poetry never stood a chance

The end of April is always a little bittersweet, for me -- I mean, I suppose I could post poetry all year round, but then you guys would probably hate me, and also I might get bored. Thirty days out of the year is really about right, but I'm always sad to see poetry month end. Shout-outs this year to all the other awesome people on my flist posting poetry and inspiring me to post poetry.

I don't know where April has gone, either -- it seems like this year is moving at warp speed. I'll be in New York before I know it. Meanwhile, San Francisco is gorgeous, yesterday's travel was entirely painless, and the answer to the million dollar question is that Midwest/Frontier does still serve free chocolate chip cookies.

I have been waiting to post this poem for weeks, but it was always very clear to me that it had to conclude the month. Among other things, it is -- very apt, for some of the big things I am thinking about right now. And always.

I

When my dreams showed signs
of becoming
politically correct
no unruly images
escaping beyond borders
when walking in the street I found my
themes cut out for me
knew what I would not report
for fear of enemies' usage
then I began to wonder

II

Everything we write
will be used against us
or against those we love.
These are the terms,
take them or leave them.

Poetry never stood a chance
of standing outside history.
One line typed twenty years ago
can be blazed on a wall in spraypaint
to glorify art as detachment
or torture of those we
did not love but also
did not want to kill

We move but our words stand
become responsible
for more than we intended

and this is verbal privilege

III

Try sitting at a typewriter
one calm summer evening
at a table by a window
in the country, try pretending
your time does not exist
that you are simply you
and the imagination simply strays
like a great moth, unintentional
try telling yourself
you are not accountable
to the life of your tribe
the breath of your planet

IV

It doesn't matter what you think.
Words are found responsible
all you can do is choose them
or choose
to remain silent. Or, you never had a choice,
which is why the words that do stand
are responsible

and this is verbal privilege

V

Suppose you want to write
of a woman braiding
another woman's hair—
straight down, or with beads and shells
in three-strand plaits or corn-rows—
you had better know the thickness
the length the pattern
why she decides to braid her hair
how it is done to her
what country it happens in
what else happens in that country

You have to know these things

VI

Poet, sister: words—
whether we like it or not—
stand in a time of their own.
No use protesting I wrote that
before Kollontai was exiled
Rosa Luxembourg, Malcolm,
Anna Mae Aquash, murdered,
before Treblinka, Birkenau,
Hiroshima, before Sharpeville,
Biafra, Bangla Desh, Boston,
Atlanta, Soweto, Beirut, Assam
—those faces, names of places
sheared from the almanac
of North American time

VII

I am thinking this in a country
where words are stolen out of mouths
as bread is stolen out of mouths
where poets don't go to jail
for being poets, but for being
dark-skinned, female, poor.
I am writing this in a time
when anything we write
can be used against those we love
where the context is never given
though we try to explain, over and over
For the sake of poetry at least
I need to know these things

VIII

Sometimes, gliding at night
in a plane over New York City
I have felt like some messenger
called to enter, called to engage
this field of light and darkness.
A grandiose idea, born of flying.
But underneath the grandiose idea
is the thought that what I must engage
after the plane has raged onto the tarmac
after climbing my old stairs, sitting down
at my old window
is meant to break my heart and reduce me to silence.

IX

In North America time stumbles on
without moving, only releasing
a certain North American pain.
Julia de Burgos wrote:
That my grandfather was a slave
is my grief; had he been a master
that would have been my shame.
A poet's words, hung over a door
in North America, in the year
nineteen-eighty-three.
The almost-full moon rises
timelessly speaking of change
out of the Bronx, the Harlem River
the drowned towns of the Quabbin
the pilfered burial mounds
the toxic swamps, the testing-grounds

and I start to speak again.

~Adrienne Rich (b. 1929), North American Time, 1983.

not brighter rise

I think I do Jonson something of a disservice, by posting only one of his poems, and posting that same poem every year. He wrote a lot of poems, and they weren't all to the memory of his beloved and what he hath left us. A little repetition may be called for, at least for the sake of my slightly sardonic, but very real, affection for Ben. It's kind of shocking that I didn't post this poem last year, but I suppose I wasn't totally hooked yet in April.

