Category Archives: poetry

Friday Poetry Blogging


Dancing with Green Bees

Find your way to the third hearth
to become a woman of clay -- again.

Just when you believe you are
the definition of thirst,
have endured too many erasures
sealed inside a sere landscape,
you will whirl into the dance
of dragonflies.

Or the dance of the green bees
-- starting in the yellow sheen of morning,
of cactus bloom, of meadowlark, of the shining --
will fling you maiden-like beneath birdshadow.

The path to the third hearth
is strewn with surprises of sparkling quartzite.
You are amidst a fortress of rock, a cathedral of stone,
and the elemental particulate that has undergone
its many metamorphoses as have you.
Landscape bids you to absorb time,
breathe earth dust, the primordial.

There at the third hearth
the women of clay await you.
By their painted faces will you know them.

~Karla Linn Merrifield, printed in Crone, Issue No. 3.

Picture found here.

Saturday Poetry Blogging


THE VASTEST THINGS ARE THOSE WE MAY NOT LEARN

The vastest things are those we may not learn.
We are not taught to die, nor to be born,
Nor how to burn
With love.
How pitiful is our enforced return
To those small things we are the masters of.


~Mervyn Peake

*********************

Which, of course, reminds me of this:

No one ever told us we had to study our lives,
make of our lives a study, as if learning natural history or
music, that we should begin
with the simple exercises first
and slowly go on trying
the hard ones, practicing till strength
and accuracy became one with the daring
to leap into transcendence, take the chance
of breaking down the wild arpeggio
or faulting the full sentence of the fugue.
And in fact we can’t live like that: we take on
everything at once before we’ve even begun
to read or mark time, we’re forced to begin
in the midst of the hard movement,
the one already sounding as we are born.

At most we’re allowed a few months
of simply listening to the simple
line of a woman’s voice singing a child
against her heart. Everything else is too soon,
too sudden, the wrenching-apart, that woman’s heartbeat
heard ever after from a distance
the loss of that ground-note echoing
whenever we are happy, or in despair.

Everything else seems beyond us,
we aren’t ready for it, nothing that was said
is true for us, caught naked in the argument,
the counterpoint, trying to sightread
what our fingers can’t keep up with, learn by heart
what we can’t even read. And yet
it is this we were born to. We aren’t virtuosi
or child prdigies, there are no prodigies
in this realm, only a half-blind, stubborn
cleaving to the timbre, the tones of what we are,
even when all the texts describe it differently.

And we’re not performers, like Liszt, competing
against the world for speed and brilliance
(the 79-year-old pianist said, when I asked her
What makes a virtuoso?—Competitiveness.)
The longer I live the more I mistrust
theatricality, the false glamour cast
by performance, the more I know its poverty beside
the truths we are salvaging from
the splitting-open of our lives
The woman who sits watching, listening,
eyes moving in the darkness
is reheasing in her body, hearing-out in her blood
a score touched off in her perhaps
by some words, a few chords, from the stage,
a tale only she can tell.

But there come times—perhaps this is one of them
when we have to take ourselves more seriously or die . . . .


~Adrienne Rich



Picture found here.

And I’ll Choose the Wood(s)


Brother and Sister
by Terri Windling


do you remember, brother
those days in the wood
when you ran with the deer
falling bloody on my doorstep at dusk
stepping from the skin
grateful to be a man?

and do you know, brother
just how I longed
to wrap myself in the golden hide
smelling of musk
blackberries and rain?

tell me that tale
give me that choice
and I'll choose speed and horn and hoof
give me that choice
all you cruel, clever fairies
and I'll choose the wood(s)
not the prince.

*******************

Picture found here.

Everybody, Take a Chill-Pill


Mercury in Retrograde

BY SHERYL LUNA

The day ended badly with a broken ankle,
a jinxed printer, and a dead car. The dry yellow grass
against the sunset saved me. Roosters

pranced across a lawn of shit, proudly plumed
in black feathers, bobbing before the gray goats.
It was the first day I saw god in the quiet,

and found a mustard seed was very small.
There I had been for years cursing “why?”
and all the gold in the sun fell upon me.

There was a white mare in the midst
of brown smog, majestic in the refinery
clouds. Even the radio wouldn’t work!

My mother limps and her hair falls out.
The faithful drive white Chevy trucks
or yellow Camrys, and I’m here golden

on the smoking shock-less bus.
I lost language in this want, each poem
dust, Spanish fluttered

as music across the desert, even weeds
tumbled unloved. The police sirens seared
the coming night, dogs howled helplessly
sad.

Lo I walk the valley of death, love
lingers in my hard eyes. Mañana never
comes just right. I mend myself in the folds

of paper songs, ring my paper bells
for empty success. Quiero Nada,
if I sing long enough, I’ll grow dreamlike
and find a flock of pigeons, white under
wings lifting awkward bodies like doves
across the silky blue-white sky.

Picture found here.

