in her life
Began to listen and look.

               Laugh’d every goblin
When they spied her peeping:
Came towards her hobbling,
Flying, running, leaping,
Puffing and blowing,
Chuckling, clapping, crowing,
Clucking and gobbling,
Mopping and mowing,
Full of airs and graces,
Pulling wry faces,
Demure grimaces,
Cat-like and rat-like,
Ratel- and wombat-like,
Snail-paced in a hurry,
Parrot-voiced and whistler,
Helter skelter, hurry skurry,
Chattering like magpies,
Fluttering like pigeons,
Gliding like fishes,—
Hugg’d her and kiss’d her:
Squeez’d and caress’d her:
Stretch’d up their dishes,
Panniers, and plates:
“Look at our apples
Russet and dun,
Bob at our cherries,
Bite at our peaches,
Citrons and dates,
Grapes for the asking,
Pears red with basking
Out in the sun,
Plums on their twigs;
Pluck them and suck them,
Pomegranates, figs.”—

               “Good folk,” said Lizzie,
Mindful of Jeanie:
“Give me much and many: —
Held out her apron,
Toss’d them her penny.
“Nay, take a seat with us,
Honour and eat with us,”
They answer’d grinning:
“Our feast is but beginning.
Night yet is early,
Warm and dew-pearly,
Wakeful and starry:
Such fruits as these
No man can carry:
Half their bloom would fly,
Half their dew would dry,
Half their flavour would pass by.
Sit down and feast with us,
Be welcome guest with us,
Cheer you and rest with us.”—
“Thank you,” said Lizzie: “But one waits
At home alone for me:
So without further parleying,
If you will not sell me any
Of your fruits though much and many,
Give me back my silver penny
I toss’d you for a fee.”—
They began to scratch their pates,
No longer wagging, purring,
But visibly demurring,
Grunting and snarling.
One call’d her proud,
Cross-grain’d, uncivil;
Their tones wax’d loud,
Their looks were evil.
Lashing their tails
They trod and hustled her,
Elbow’d and jostled her,
Claw’d with their nails,
Barking, mewing, hissing, mocking,
Tore her gown and soil’d her stocking,
Twitch’d her hair out by the roots,
Stamp’d upon her tender feet,
Held her hands and squeez’d their fruits
Against her mouth to make her eat.

               White and golden Lizzie stood,
Like a lily in a flood,—
Like a rock of blue-vein’d stone
Lash’d by tides obstreperously,—
Like a beacon left alone
In a hoary roaring sea,
Sending up a golden fire,—
Like a fruit-crown’d orange-tree
White with blossoms honey-sweet
Sore beset by wasp and bee,—
Like a royal virgin town
Topp’d with gilded dome and spire
Close beleaguer’d by a fleet
Mad to tug her standard down.

               One may lead a horse to water,
Twenty cannot make him drink.
Though the goblins cuff’d and caught her,
Coax’d and fought her,
Bullied and besought her,
Scratch’d her, pinch’d her black as ink,
Kick’d and knock’d her,
Maul’d and mock’d her,
Lizzie utter’d not a word;
Would not open lip from lip
Lest they should cram a mouthful in:
But laugh’d in heart to feel the drip
Of juice that syrupp’d all her face,
And lodg’d in dimples of her chin,
And streak’d her neck which quaked like curd.
At last the evil people,
Worn out by her resistance,
Flung back her penny, kick’d their fruit
Along whichever road they took,
Not leaving root or stone or shoot;
Some writh’d into the ground,
Some div’d into the brook
With ring and ripple,
Some scudded on the gale without a sound,
Some vanish’d in the distance.

               In a smart, ache, tingle,
Lizzie went her way;
Knew not was it night or day;
Sprang up the bank, tore thro’ the furze,
Threaded copse and dingle,
And heard her penny jingle
Bouncing in her purse,—
Its bounce was music to her ear.
She ran and ran
As if she fear’d some goblin man
Dogg’d her with gibe or curse
Or something worse:
But not one goblin scurried after,
Nor was she prick’d by fear;
The kind heart made her windy-paced
That urged her home quite out of breath with haste
And inward laughter.