This morning, timely rapt with holy fire,
I thought to form unto my zealous Muse
What kind of creature I could most desire
To honor, serve, and love; as poets use.
I meant to make her fair, and free, and wise,
Of greatest blood, and yet more good than great;
I meant the day-star should not brighter rise,
Nor lend like influence from his lucent seat.
I meant she should be courteous, facile, sweet,
Hating that solemn vice of greatness, pride;
I meant each softest virtue there should meet,
Fit in that softer bosom to reside.
Only a learned and a manly soul
I purposed her; that should, with even powers,
The rock, the spindle, and the shears control
Of destiny, and spin her own free hours.
Such when I meant to feign, and wished to see,
My Muse bade, 'Bedford write', and that was she.

~Ben Jonson (1572-1637), LXXVI "On Lucy, Countess of Bedford", from Epigrams, in The Works of Benjamin Jonson, 1616. (Epigrams was not at all incidentally dedicated to William Herbert, third Earl of Pembroke. I heart Pembroke).

The footnote for the Countess of Bedford in the Norton Critical Edition of Ben Jonson and the Cavalier Poets reads, "Daughter (1581-1627) of Sir John Harington, the Countess of Bedford was friend and patron to Jonson, Donne, Daniel, and other literary figures; she took part in several of Jonson's masques." I suppose I have in fact written 15,000+ words on why that kind of footnote makes me angry, so we can probably move on. The real question is whether Jonson did actually try to get Bedford to bail him out of jail.

ask yourself: where is it snowing?

In the first version, Persephone
is taken from her mother
and the goddess of the earth
punishes the earth—this is
consistent with what we know of human behavior,

that human beings take profound satisfaction
in doing harm, particularly
unconscious harm:

we may call this
negative creation.

Persephone's initial
sojourn in hell continues to be
pawed over by scholars who dispute
the sensations of the virgin:

did she cooperate in her rape,
or was she drugged, violated against her will,
as happens so often now to modern girls.

As is well known, the return of the beloved
does not correct
the loss of the beloved: Persephone

returns home
stained with red juice like
a character in Hawthorne—

I am not certain I will
keep this word: is earth
"home" to Persephone? Is she at home, conceivably,
in the bed of the god? Is she
at home nowhere? Is she
a born wanderer, in other words
an existential
replica of her own mother, less
hamstrung by ideas of causality?

You are allowed to like
no one, you know. The characters
are not people.
They are aspects of a dilemma or conflict.

Three parts: just as the soul is divided,
ego, superego, id. Likewise

the three levels of the known world,
a kind of diagram that separates
heaven from earth from hell.

You must ask yourself:
where is it snowing?

White of forgetfulness,
of desecration—

It is snowing on earth; the cold wind says

Persephone is having sex in hell.
Unlike the rest of us, she doesn't know
what winter is, only that
she is what causes it.

She is lying in the bed of Hades.
What is in her mind?
Is she afraid? Has something
blotted out the idea
of mind?

She does know the earth
is run by mothers, this much
is certain. She also knows
she is not what is called
a girl any longer. Regarding
incarceration, she believes

she has been a prisoner since she has been a daughter.

The terrible reunions in store for her
will take up the rest of her life.
When the passion for expiation
is chronic, fierce, you do not choose
the way you live. You do not live;
you are not allowed to die.

You drift between earth and death
which seem, finally,
strangely alike. Scholars tell us

that there is no point in knowing what you want
when the forces contending over you
could kill you.

White of forgetfulness,
white of safety—

They say
there is a rift in the human soul
which was not constructed to belong
entirely to life. Earth

asks us to deny this rift, a threat
disguised as suggestion—
as we have seen
in the tale of Persephone
which should be read

as an argument between the mother and the lover—
the daughter is just meat.