Marvelous Truth, Confront Us at Every Turn


Matins

BY DENISE LEVERTOV

i

The authentic! Shadows of it
sweep past in dreams, one could say imprecisely,
evoking the almost-silent
ripping apart of giant
sheets of cellophane. No.
It thrusts up close. Exactly in dreams
it has you off-guard, you
recognize it before you have time.
For a second before waking
the alarm bell is a red conical hat, it
takes form.


ii

The authentic! I said
rising from the toilet seat.
The radiator in rhythmic knockings
spoke of the rising steam.
The authentic, I said
breaking the handle of my hairbrush as I
brushed my hair in
rhythmic strokes: That’s it,
that’s joy, it’s always
a recognition, the known
appearing fully itself, and
more itself than one knew.


iii

The new day rises
as heat rises,
knocking in the pipes
with rhythms it seizes for its own
to speak of its invention—
the real, the new-laid
egg whose speckled shell
the poet fondles and must break
if he will be nourished.


iv

A shadow painted where
yes, a shadow must fall.
The cow’s breath
not forgotten in the mist, in the
words. Yes,
verisimilitude draws up
heat in us, zest
to follow through,
follow through,
follow
transformations of day
in its turning, in its becoming.


v

Stir the holy grains, set
the bowls on the table and
call the child to eat.

While we eat we think,
as we think an undercurrent
of dream runs through us
faster than thought
towards recognition.

Call the child to eat,
send him off, his mouth
tasting of toothpaste, to go down
into the ground, into a roaring train
and to school.

His cheeks are pink
his black eyes hold his dreams, he has left
forgetting his glasses.

Follow down the stairs at a clatter
to give them to him and save
his clear sight.

Cold air
comes in at the street door.


vi

The authentic! It rolls
just out of reach, beyond
running feet and
stretching fingers, down
the green slope and into
the black waves of the sea.
Speak to me, little horse, beloved,
tell me
how to follow the iron ball,
how to follow through to the country
beneath the waves
to the place where I must kill you and you step out
of your bones and flystrewn meat
tall, smiling, renewed,
formed in your own likeness.


vii

Marvelous Truth, confront us
at every turn,
in every guise, iron ball,
egg, dark horse, shadow,
cloud
of breath on the air,

dwell
in our crowded hearts
our steaming bathrooms, kitchens full of
things to be done, the
ordinary streets.

Thrust close your smile
that we know you, terrible joy.

Photo by the blogger; if you copy, please link back.

Saturday Poetry Blogging




Day Lilies
by Rosanna Warren

For six days, full-throated, they praised
the light with speckled tongues and blare
of silence by the porch stair:
honor guard with blazons and trumpets raised
still heralding the steps of those
who have not for years walked here
but who once, pausing, chose

this slope for a throng of lilies:
and hacked with mattock, pitching stones
and clods aside to tamp dense
clumps of bog-soil for new roots to seize.
So lilies tongued the brassy air
and cast it back in the sun's
wide hearing. So, the pair

who planted the bulbs stood and heard
that clarion silence. We've heard it,
standing here toward sunset
as those gaping, burnished corollas poured
their flourish. But the petals have
shrivelled, from each crumpled knot
droops a tangle of rough

notes shrunk to a caul of music.
Extend your palms: you could as well
cup sunbeams as pour brim-full
again those absent flowers, or touch the quick
arms of those who bent here, trowel in
hand, and scraped and sifted soil
held in a bed of stone.

Photos by the blogger; if you copy, please link back.

Being in Relationship with Nature


The newsletter from G/Son's Montessori school (sent via paperless e-mail, the better to be shared w/ loving Nonnas!) has a wonderful article about helping each child to find a "sitting space" outside, someplace the child can go to to feel safe, alone, in nature.

Did you have a place like this, as a child?

When I was young, my sitting space was under a giant, old forsythia bush, big enough to have multiple rooms inside it, where you could crawl in under the branches and feel that you were, indeed, in your own little world. I made tea-sets out of sycamore leaves, stitched into little cups with their stems, crawled in there to read without being bothered, lay on my back and learned more than I knew at the time by watching how the sunlight filtered through the leaves and golden flowers.

When I got a bit older, I graduated to a secret cave made by three ancient pine trees, off in the far SouthWest of our yard, sappy branches for climbing and all. The needles made a fragrant bed and no sunlight penetrated here. I went there to "play Indian," "Indian" being about the only model I had for living in relationship with nature. I hid treasures there, watched the ants make colonies, and climbed up higher than my parents would have liked.

When I got even older, my sitting space was down beside a local creek, where I could watch water dance and play with stones, where I could project myself into dragonflies, skimming over the water, where I could put my hands on the sandy bank and believe myself home.

The newsletter from G/Son's school makes the point that ensuring a child a "sitting space" helps the child to develop a relationship with nature, especially as it changes from season to season. There's no program or structure. There's just a child, a special place, time, and nature.