               She cried, “Laura,” up the garden,
“Did you miss me?
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices
Squeez’d from goblin fruits for you,
Goblin pulp and goblin dew.
Eat me, drink me, love me;
Laura, make much of me;
For your sake I have braved the glen
And had to do with goblin merchant men.”

               Laura started from her chair,
Flung her arms up in the air,
Clutch’d her hair:
“Lizzie, Lizzie, have you tasted
For my sake the fruit forbidden?
Must your light like mine be hidden,
Your young life like mine be wasted,
Undone in mine undoing,
And ruin’d in my ruin,
Thirsty, canker’d, goblin-ridden?”—
She clung about her sister,
Kiss’d and kiss’d and kiss’d her:
Tears once again
Refresh’d her shrunken eyes,
Dropping like rain
After long sultry drouth;
Shaking with aguish fear, and pain,
She kiss’d and kiss’d her with a hungry mouth.

               Her lips began to scorch,
That juice was wormwood to her tongue,
She loath’d the feast:
Writhing as one possess’d she leap’d and sung,
Rent all her robe, and wrung
Her hands in lamentable haste,
And beat her breast.
Her locks stream’d like the torch
Borne by a racer at full speed,
Or like the mane of horses in their flight,
Or like an eagle when she stems the light
Straight toward the sun,
Or like a caged thing freed,
Or like a flying flag when armies run.

               Swift fire spread through her veins, knock’d at her heart,
Met the fire smouldering there
And overbore its lesser flame;
She gorged on bitterness without a name:
Ah! fool, to choose such part
Of soul-consuming care!
Sense fail’d in the mortal strife:
Like the watch-tower of a town
Which an earthquake shatters down,
Like a lightning-stricken mast,
Like a wind-uprooted tree
Spun about,
Like a foam-topp’d waterspout
Cast down headlong in the sea,
She fell at last;
Pleasure past and anguish past,
Is it death or is it life?

               Life out of death.
That night long Lizzie watch’d by her,
Counted her pulse’s flagging stir,
Felt for her breath,
Held water to her lips, and cool’d her face
With tears and fanning leaves:
But when the first birds chirp’d about their eaves,
And early reapers plodded to the place
Of golden sheaves,
And dew-wet grass
Bow’d in the morning winds so brisk to pass,
And new buds with new day
Open’d of cup-like lilies on the stream,
Laura awoke as from a dream,
Laugh’d in the innocent old way,
Hugg’d Lizzie but not twice or thrice;
Her gleaming locks show’d not one thread of grey,
Her breath was sweet as May
And light danced in her eyes.

               Days, weeks, months, years
Afterwards, when both were wives
With children of their own;
Their mother-hearts beset with fears,
Their lives bound up in tender lives;
Laura would call the little ones
And tell them of her early prime,
Those pleasant days long gone
Of not-returning time:
Would talk about the haunted glen,
The wicked, quaint fruit-merchant men,
Their fruits like honey to the throat
But poison in the blood;
(Men sell not such in any town):
Would tell them how her sister stood
In deadly peril to do her good,
And win the fiery antidote:
Then joining hands to little hands
Would bid them cling together,
“For there is no friend like a sister
In calm or stormy weather;
To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands.”

Wednesday, September 12, 2012

A New Perspective

A few days ago, as part of The Poetry Project, hosted by Regular Rumination and The Written World, I shared a poem by Stevie Smith entitled "Not Waving But Drowning."  My previous post shared this poem in the context of my current stress and workload without bothering to comment on the structure or meaning of the poem itself.  As I tell my students, all reading and writing begins in a subjective place, with you orienting yourself to text and topic; however, what distinguishes a good scholar is the ability to then step back and take a more objective look at the piece, which is what I would like to do now with Smith's poem.

I love two things about this piece:
  1. The repetition
  2. It's message about perspective
In the poem, the title "not waving but drowning" is integrated into the opening and closing stanzas.  Both times it follows similar yet markedly different lines about how "far out" the speaker of the poem is.  In the first stanza, the speaker addresses the reader using the pronoun you - almost accusingly - stating, "I was much further out than you thought" (emphasis mine).  In the concluding stanza, the speaker, with an almost melancholic turn, states to no one in particular that "I was much too far out all my life." This shift in perspective from open to close is notable because the speaker is no longer focusing on an isolated event but all the events that made up her entire life.  "All my life," says the speaker, I have been the odd man out, and no one noticed, no one cared.