When death confronts her, she has never seen
the meadow without the daisies.
Suddenly she is no longer
singing her maidenly songs
about her mother's
beauty and fecundity. Where
the rift is, the break is.

Song of the earth,
song of the mythic vision of eternal life—

My soul
shattered with the strain
of trying to belong to earth—

What will you do,
when it is your turn in the field with the god?

~Louise Glück (b. 1943), "Persephone the Wanderer" from Averno, 2006.

for rhymes to catch at and let go

It's a clear, cool, gorgeous night -- after dinner and before dessert, we walked around the square and watched the sunset. The full moon came out while we were inside, and on the drive home the moonlight on the lake was almost unrealistically beautiful. At home, the night air smelled overwhelmingly of lilacs.

Every year I think, "Maybe I won't post any Browning this year," and then I post Browning. He sneaks up on me.

I

I wonder do you feel to-day
As I have felt since, hand in hand,
We sat down on the grass, to stray
In spirit better through the land,
This morn of Rome and May?

II

For me, I touched a thought, I know,
Has tantalized me many times,
(Like turns of thread the spiders throw
Mocking across our path) for rhymes
To catch at and let go.

III

Help me to hold it! First it left
The yellowing fennel, run to seed
There, branching from the brickwork's cleft,
Some old tomb's ruin: yonder weed
Took up the floating weft,

IV

Where one small orange cup amassed
Five beetles,—blind and green they grope
Among the honey-meal: and last,
Everywhere on the grassy slope
I traced it. Hold it fast!

V

The champaign with its endless fleece
Of feathery grasses everywhere!
Silence and passion, joy and peace,
An everlasting wash of air—
Rome's ghost since her decease.

VI

Such life here, through such lengths of hours,
Such miracles performed in play,
Such primal naked forms of flowers,
Such letting nature have her way
While heaven looks from its towers!

VII

How say you? Let us, O my dove,
Let us be unashamed of soul,
As earth lies bare to heaven above!
How is it under our control
To love or not to love?

VIII

I would that you were all to me,
You that are just so much, no more.
Nor yours nor mine,—nor slave nor free!
Where does the fault lie? What the core
O' the wound, since wound must be?

IX

I would I could adopt your will,
See with your eyes, and set my heart
Beating by yours, and drink my fill
At your soul's springs,—your part my part
In life, for good and ill.

X

No. I yearn upward, touch you close,
Then stand away. I kiss your cheek,
Catch your soul's warmth,—I pluck the rose
And love it more than tongue can speak—
Then the good minute goes.

XI

Already how am I so far
Out of that minute? Must I go
Still like the thistle-ball, no bar,
Onward, whenever light winds blow,
Fixed by no friendly star?

XII

Just when I seemed about to learn!
Where is the thread now? Off again!
The old trick! Only I discern—
Infinite passion, and the pain
Of finite hearts that yearn.

~Robert Browning (1812-1889), "Two in the Campagna" from Men and Women, 1855.

not language but a map

How astonishing it is that language can almost mean,
and frightening that it does not quite. Love, we say,
God, we say, Rome and Michiko, we write, and the words
get it all wrong. We say bread and it means according
to which nation. French has no word for home,
and we have no word for strict pleasure. A people
in northern India is dying out because their ancient
tongue has no words for endearment. I dream of lost
vocabularies that might express some of what
we no longer can. Maybe the Etruscan texts would
finally explain why the couples on their tombs
are smiling. And maybe not. When the thousands
of mysterious Sumerian tablets were translated,
they seemed to be business records. But what if they
are poems or psalms? My joy is the same as twelve
Ethiopian goats standing silent in the morning light.
O Lord, thou art slabs of salt and ingots of copper,
as grand as ripe barley lithe under the wind's labor.
Her breasts are six white oxen loaded with bolts
of long-fibered Egyptian cotton. My love is a hundred
pitchers of honey. Shiploads of thuya are what
my body wants to say to your body. Giraffes are this
desire in the dark. Perhaps the spiral Minoan script
is not language but a map. What we feel most has
no name but amber, archers, cinnamon, horses, and birds.