I was thinking today that the concept reminds me of the speech that Le Petit Prince makes to the Earthly roses:
You are beautiful, but you are empty. One could not die for you. To be sure, an ordinary passerby would think that my rose looked just like you — the rose that belongs to me. But in herself alone she is more important than all the hundreds of you other roses: because it is she that I have watered; because it is she that I have put under the glass globe; because it is she that I have sheltered behind the screen; because it is for her that I have killed the caterpillars (except the two or three that we saved to become butterflies); because it is she that I have listened to, when she grumbled, or boasted, or ever sometimes when she said nothing. Because she is my rose
.
Except that, I think that the opposite thing happens. When one learns to enter into relationship with one particular bit of nature, when one learns to communicate with the genius loci of one place, one comes, somehow to a deeper appreciation of all nature.

But I do think it is Le Petit Prince's practice that is important: watering one's rose, protecting it, sheltering it, killing (some of) the caterpillars for it, and listening to it, even when the rose grumbles (every rose I ever tried to raise did), boasts, or says nothing. And, that, I think, is the value, for both children and grown-ups, of a sitting place. Do you have one? Does the child in your life?

Nowadays, my sitting place is in my woodland garden, near my magnolia trees, beside the ferns, just near the spot where I make Hecate's depinion on the Dark Moon. And, of course, I can't go there w/o reciting to myself David McCord's wonderful poem:

This is my rock
And here I run
To steal the secret of the sun.

This is my rock
And here come I
Before the night has swept the sky.

This is my rock
This is the place
I meet the evening face to face.

If you don't have a "sitting space" how could you find one?

Picture found here.

Saturday Poetry Blogging


TO LIVE IS MIRACLE ENOUGH

To live at all is miracle enough.
The doom of nations is another thing.
Here in my hammering blood-pulse is my proof.

Let every painter paint and poet sing
And all the sons of music ply their trade;
Machines are weaker than a beetle’s wing.

Swung out of sunlight into cosmic shade,
Come what come may, the imagination’s heart
Is constellation high and can’t be weighed.

Nor greed nor fear can tear our faith apart
When every heart-beat hammers out the proof
That life itself is miracle enough.

~Mervyn Peake

Picture found here.

What Is Remembered Does Not Die


ON PASSING A GRAVEYARD

May perpetual light shine upon
The faces of all who rest here.
May the lives they lived
Unfold further in spirit.
May the remembering earth
Mind every memory they brought.
May the rains from the heavens
Fall gently upon them.
May the wildflowers and grasses
Whisper their wishes into the light.
May we reverence the village of presence
In the stillness of this silent field.

— John O Donohue

Picture found here

Blessed Samhein to You and Yours.


The longer we are together
the larger death grows around us.
How many we know by now who are dead! We, who were young,
now count the cost of having been.
And yet as we know the dead
we grow familiar with the world.
We, who were young and loved each other
ignorantly now come to know
each other in love, married
by what we have done, as much
as by what we intend. Our hair
turns white with our ripening
as though to fly away in some
coming wind, bearing the seed
of what we know. It was bitter to learn
that we come to death as we come to love,
bitter to face
the just and solving welcome
that death prepares. But that is bitter
only to the ignorant, who pray it will not happen. Having come
the bitter way to better prayer, we have
the sweetness of ripening. How sweet
to know you by the signs of the world!

~Wendell Berry

Picture found here.

An Excerpt from Robbie Burns


May Your Samhein Be No Less Full Blyhte

Now over a waterfall the steam plays,
As through the glen it meandered;
Sometimes round a rocky cliff it strays,
Sometimes in a eddy it dimpled it;
Sometimes glittered to the nightly rays,
With bickering, dancing dazzle;
Sometimes hid underneath the hill sides,
Below the spreading hazel
Unseen that night.

Among the ferns, on the hillside,
Between her and the moon,
The Devil, or else a young cow in the open,
Got up and gave a croon:
Poor Leezie's heart almost leaped the sheath;
Near lark high she jumped,
But missed a foot, and in the pool
Out over the ears she plumped
With a plunge that night.

In order, on the clean hearth-stone,
The small wooden vessel three are ranged;
And every time great care is taken
To see them duly changed:
Old uncle John, who wedlock's joys
Since Mar's-year (1715) did desire,
Because he got the empty dish three times,
He heaved them on the fire
In wrath that night.

With merry songs, and friendly talk,
I wager they did not weary;
And wondrous tales, and funny jokes -
Their sports were cheap and cheery:
Till buttered sows, with fragrant smoke,
Set all their tongues a wagging;
Then, with a social glass of liquor,
They parted off careering
Full blythe that night.

************

May you dance the Spiral Dance and may the veils part gently for you.

Picture found here.

Sunday Poetry Blogging


By what miracle
does this cracker
made from Kansas wheat,
this cheese ripened in French caves, this fig, grown and dried near Ephesus,
turn into Me?
My eyes,
My hands,
My cells, organs, juices, thoughts?