The question the reader is left to ask is this: Who was the speaker fooling?  Herself or those around her?  For whom did the show play out?  Is the speaker realizing for the first time that she has been hiding her true feelings, her drowning, behind a seemingly happy-go-lucky facade of waving, or is she accusing the reader of not paying close attention and mistakenly interpreting the panicked flailing of the drowning as an "all's well here!" wave?

The answer will vary depending on the reader and the reader's current state of mind as I have already demonstrated in my two different posts on the poem.  Ultimately, I think Smith is encouraging us to stop and look again from a different angle.  We may be surprised by what we see.

If you would like to join the conversation, comment below or visit Regular Rumination for information about The Poetry Project.  See a list of current participants here.

Thursday, September 6, 2012

Not Waving But Drowning by Stevie Smith

Posted as part of The Poetry Project hosted by Regular Rumination and The Written World

Things have been CRAZY at work. Normally by four weeks in, the students and I have established a routine and worked out the beginning of the semester kinks; however, we've been contending with new books, new software, and renovations that have disrupted the flow of the semester. Gradually, though, I see us getting in the groove.

This morning when I got up unbearably early to prepare for a day of teaching and back to back conferences, I was reminded of British poet Stevie Smith's, "Not Waving but Drowning." I had a phenomenal Brit. Lit. Poetry teacher in graduate school who introduced me to Stevie Smith and other intriguing British, Scottish, and Irish women poets. This particular poem struck me as a representation of my life in graduate school at the time. I put on the happy face; I was successful; no complaints here! But in reality I was not "waving" cheerily from the shore but drowning under a mountain of stress and research and grading. I made it though, and I think I'm better for it. I know I will say the same from the other side of this tempest I'm currently swirling in, but until then, I'm not waving but drowning.

Not Waving But Drowning
By Stevie Smith

Nobody heard him, the dead man,
But still he lay moaning:
I was much further out than you thought
And not waving but drowning.

Poor chap, he always loved larking
And now he’s dead
It must have been too cold for him his heart gave way,
They said.

Oh, no no no, it was too cold always
(Still the dead one lay moaning)
I was much too far out all my life
And not waving but drowning.

Published 1957

Wednesday, August 22, 2012

Wallace Stevens: "Thirteen Ways of Looking at a Blackbird"

I have always admired poet and Pulitzer Prize winner Wallace Stevens way with imagery.  One of my favorite of his poems is "Thirteen Ways of Looking at a Blackbird."

Thirteen Ways of Looking at a Blackbird

I
Among twenty snowy mountains,
The only moving thing
Was the eye of the blackbird.

II
I was of three minds,
Like a tree
In which there are three blackbirds.

III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.

IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.

V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.

VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.

VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?

VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.

IX
When the blackbird flew out of sight,
It marked the edge
Of one of many circles.

X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.

XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.

XII
The river is moving.
The blackbird must be flying.

XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.

In this poem, Stevens demonstrates the importance and the variance of perspective.  His poem inspired my own "Thirteen Ways of Looking at a Chair."


Thirteen Ways of Looking at a Chair

I.
Strapped above the ground and fed.
Swaddled in a blanket red.

II.
In the homemade dirt
I kneel.
A buzzing saw,
My granddaddy’s hands,
A polished throne is born.

III.
The chair across from me is
empty.
The space you used to occupy
devoid.

IV.
Splintered and lopsided,
Destined for firewood –
Another lover’s quarrel.

V.
Skating over linoleum floors,
Racing towards the finish line.

VI.
Carry me,
I can’t go alone.

VII.
Contemplating the lightning bugs and fireflies,
A swift breeze announces a summer storm.
I slip inside,
Carrying an imprint of wooden slats on my skin.

VIII.
A place of judgment,
questioning,
condemnation.
 
IX.
The backroom of a secondhand shop –
a coat of dust obscures
golden thread and delicate carvings.

X.
The chair sits,
Bald spot polished,
Reflecting light from the table.

XI.
Heavenly seat
From which the All Mighty presides
Giving righteous induction
Into his kingdom.

XII.
Tyra Banks whispering in my ear
“Do you want to be on top?”
I doze.

XIII.
row upon row
we wait
for a final
Electrifying
experience.

What item would you look at thirteen ways?