~Jack Gilbert (b. 1925), The Forgotten Dialect of the Heart

Via wintercreek, who posted this poem earlier in the month. I fell in love.

call in answer to the shrouded heart

A quien no escucha el mar en este viernes
por la mañana, quien adentro de algo,
casa, oficina, fábrica or mujer,
o calle o mina o seco calabozo:
a éste yo acudo y sin hablar ni ver
leego y abro la puerta del encierro
y un sin fin se oye vago en la insistencia,
un largo trueno roto se encadena
al peso del planeta y de la espuma,
surgen los ríos roncos del océano,
vibra veloz en su rosal la estrella
y el mar palpita, muere y continúa.

Así por el destino conducido
debo sin tregua oír y conservar
el lamento marino en mi conciencia,
debo sentir el golpe de agua dura
y recogerlo en una taza eterna
para que donde esté el encarcelado,
donde sufra el castigo del otoño
yo esté presente con una ola errante,
yo circule a través de las ventanas
y al oírme levante la mirada
diciendo: cómo me acercaré al océano?
Y yo transmitiré de la ola,
un quebranto de espuma y arenales,
un susurro de sal que se retira,
el grito gris del ave de la costa.

Y así, por mí, la libertad y el mar
responderán al corazón oscuro.


To whoever is not listening to the sea
this Friday morning, to whoever is cooped up
in house or office, factory or woman
or street or mine or dry prison cell,
to him I come, and without speaking or looking
I arrive and open the door of his prison,
and a vibration starts up, vague and insistent,
a long rumble of thunder adds itself
to the weight of the planet and the foam,
the groaning rivers of the ocean rise,
the star vibrates quickly in its corona
and the sea beats, dies, and goes on beating.

So, drawn on by my destiny,
I ceaselessly must listen to and keep
the sea's lamenting in my consciousness,
I must feel the crash of the hard water
and gather it up in a perpetual cup
so that, wherever those in prison may be,
wherever they suffer the sentence of the autumn,
I may be present with an errant wave,
I may move in and out of windows,
and hearing me, eyes may lift themselves,
asking "How can I reach the sea?"
And I will pass to them, saying nothing,
the starry echoes of the wave,
a breaking up of foam and quicksand,
a rustling of salt withdrawing itself,
the grey cry of seabirds on the coast.

So, through me, freedom and the sea
will call in answer to the shrouded heart.

~Pablo Neruda (1904-1973), "Deber Del Poeta" or "The Poet's Obligation", from Plenos Poderes or Fully Empowered, 1961-1962, translated by Alastair Reid. Neruda always makes me wish that my Spanish was actually good enough to read anything whatsoever in the original.

storm the gates of nothingness

Just a little one, today. I swear I'm not only posting Sassoon because of all the Generation Kill -- he was on my spreadsheet! I really adore the WWI war poets; this one is also not exactly a war poem. (Still, I can probably guarantee that if I ever do end up writing Generation Kill fic, it will have a lot of Classical allusions and randomly reference Siegfried Sassoon.)

Tossed on the glittering air they soar and skim,
Whose voices make the emptiness of light
A windy palace. Quavering from the brim
Of dawn, and bold with song at edge of night,
They clutch their leafy pinnacles and sing
Scornful of man, and from his toils aloof
Whose heart’s a haunted woodland whispering;
Whose thoughts return on tempest-baffled wing;
Who hears the cry of God in everything,
And storms the gate of nothingness for proof.

~Siegfried Sassoon (1886–1967), "Thrushes" from Counter-Attack and Other Poems, 1918.

Meanwhile, I am back in bed with the internet and a cup of tea, for a while: the perfect Saturday morning. I may even be able to refrain from murdering the air-raid-siren birds outside my open window. We'll see how it goes.

while thy book doth live

I try not to repeat myself in National Poetry Month. There's so much wonderful poetry in the world that posting the same poems over and over again would, I think, rather defeat the purpose; I have a spreadsheet for a reason. Still, I do have one annual tradition.