Am I not then Kansas wheat
and French cheese
and Smyrna figs?
Figs, no doubt,
the ancient Prophets ate?

~Judith Morley in Earth Prayers from Around the World: 365 Prayers, Poems, and Invocations for Honoring the Earth, ed. by Elizabeth Roberts & Elias Amidon

Picture found here.

Synchronicity: You’re Soaking in It


This grand show is eternal.
It is always sunrise
somewhere;
the dew is never all dried at once;
a shower is forever falling;
vapor is ever rising.

Eternal sunrise,
eternal sunset, eternal dawn
and gloaming, on sea
and continents and islands,
each in its turn,
as the round earth rolls.

~John Muir, quoted in Muir Woods Meditations, edited by Robert Lieber

And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs --
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings

Gerard Manley Hopkins in Lyra Sacra

Picture found here.

Eat, Pray, Love — But, Then, I Repeat Myself


Aquila ka Hecate explains, much better than I could, what I was trying to say in the post below about how our eating relates to our religion:
I'm not even stretching the truth to make a point when I say that the weed by the roadside, the crumb of granite rolling on the pavement, the motes of illuminated air dancing in the evening streetlights, the very quarks themselves - all partake of this consciousness which builds and destroys, eats and is eaten. I'm part of the process. My body is, and will be, food. It is food right now for milliard mites and bacteria. Any woman who has born a child (and most who have not) are in no doubt that they are food, too.

When I die, I expect to be food for insects and worms and single-celled organisms. I eat animals as well as plants because I do not distinguish between their levels of consciousness - indeed, I feel that distinguishing in such a way may be only what we humans tend to do.

I'll propose two very basic ways to change your own relationship with eating: (1) Stop criticizing others for how they eat/don't eat, what they eat/don't eat, how much they eat/don't eat, etc. When you find yourself about to give voice to judgment (even internally) on this point, take a breath, ground, center, see if you can just be present for a moment with that unnoticed part of yourself that makes you care what someone else puts in their mouth. (2) Begin to practice mindfullness concerning your own food. Simply stopping for a few seconds and sending gratitude to the plant or animal that you are about to consume -- and to the people who harvested, slaughtered, prepared it -- can become a very powerful spiritual practice.

And, of course, there are poems:
Oh my brothers of the wilderness,
My little brothers,
For my necessities
I am about to kill you!
May the Master of Life who made you
In the form of the quarry
That the children may be fed,
Speedily provide you
Another house,
So there may be peace
Between me and thy spirit.

~Mary Austin, in Earth Prayers from Around the World: 365 Prayers, Poems & Invocations for Honoring the Earth, edited by Elizabeth Roberts & Elias Amidon

Picture found here.

A Month of Contradictions


October Journey


Traveller take heed for journeys undertaken in the dark of
the year.
Go in the bright blaze of Autumn's equinox.
Carry protection against ravages of a sun-robber, a vandal,
a thief.
Cross no bright expanse of water in the full of the
moon.
Choose no dangerous summer nights;
no heavy tempting hours of spring;
October journeys are safest, brightest, and best.

I want to tell you what hills are like in October
when colors gush down mountainsides
and little streams are freighted with a caravan of leaves,
I want to tell you how they blush and turn in fiery shame
and joy,
how their love burns with flames consuming and terrible
until we wake one morning and woods are like a smoldering
plain--
a glowing caldron full of jewelled fire;
the emerald earth a dragon's eye
the poplars drenched with yellow light
and dogwoods blazing bloody red.
Travelling southward earth changes from gray rock to green
velvet.
Earth changes to red clay
with green grass growing brightly
with saffron skies of evening setting dully
with muddy rivers moving sluggishly.
In the early spring when the peach tree blooms
wearing a veil like a lavender haze
and the pear and plum in their bridal hair
gently snow their petals on earth's grassy bosom below
then the soughing breeze is soothing
and the world seems bathed in tenderness,
but in October
blossoms have long since fallen.
A few red apples hang on leafless boughs;
wind whips bushes briskly
And where a blue stream sings cautiously
a barren land feeds hungrily.
An evil moon bleeds drops of death.
The earth burns brown.
Grass shrivels and dries to a yellowish mass.
Earth wears a dun-colored dress
like an old woman wooing the sun to be her lover,
be her seetheart and her husband bound in one.
Farmers heap hay in stacks and bind corn in shocks
against the biting breath of frost.
The train wheels hum, "I am going home, I am going home,
I am moving toward the South."
Soon cypress swamps and muskrat marshes
and black fields touched with cotton will appear.
I dream again of my childhood land
of a neighbor's yard with a redbud tree
the smell of pine for turpentine
an Easter dress, a Christmas eve
and winding roads from the top of a hill.
A music sings within my flesh
I feel the pulse within my throat
my heart fills up with hungry fear
while hills and flatlands stark and staring
before my dark eyes sad and haunting
appear and disappear.
Then when I touch this land again
the promise of a sun-lit hour dies.
The greeness of an apple seems
to dry and rot before my eyes.
The sullen winter rains
are tears of grief I cannot shed.
The windless days are static lives.
The clock runs down
timeless and still.
The days and nights turn hours to years
and water in a gutter marks the circle of another world
hating, resentful, and afraid,
stagnant, and green, and full of slimy things.

