poetry


Random quote of the day:

 

“You don’t have to suffer to be a poet.  Adolescence is enough suffering for anyone.”

—John Ciardi, Simmons Review, Fall 1962

 

 

 

 

 

 

 

 

 

 

 

 

 

Disclaimer:  The views expressed in this random quote of the day do not necessarily reflect the views of the poster, her immediate family, Siegfried and Roy, Leonard Maltin, or the Mormon Tabernacle Choir. They do, however, sometimes reflect the views of the Cottingley Fairies.

The lovely and talented mnfaure recently posted these trigger words: read, crusade, kiss, beauty, back, us. They were part of a technique she and her husband use to spur on their creativity. I wrote the words down on a piece of paper and left work for the day. When I came in this morning and saw the words, this tumbled out, I know not from where:

I am on perpetual crusade
to return us to those first moments
when your battlements fell,
the beauty of that first kiss,
the way your eyes read my face,
the way my mouth crumbled
your defenses, our breath
intertwined, our skin’s
burning velvet embrace.
Can we fight our way back
to that fire of long ago
after so many years of comfort
and knowing? Or is it instead
a children’s adventure to try?
The contentment of our lives
is its own crusade, a gentle
battle against the world’s
harsh ways, a bulwark
against its fires of destruction.

Random quote of the day:

“The wildest dreams of Kew are the facts of Khatmandhu
And the crimes of Clapham chaste in Martaban.”

—Rudyard Kipling, “In the Neolithic Age”

You can read the whole poem here.

Disclaimer: The views expressed in this random quote of the day do not necessarily reflect the views of the poster, her immediate family, Siegfried and Roy, Leonard Maltin, or the Mormon Tabernacle Choir. They do, however, sometimes reflect the views of the Cottingley Fairies.

Fresh off the brain this morning:

 

Poetry is a dance with fans that scarcely covers your nakedness.
Poetry is an inverted dance, spinning on the top of your head.
Poetry is a one-legged dance, balancing on the end of a peg.
Poetry is a dance of wholeness, never fragments of movement.
Poetry is a tumbling dance, made up as you go.
Poetry is an evasive dance, never long pinned down in one spot.

 

 

 

 

*The Windhover, Gerard Manley Hopkins.

Did you know there used to be poetry competitions in the Olympic games? They stopped issuing medals for poetry after World War II but until then it was part of Pierre de Coubertin’s vision of an Olympic revival. Poetry had been an important part of the ancient games, you see.

In tribute to that idea, National Public Radio has held the Poetry Games over the last few weeks and this morning they announced the winner: South Africa’s Mbali Vilakazi for her poem, “Swim Your Own Race,” a tribute to Natalie du Toit, the first woman amputee to qualify for the Olympics.

Renee Montaigne asked Ms. Vilakazi why, given South Africa’s painful history, she chose to celebrate an Afrikaner woman.

“When I got the invitation to be a part of the Poetry Games, I did have a moment when I thought: OK, well, I’m a young black South African woman, how am I going to use my voice?” Vilakazi says. But she concluded that the fight against apartheid was really a struggle “about people being people and being recognized for their contributions to society, and I held onto that.”

Vilakazi says that the society — and the world — she would like to live in is one in which people have the courage to celebrate one another for what they have done, even when history makes it difficult.

“I just thought that even for a young black South African such as myself, it was important for me to choose her nonetheless,” Vilakazi explains. “I just felt that the story was just so important, we can all benefit from it.”

You can read this lovely poem at the end of the article here and even hear Ms. Vilakazi read it.

From the notebooks, March 17, 1998. I don’t know if this is a quote I heard, or something I paraphrased from a news item, or what. This sat in the notebook all by itself with no clues for my later self.

“This is our land.
We own it with our blood,
and we will keep it
no matter what the cost.
We will fight them
to the last child
if they do not recognize
our claim.”

In the trees behind his head
a host of songbirds
amongst the blossoms
numberless as angels
on the head of a pin
burst forth in singing
in tribute to the morning
before scattering to earth
to devour worms.

I’d like to respectfully dedicate this poem to Fred Willard. He isn’t the one who inspired me to write it some years past, but he does prove that there is no new thing under the sun.

Rising Star

We all have demons
prowling the verges
of propriety,
doing things
we’d be embarrassed
to see
on the six o’clock news.

Thank goodness
there are high-minded
folk
to keep us cringing
in the dark
with furtive phantoms.
Otherwise, we might think
it is okay to have secrets.