To draw no envy, Shakespeare, on thy name,
Am I thus ample to thy book and fame;
While I confess thy writings to be such
As neither man nor Muse can praise too much.
’Tis true, and all men’s suffrage. But these ways
Were not the paths I meant unto thy praise;
For seeliest Ignorance on these may light,
Which, when it sounds at best, but echoes right;
Or blind Affection, which doth ne’er advance
The truth, but gropes and urgeth all by chance;
Or crafty Malice might pretend this praise,
And think to ruin where it seem’d to raise.
These are as some infamous bawd or whore
Should praise a matron. What could hurt her more?
But thou art proof against them, and, indeed,
Above the ill-fortune of them, or the need.
I, therefore, will begin. Soul of the age!
The applause, delight, the wonder of our stage,
My Shakespeare, rise! I will not lodge thee by
Chaucer, or Spenser, or bid Beaumont lie
A little further, to make thee a room:
Thou art a monument without a tomb,
And art alive still, while thy book doth live,
And we have wits to read, and praise to give.
That I not mix thee so, my brain excuses;
I mean, with great but disproportion’d Muses.
For, if I thought my judgment were of years,
I should commit thee, surely, with thy peers.
And tell how far thou didst our Lyly outshine,
Or sporting Kyd, or Marlowe’s mighty line.
And though thou hadst small Latin and less Greek,
From thence, to honour thee, I would not seek
For names; but call forth thund’ring Aeschylus,
Euripides, and Sophocles to us,
Paccuvius, Accius, him of Cordova dead
To life again, to hear thy buskin tread
And shake a stage; or when thy socks were on,
Leave thee alone, for the comparison
Of all that insolent Greece or haughty Rome
Sent forth; or since did from their ashes come.
Triumph, my Britain! Thou hast one to show
To whom all scenes of Europe homage owe.
He was not of an age, but for all time!
And all the Muses still were in their prime,
When, like Apollo, he came forth to warm
Our ears, or, like a Mercury, to charm.
Nature herself was proud of his designs,
And joy’d to wear the dressing of his lines,
Which were so richly spun, and woven so fit
As, since, she will vouchsafe no other wit.
The merry Greek, tart Aristophanes,
Neat Terence, witty Plautus, now not please;
But antiquated and deserted lie,
As they were not of Nature’s family.
Yet must I not give Nature all! Thy art,
My gentle Shakespeare, must enjoy a part.
For though the Poet’s matter Nature be
His art doth give the fashion. And that he
Who casts to write a living line, must sweat
(Such as thine are), and strike the second heat
Upon the Muses’ anvil, turn the same
(And himself with it), that he thinks to frame;
Or for the laurel he may gain a scorn!
For a good Poet’s made as well as born;
And such wert thou! Look how the father’s face
Lives in his issue; even so, the race
Of Shakespeare’s mind and manners brightly shines
In his well-turned and true-filed lines;
In each of which he seems to shake a lance
As brandish’d at the eyes of Ignorance.
Sweet Swan of Avon! what a sight it were
To see thee in our water yet appear,
And make those flights upon the banks of Thames
That so did take Eliza, and our James!
But stay, I see thee in the hemisphere
Advanc’d, and made a constellation there!
Shine forth, thou star of poets, and with rage
Or influence, chide, or cheer the drooping stage;
Which since thy flight from hence hath mourn’d like night,
And despairs day, but for thy volume’s light.

~Ben Jonson (1572-1637), To the Memory of My Beloved the Author, Mr. William Shakespeare and What He Hath Left Us, preface to the First Shakespeare Folio of 1623. Sometimes I feel like this annual tradition is rather unfair to Jonson, whom I also love. Sorry, Ben.