~Margaret Walker

Photo by the blogger; if you copy, please link back.

An Oldie, But a Goodie


Pronoia Is the Antidote to Paranoia
~Rob Brezny

This is a perfect moment.

It’s a perfect moment for many reasons, but especially because you and I are waking up from our sleepwalking, thumb-sucking, dumb-clucking collusion with the masters of illusion and destruction.

Thanks to them, from whom the painful blessings flow, we are waking up.

Their wars and tortures,
their crimes against nature,
extinctions of species
and brand new diseases.

Their spying and lying
in the name of the father,
sterilizing seeds and
trademarking water.

Molestations of God,
celebrations of shame,
stealing our dreams and
changing our names.

Their cunning commercials
and blood-sucking hustles,
their endless rehearsals
for the end of the world.

Thanks to them, from whom the awful teachings flow, we are waking up.

•
Their painful blessings are cracking open more and more gashes in the shrunken and crippled mass hallucination that is mistakenly called “reality.” And through the fractures, ripe eternity is flooding in; news of the soul’s true home is pouring in; our allies from the other side of the veil are swarming in, inspiring us to become smarter and wilder and kinder and trickier.

We are waking up.

As heaven and earth come together, as the dreamtime and daytime merge, we register the shockingly exhilarating fact that we are in charge of creating a brand new world. Not in some distant time or faraway place, but right here and right now.
•
As we stand on this brink, as we dance on this verge, we can’t let the ruling fools of the dying world sustain their curses. We have to rise up and fight their insane logic; defy, resist, and prevent their tragic magic; unleash our sacred rage and supercharge it.

But overthrowing the living dead is not enough. Protesting the well-dressed monsters is not enough. We can’t afford to be consumed with our anger; we can’t be obsessed and possessed by their danger. Our mysterious bodies crave delight and fertility. Our boisterous imaginations demand fresh tastes of infinity.

In the new world we’re gestating, we need to be suffused with lusty compassion and ecstatic duty, ingenious love and insurrectionary beauty. We’ve got to be teeming with radical curiosity and reverent pranks, voracious listening and ferocious thanks.
•
So I'm curious, my fellow creators. Since you and I are in charge of making a new world—not just breaking the old world—where do we begin? What stories do we want at the heart of our experiments? What questions will be our oracles?

Here's what I say: We will ignore the cult of doom and gloom and embrace the cause of zoom and boom. We will laugh at the stupidity of evil and hate, and summon the brilliance to praise and create. No matter how upside-down it all may temporarily appear, we will have no fear because we know this secret: Life is crazily in love with us—wildly and innocently in love with us. The universe always gives us exactly what we need, exactly when we need it.

Pronoia is our word of power, the spell we cast to shake ourselves awake again and again. It’s the antidote for paranoia. It’s the brazen perception that all of creation is conspiring to shower us with blessings.

Pronoia means that even if we can’t see and don’t know, primal benefactors are plotting to emancipate us. The winds and tides are on our side, forever and ever, amen. The fire and rain are scheming to steal our pain. The sun and moon know our real names, and the animals pray for us while we’re dreaming. Do you believe in guardian angels and divine helpers? Whether you do or not, they’re always wangling to give you the gifts you don’t even realize you want. Can you guess how many humble humans are busy making things for you to use and enjoy?
•
I’m allergic to dogma. I thrive on the riddles. Any idea I believe, I reserve the right to disbelieve as well.

But more than any other vision I’ve ever tested, pronoia describes the way the world actually is. It’s wetter than water, stronger than death, and truer than the news. It smells like cedar smoke in early spring rain, and if you close your eyes right now, you can feel it shimmering like the aurora borealis in your organs and muscles. Its song is your blood’s song.

Some people argue that life is strife and suffering is normal. Others swear we’re born sinful and only heaven can provide us with the peace that passes understanding. But pronoia says that being alive on the rough green and brown earth is the highest honor and privilege. It’s an invitation to work wonders and perform miracles that aren’t possible in any nirvana, promised land, or afterlife.

I’m not exaggerating or indulging in poetic metaphor when I tell you that we are already living in paradise. Visualize it if you dare. The sweet stuff that quenches all of our longing is not far away in some other time and place. It’s right here and right now.

Poet Elizabeth Barrett Browning knew the truth: “Earth’s crammed with heaven.”

Glory in the Highest

Picture found here.