Thank God
there is a morality squad
to check who’s
twanging what
is some feverish corner,
or who knows
but we might learn
to forgive ourselves?

Thank goodness
demons aren’t allowed
in sunshine,
except as objects
of scorn
and tabloid meat.
Otherwise, we might think
other people had demons, too,
demons some might call
human needs.

Thank God
everyone pretends
they’ve never encountered
one lonely, vulnerable, foolish
moment
when all that matters
is that the demon
has looked you in the eye,
known you
to your lascivious toes,
and taken you
on an irresistible ride
to parts
not unknown.

Lines of poetry stick in my brain, little oddments that come out at the strangest times and places.  Two lines from this poem (by one of my favorite poets) often echo in my skull: the first being, “and now she thrives/Now is her time to thrive,” though I hardly understand why.  It’s a kind of encouragement in discouraging times for some idiosyncratic reason of my own.  The second line is the last line and a half, which I won’t ruin for you.  Discover it on your own.

 

Things
by Jane Kenyon

The hen flings a single pebble aside
with her yellow, reptilian foot.
Never in eternity the same sound—
a small stone falling on a red leaf.

The juncture of twig and branch,
scarred with lichen, is a gate
we might enter, singing.

The mouse pulls batting
from a hundred-year-old quilt.
She chewed a hole in a blue star
to get it, and now she thrives. . . .
Now is her time to thrive.

Things: simply lasting, then
failing to last: water, a blue heron’s
eye, and the light passing
between them: into light all things
must fall, glad at last to have fallen.

To enjoy once your power comes back on.

I’m slowly going through every ancient Word file I have to make them openable by the newer versions of Word.  It’s been a painful lesson in keeping things current, but every once in a while I come across a gem that makes the whole process worthwhile.  I came across this one today.

Of course, this is about a cold storm, not violent winds with heat, but…

 

After the Storm

by Billy Collins

Soft yellow-gray light of early morning,
butter and wool,
the two bedroom windows
still beaded and streaked with rain.

The world calm again, routine with traffic,
after its night of convulsions,
when storm drains closed at the throat,
and trees shook in the wind like the hair of dryads.

In the silent house, its roof still on,
too early for the heat to come whistling up
and the guest room doors still closed,
I am propped up on these pillows,

a gray, moth-eaten cashmere jersey
wrapped around my neck
against the unbroken cold of last night.
I am thinking about the dinner party,

the long table, dark bottles of Merlot,
the odd duck and brussels sprouts,
and how, after midnight,
with all of us sprawled on the couch and floor,

the power suddenly went out
leaving us to feel our way around
in the tenth-century darkness
until we found and lit a stash of candles

then drew the circle of ourselves a little tighter
in this softer hula of lights
that gleamed in mirrors and on rims of glasses
while the shutters banged and the rain lashed down.

A sweet nut of memory—
but the part that sends me whirring
in little ovals of wonder,
as the leftover clouds break apart

and the sun brightly stripes these walls,
is the part that came later,
hours after we had each carried a candle
up the shadowy staircase and gone to bed.

It was three, maybe four in the morning
when the power surged back on,
and, as if a bookmark
had been inserted into the party

when the lamps went dark,
now all the lights downstairs flared again,
and from the stereo speakers
up through the heat register

into our bedroom and our sleep
blared the sound of Jimmy Reed
singing “Baby What You Want Me to Do”
just where he had left off.

So the party resumed without us,
the room again aglow with a life of its own,
the night air charged
with guitar and harmonica,

until one of us put on slippers,
went down to that blazing, festive emptiness,
and turned everything off.
Then, without lights or music,

even the ghosts of ourselves
had to break up their party,
snub out their cigarettes,
carry their wineglasses to the kitchen,

where they kissed each other good night,
and with nowhere else to go,
floated vaguely upstairs
to lie down beside us in our dark and quiet beds.

Hot off the presses, and prompted (as many things are) by a conversation with asakiyume and with bogwitch64.

Baby

What dreams does the captive bird know?
Is it of flying in vast, swooping clouds
of bird bodies, or soaring solo through forests,
playing the leaves like xylophone keys,
singing along with the notes?

Does she know she is a bird, or does
captivity define her as human-not-human?
Does she squander her days playing
with the baubles provided by her keepers,
or do they bring her real joy, a settled peace?

Or a peace with a ribbon of black threaded
through the chattering whiteness of her hours,
a ribbon that ruffles with the slightest breeze,
pulling, tugging, longing to burst all the doors,
break through the windows, touch the blue-grey sky,
and once and for all sail away on the wind?

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