Happy alleged birthday, Will. Thanks for, you know, everything.

some gala day

Bring me the sunset in a cup,
Reckon the morning’s flagons up,
And say how many dew;
Tell me how far the morning leaps,
Tell me what time the weaver sleeps
Who spun the breadths of blue!

Write me how many notes there be
In the new robin’s ecstasy
Among astonished boughs;
How many trips the tortoise makes,
How many cups the bee partakes,—
The debauchee of dews!

Also, who laid the rainbow’s piers,
Also, who leads the docile spheres
By withes of supple blue?
Whose fingers string the stalactite,
Who counts the wampum of the night,
To see that none is due?

Who built this little Alban house
And shut the windows down so close
My spirit cannot see?
Who’ll let me out some gala day,
With implements to fly away,
Passing pomposity?

~Emily Dickinson (1830-1886), XXXIX, "Bring me the sunset in a cup", from "Part Two: Nature", Complete Poems, 1924.

Happy Earth Day! I never quite know how I feel about Emily, but I like this one. Meanwhile, it is kind of a beautiful day.

livelier liquor than the muse

‘Terence, this is stupid stuff:
You eat your victuals fast enough;
There can’t be much amiss, ’tis clear,
To see the rate you drink your beer.
But oh, good Lord, the verse you make,
It gives a chap the belly-ache.
The cow, the old cow, she is dead;
It sleeps well, the horned head:
We poor lads, ’tis our turn now
To hear such tunes as killed the cow.
Pretty friendship ’tis to rhyme
Your friends to death before their time
Moping melancholy mad:
Come, pipe a tune to dance to, lad.’

Why, if ’tis dancing you would be,
There’s brisker pipes than poetry.
Say, for what were hop-yards meant,
Or why was Burton built on Trent?
Oh many a peer of England brews
Livelier liquor than the Muse,
And malt does more than Milton can
To justify God’s ways to man.
Ale, man, ale’s the stuff to drink
For fellows whom it hurts to think:
Look into the pewter pot
To see the world as the world’s not.
And faith, ’tis pleasant till ’tis past:
The mischief is that ’twill not last.
Oh I have been to Ludlow fair
And left my necktie God knows where,
And carried half way home, or near,
Pints and quarts of Ludlow beer:
Then the world seemed none so bad,
And I myself a sterling lad;
And down in lovely muck I’ve lain,
Happy till I woke again.
Then I saw the morning sky:
Heigho, the tale was all a lie;
The world, it was the old world yet,
I was I, my things were wet,
And nothing now remained to do
But begin the game anew.

Therefore, since the world has still
Much good, but much less good than ill,
And while the sun and moon endure
Luck’s a chance, but trouble’s sure,
I’d face it as a wise man would,
And train for ill and not for good.
’Tis true, the stuff I bring for sale
Is not so brisk a brew as ale:
Out of a stem that scored the hand
I wrung it in a weary land.
But take it: if the smack is sour,
The better for the embittered hour;
It should do good to heart and head
When your soul is in my soul’s stead;
And I will friend you, if I may,
In the dark and cloudy day.

There was a king reigned in the East:
There, when kings will sit to feast,
They get their fill before they think
With poisoned meat and poisoned drink.
He gathered all the springs to birth
From the many-venomed earth;
First a little, thence to more,
He sampled all her killing store;
And easy, smiling, seasoned sound,
Sate the king when healths went round.
They put arsenic in his meat
And stared aghast to watch him eat;
They poured strychnine in his cup
And shook to see him drink it up:
They shook, they stared as white’s their shirt:
Them it was their poison hurt.
—I tell the tale that I heard told.
Mithridates, he died old.

~A.E. Housman (1859-1936), LXII, "Terence, this is stupid stuff", from A Shropshire Lad, 1896.

Oh, Hous. Molly prohibited herself from posting Housman, this month, but she didn't prohibit me from posting Housman. Sometimes I think Stoppard may have done me a great disservice with The Invention of Love. I am way too invested in A.E. Housman. Stop falling in love with straight boys, Hous!