For My Wonderful DiL


The Idea of Order at Key West

Wallace Stevens

She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.
The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard,
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.

For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this? we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.
If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end
And sound alone. But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.

It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world
In which she sang. And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker. Then we,
As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.

Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As the night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.

Oh! Blessed rage for order, pale Ramon,
The maker's rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.

Picture found here.

Saturday Poetry Blogging


The Geese

slicing this frozen sky know
where they are going—
and want to get there.

Their call, both strange
and familiar, calls
to the strange and familiar

heart, and the landscape
becomes the landscape
of being, which becomes

the bright silos and snowy
fields over which the nuanced
and muscular geese

are calling—while time
and the heart take measure.

~JANE MEAD

More poems found here and here.

Picture found here.

Blessed Mabon


Hurrahing in Harvest

Summer ends now; now, barbarous in beauty, the stooks rise
Around; up above, what wind-walks! what lovely behaviour
Of silk-sack clouds! has wilder, willful-wavier
Meal-drift moulded ever and melted across skies?

I walk, I lift up, I lift up heart eyes,
Down all that glory in the heavens to glean our Saviour;
And, eyes, heart, what looks, what lips yet gave you a
Rapturous love’s greeting of realer, of rounder replies?

And the azurous hung hills are his world wielding shoulder
Majestic as a stallion stalwart, very-violet-sweet! –
These things, these things were here and but the beholder
Wanting; which two when they once meet,
The heart rears wings bold and bolder
And hurls for him, O half hurls earth for him off under his feet

~Gerard Manley Hopkins

Picture found here.

Labor Day Poetry Slam


TWO TRAMPS IN MUD TIME
~R. Frost

Out of the mud two strangers came
And caught me splitting wood in the yard,
And one of them put me off my aim
By hailing cheerily "Hit them hard!"
I knew pretty well why he had dropped behind
And let the other go on a way.
I knew pretty well what he had in mind:
He wanted to take my job for pay.

Good blocks of oak it was I split,
As large around as the chopping block;
And every piece I squarely hit
Fell splinterless as a cloven rock.
The blows that a life of self-control
Spares to strike for the common good,
That day, giving a loose my soul,
I spent on the unimportant wood.

The sun was warm but the wind was chill.
You know how it is with an April day
When the sun is out and the wind is still,
You're one month on in the middle of May.
But if you so much as dare to speak,
A cloud comes over the sunlit arch,
A wind comes off a frozen peak,
And you're two months back in the middle of March.

A bluebird comes tenderly up to alight
And turns to the wind to unruffle a plume,
His song so pitched as not to excite
A single flower as yet to bloom.
It is snowing a flake; and he half knew
Winter was only playing possum.
Except in color he isn't blue,
But he wouldn't advise a thing to blossom.

The water for which we may have to look
In summertime with a witching wand,
In every wheelrut's now a brook,
In every print of a hoof a pond.
Be glad of water, but don't forget
The lurking frost in the earth beneath
That will steal forth after the sun is set
And show on the water its crystal teeth.

The time when most I loved my task
The two must make me love it more
By coming with what they came to ask.
You'd think I never had felt before
The weight of an ax-head poised aloft,
The grip of earth on outspread feet,
The life of muscles rocking soft
And smooth and moist in vernal heat.

Out of the wood two hulking tramps
(From sleeping God knows where last night,
But not long since in the lumber camps).
They thought all chopping was theirs of right.
Men of the woods and lumberjacks,
The judged me by their appropriate tool.
Except as a fellow handled an ax
They had no way of knowing a fool.

Nothing on either side was said.
They knew they had but to stay their stay
And all their logic would fill my head:
As that I had no right to play
With what was another man's work for gain.
My right might be love but theirs was need.
And where the two exist in twain
Theirs was the better right--agreed.

But yield who will to their separation,
My object in living is to unite
My avocation and my vocation
As my two eyes make one in sight.
Only where love and need are one,
And the work is play for mortal stakes,
Is the deed ever really done
For Heaven and the future's sakes.

Picture found here.

Labor Day Poetry Slam


TWO TRAMPS IN MUD TIME
~R. Frost

Out of the mud two strangers came
And caught me splitting wood in the yard,
And one of them put me off my aim
By hailing cheerily "Hit them hard!"
I knew pretty well why he had dropped behind
And let the other go on a way.
I knew pretty well what he had in mind:
He wanted to take my job for pay.

Good blocks of oak it was I split,
As large around as the chopping block;
And every piece I squarely hit
Fell splinterless as a cloven rock.
The blows that a life of self-control
Spares to strike for the common good,
That day, giving a loose my soul,
I spent on the unimportant wood.

The sun was warm but the wind was chill.
You know how it is with an April day
When the sun is out and the wind is still,
You're one month on in the middle of May.
But if you so much as dare to speak,
A cloud comes over the sunlit arch,
A wind comes off a frozen peak,
And you're two months back in the middle of March.

A bluebird comes tenderly up to alight
And turns to the wind to unruffle a plume,
His song so pitched as not to excite
A single flower as yet to bloom.
It is snowing a flake; and he half knew
Winter was only playing possum.
Except in color he isn't blue,
But he wouldn't advise a thing to blossom.

The water for which we may have to look
In summertime with a witching wand,
In every wheelrut's now a brook,
In every print of a hoof a pond.
Be glad of water, but don't forget
The lurking frost in the earth beneath
That will steal forth after the sun is set
And show on the water its crystal teeth.

The time when most I loved my task
The two must make me love it more
By coming with what they came to ask.
You'd think I never had felt before
The weight of an ax-head poised aloft,
The grip of earth on outspread feet,
The life of muscles rocking soft
And smooth and moist in vernal heat.

Out of the wood two hulking tramps
(From sleeping God knows where last night,
But not long since in the lumber camps).
They thought all chopping was theirs of right.
Men of the woods and lumberjacks,
The judged me by their appropriate tool.
Except as a fellow handled an ax
They had no way of knowing a fool.

Nothing on either side was said.
They knew they had but to stay their stay
And all their logic would fill my head:
As that I had no right to play
With what was another man's work for gain.
My right might be love but theirs was need.
And where the two exist in twain
Theirs was the better right--agreed.

But yield who will to their separation,
My object in living is to unite
My avocation and my vocation
As my two eyes make one in sight.
Only where love and need are one,
And the work is play for mortal stakes,
Is the deed ever really done
For Heaven and the future's sakes.

Picture found here.

Labor Day Poetry Slam


TWO TRAMPS IN MUD TIME
~R. Frost

Out of the mud two strangers came
And caught me splitting wood in the yard,
And one of them put me off my aim
By hailing cheerily "Hit them hard!"
I knew pretty well why he had dropped behind
And let the other go on a way.
I knew pretty well what he had in mind:
He wanted to take my job for pay.

Good blocks of oak it was I split,
As large around as the chopping block;
And every piece I squarely hit
Fell splinterless as a cloven rock.
The blows that a life of self-control
Spares to strike for the common good,
That day, giving a loose my soul,
I spent on the unimportant wood.

The sun was warm but the wind was chill.
You know how it is with an April day
When the sun is out and the wind is still,
You're one month on in the middle of May.
But if you so much as dare to speak,
A cloud comes over the sunlit arch,
A wind comes off a frozen peak,
And you're two months back in the middle of March.

A bluebird comes tenderly up to alight
And turns to the wind to unruffle a plume,
His song so pitched as not to excite
A single flower as yet to bloom.
It is snowing a flake; and he half knew
Winter was only playing possum.
Except in color he isn't blue,
But he wouldn't advise a thing to blossom.

The water for which we may have to look
In summertime with a witching wand,
In every wheelrut's now a brook,
In every print of a hoof a pond.
Be glad of water, but don't forget
The lurking frost in the earth beneath
That will steal forth after the sun is set
And show on the water its crystal teeth.

The time when most I loved my task
The two must make me love it more
By coming with what they came to ask.
You'd think I never had felt before
The weight of an ax-head poised aloft,
The grip of earth on outspread feet,
The life of muscles rocking soft
And smooth and moist in vernal heat.

Out of the wood two hulking tramps
(From sleeping God knows where last night,
But not long since in the lumber camps).
They thought all chopping was theirs of right.
Men of the woods and lumberjacks,
The judged me by their appropriate tool.
Except as a fellow handled an ax
They had no way of knowing a fool.

Nothing on either side was said.
They knew they had but to stay their stay
And all their logic would fill my head:
As that I had no right to play
With what was another man's work for gain.
My right might be love but theirs was need.
And where the two exist in twain
Theirs was the better right--agreed.

But yield who will to their separation,
My object in living is to unite
My avocation and my vocation
As my two eyes make one in sight.
Only where love and need are one,
And the work is play for mortal stakes,
Is the deed ever really done
For Heaven and the future's sakes.

Picture found here.

Labor Day Poetry Slam


Factory

BY CHARLES SIMIC

The machines were gone, and so were those who worked them.
A single high-backed chair stood like a throne
In all that empty space.
I was on the floor making myself comfortable
For a long night of little sleep and much thinking.

An empty birdcage hung from a steam pipe.
In it I kept an apple and a small paring knife.
I placed newspapers all around me on the floor
So I could jump at the slightest rustle.
It was like the scratching of a pen,
The silence of the night writing in its diary.

Of rats who came to pay me a visit
I had the highest opinion.
They’d stand on two feet
As if about to make a polite request
On a matter of great importance.

Many other strange things came to pass.
Once a naked woman climbed on the chair
To reach the apple in the cage.
I was on the floor watching her go on tiptoe,
Her hand fluttering in the cage like a bird.

On other days, the sun peeked through dusty windowpanes
To see what time it was. But there was no clock,
Only the knife in the cage, glinting like a mirror,
And the chair in the far corner
Where someone once sat facing the brick wall.

Picture found here.

Labor Day Poetry Slam


Factory

BY CHARLES SIMIC

The machines were gone, and so were those who worked them.
A single high-backed chair stood like a throne
In all that empty space.
I was on the floor making myself comfortable
For a long night of little sleep and much thinking.

An empty birdcage hung from a steam pipe.
In it I kept an apple and a small paring knife.
I placed newspapers all around me on the floor
So I could jump at the slightest rustle.
It was like the scratching of a pen,
The silence of the night writing in its diary.

Of rats who came to pay me a visit
I had the highest opinion.
They’d stand on two feet
As if about to make a polite request
On a matter of great importance.

Many other strange things came to pass.
Once a naked woman climbed on the chair
To reach the apple in the cage.
I was on the floor watching her go on tiptoe,
Her hand fluttering in the cage like a bird.

On other days, the sun peeked through dusty windowpanes
To see what time it was. But there was no clock,
Only the knife in the cage, glinting like a mirror,
And the chair in the far corner
Where someone once sat facing the brick wall.

Picture found here.

Labor Day Poetry Slam


Factory

BY CHARLES SIMIC

The machines were gone, and so were those who worked them.
A single high-backed chair stood like a throne
In all that empty space.
I was on the floor making myself comfortable
For a long night of little sleep and much thinking.

An empty birdcage hung from a steam pipe.
In it I kept an apple and a small paring knife.
I placed newspapers all around me on the floor
So I could jump at the slightest rustle.
It was like the scratching of a pen,
The silence of the night writing in its diary.

Of rats who came to pay me a visit
I had the highest opinion.
They’d stand on two feet
As if about to make a polite request
On a matter of great importance.

Many other strange things came to pass.
Once a naked woman climbed on the chair
To reach the apple in the cage.
I was on the floor watching her go on tiptoe,
Her hand fluttering in the cage like a bird.

On other days, the sun peeked through dusty windowpanes
To see what time it was. But there was no clock,
Only the knife in the cage, glinting like a mirror,
And the chair in the far corner
Where someone once sat facing the brick wall.

Picture found here.

Labor Day Poetry Slam


A Way to Make a Living

BY JAMES WRIGHT

From an epigram by Plato
When I was a boy, a relative
Asked for me a job
At the Weeks Cemetery.
Think of all I could
Have raised that summer,
That money, and me
Living at home,
Fattening and getting
Ready to live my life
Out on my knees, humming,
Kneading up docks
And sumac from
Those flawless clerks-at-court, those beautiful
Grocers and judges, the polished
Dead of whom we make
So much.

I could have stayed there with them.
Cheap, too.
Imagine, never
To have turned
Wholly away from the classic
Cold, the hill, so laid
Out, measure by seemly measure clipped
And mown by old man Albright
The sexton. That would have been a hell of
A way to make a living.

Thank you, no.
I am going to take my last nourishment
Of measure from a dark blue
Ripple on swell on ripple that makes
Its own garlands.
My dead are the secret wine jars
Of Tyrian commercial travelers.
Their happiness is a lost beginning, their graves
Drift in and out of the Mediterranean.

One of these days
The immortals, clinging to a beam of sunlight
Under water, delighted by delicate crustaceans,
Will dance up thirty-foot walls of radiance,
And waken,
The sea shining on their shoulders, the fresh
Wine in their arms. Their ships have drifted away.
They are stars and snowflakes floating down
Into your hands, love.

Picture found here.

Labor Day Poetry Slam


A Way to Make a Living

BY JAMES WRIGHT

From an epigram by Plato
When I was a boy, a relative
Asked for me a job
At the Weeks Cemetery.
Think of all I could
Have raised that summer,
That money, and me
Living at home,
Fattening and getting
Ready to live my life
Out on my knees, humming,
Kneading up docks
And sumac from
Those flawless clerks-at-court, those beautiful
Grocers and judges, the polished
Dead of whom we make
So much.

I could have stayed there with them.
Cheap, too.
Imagine, never
To have turned
Wholly away from the classic
Cold, the hill, so laid
Out, measure by seemly measure clipped
And mown by old man Albright
The sexton. That would have been a hell of
A way to make a living.

Thank you, no.
I am going to take my last nourishment
Of measure from a dark blue
Ripple on swell on ripple that makes
Its own garlands.
My dead are the secret wine jars
Of Tyrian commercial travelers.
Their happiness is a lost beginning, their graves
Drift in and out of the Mediterranean.

One of these days
The immortals, clinging to a beam of sunlight
Under water, delighted by delicate crustaceans,
Will dance up thirty-foot walls of radiance,
And waken,
The sea shining on their shoulders, the fresh
Wine in their arms. Their ships have drifted away.
They are stars and snowflakes floating down
Into your hands, love.

Picture found here.