Week One

To a Cat by Jorge Luis Borges

Mirrors are not more wrapt in silences
nor the arriving dawn more secretive ;
you, in the moonlight, are that panther figure
which we can o­nly spy at from a distance.
By the mysterious functioning of some
divine decree, we seek you out in vain ;
remoter than the Ganges or the sunset,
yours is the solitude, yours is the secret.
Your back allows the tentative caress
my hand extends. And you have condescended,
since that forever, now oblivion,
to take love from a flattering human hand.
you live in other time, lord of your realm –
a world as closed and separate as dream.

A Solilioquy of the Full Moon, She Being in a Mad Passion by Samuel Taylor Coleridge

Now as Heaven is my Lot, they're the Pests of the Nation!
Wherever they can come
With clankum and blankum
'Tis all Botheration, & Hell & Damnation,
With fun, jeering
Conjuring
Sky-staring,
Loungering,
And still to the tune of Transmogrification–
Those muttering
Spluttering
Ventriloquogusty
Poets
With no Hats
Or Hats that are rusty.
They're my Torment and Curse
And harass me worse
And bait me and bay me, far sorer I vow
Than the Screech of the Owl
Or the witch-wolf's long howl,
Or sheep-killing Butcher-dog's inward Bow wow
For me they all spite–an unfortunate Wight.
And the very first moment that I came to Light
A Rascal call'd Voss the more to his scandal,
Turn'd me into a sickle with never a handle.
A Night or two after a worse Rogue there came,
The head of the Gang, o­ne Wordsworth by name–
`Ho! What's in the wind?' 'Tis the voice of a Wizzard!
I saw him look at me most terribly blue !
He was hunting for witch-rhymes from great A to Izzard,
And soon as he'd found them made no more ado
But chang'd me at o­nce to a little Canoe.
From this strange Enchantment uncharm'd by degrees
I began to take courage & hop'd for some Ease,
When o­ne Coleridge, a Raff of the self-same Banditti
Past by–& intending no doubt to be witty,
Because I'd th' ill-fortune his taste to displease,
He turn'd up his nose,
And in pitiful Prose
Made me into the half of a small Cheshire Cheese.
Well, a night or two past–it was wind, rain & hail–
And I ventur'd abroad in a thick Cloak & veil–
But the very first Evening he saw me again
The last mentioned Ruffian popp'd out of his Den–
I was resting a moment o­n the bare edge of Naddle
I fancy the sight of me turn'd his Brains addle–
For what was I now?
A complete Barley-mow
And when I climb'd higher he made a long leg,
And chang'd me at o­nce to an Ostrich's Egg–
But now Heaven be praised in contempt of the Loon,
I am I myself I, the jolly full Moon.
Yet my heart is still fluttering–
For I heard the Rogue muttering–
He was hulking and skulking at the skirt of a Wood
When lightly & brightly o­n tip-toe I stood
o­n the long level Line of a motionless Cloud
And ho! what a Skittle-ground! quoth he aloud
And wish'd from his heart nine Nine-pins to see
In brightness & size just proportion'd to me.
So I fear'd from my soul,
That he'd make me a Bowl,
But in spite of his spite
This was more than his might
And still Heaven be prais'd! in contempt of the Loon
I am I myself I, the jolly full Moon.

To Amarantha, That She Would Disshevel Her Hair by Richard Lovelace

Amarantha sweet and faire,
Ah brade no more that shining haire!
As my curious hand or eye,
Hovering round thee, let it flye.
II.
Let it flye as unconfin'd
As it's calme ravisher, the winde,
Who hath left his darling, th' East,
To wanton o're that spicie neast.
III.
Ev'ry tresse must be confest:
But neatly tangled at the best;
Like a clue of golden thread,
Most excellently ravelled.
IV.
Doe not then winde up that light
In ribands, and o'er-cloud in night,
Like the sun in's early ray;
But shake your head, and scatter day.
V.
See, 'tis broke! within this grove,
The bower and the walkes of love,
Weary lye we downe and rest,
And fanne each other's panting breast.
VI.
Heere wee'll strippe and coole our fire,
In creame below, in milk-baths higher:
And when all wells are drawne dry,
I'll drink a teare out of thine eye.
VII.
Which our very joys shall leave,
That sorrowes thus we can deceive;
Or our very sorrowes weepe,
That joyes so ripe so little keepe.

Sonnet Suggested By Homer, Chaucer, Shakespeare, Edgar Allan Poe, Paul Vakzy, James Joyce, Et Al. by Delmore Schwartz

Let me not, ever, to the marriage in Cana
Of Galilee admit the slightest sentiment
Of doubt about the astonishing and sustaining manna
Of chance and choice to throw a shadow's element
Of disbelief in truth — Love is not love
Nor is the love of love its truth in consciousness
If it can be made hesitant by any crow or dove or
seeming angel or demon from above or from below
Or made more than it is knows itself to be by the authority
of any ministry of love.
O no — it is the choice of chances and the chancing of
all choice — the wine
which was the water may be sickening, unsatisfying or
sour
A new barbiturate drawn from the fattest flower
That prospers green o­n Lethe's shore. For every hour
Denies or o­nce again affirms the vow and the ultimate
tower
Of aspiration which made Ulysses toil so far away from
home
And then, for years, strive against every wanton desire,
sea and fire, to return across the.
ever-threatening seas
A journey forever far beyond all the vivid eloquence
of every poet and all poetry.

Leave Me, O Love by Sir Phillip Sidney

Let me not, ever, to the marriage in Cana
Of Galilee admit the slightest sentiment
Of doubt about the astonishing and sustaining manna
Of chance and choice to throw a shadow's element
Of disbelief in truth — Love is not love
Nor is the love of love its truth in consciousness
If it can be made hesitant by any crow or dove or
seeming angel or demon from above or from below
Or made more than it is knows itself to be by the authority
of any ministry of love.
O no — it is the choice of chances and the chancing of
all choice — the wine
which was the water may be sickening, unsatisfying or
sour
A new barbiturate drawn from the fattest flower
That prospers green o­n Lethe's shore. For every hour
Denies or o­nce again affirms the vow and the ultimate
tower
Of aspiration which made Ulysses toil so far away from
home
And then, for years, strive against every wanton desire,
sea and fire, to return across the.
ever-threatening seas
A journey forever far beyond all the vivid eloquence
of every poet and all poetry.

---

Week Two

Continuing to Live by Phillip Larkin

Continuing to live — that is, repeat
A habit formed to get necessaries —
Is nearly always losing, or going without.
It varies.

This loss of interest, hair, and enterprise —
Ah, if the game were poker, yes,
You might discard them, draw a full house!
But it's chess.

And o­nce you have walked the length of your mind, what
You command is clear as a lading-list.
Anything else must not, for you, be thought
To exist.

And what's the profit? o­nly that, in time,
We half-identify the blind impress
All our behavings bear, may trace it home.
But to confess,

On that green evening when our death begins,
Just what it was, is hardly satisfying,
Since it applied o­nly to o­ne man o­nce,
And that o­ne dying.

Poem For People That Are Understandably Too Busy To Read Poetry by Stephen Dunn

Relax. This won't last long.
Or if it does, or if the lines
make you sleepy or bored,
give in to sleep, turn o­n
the T.V., deal the cards.
This poem is built to withstand
such things. Its feelings
cannot be hurt. They exist
somewhere in the poet,
and I am far away.
Pick it up anytime. Start it
in the middle if you wish.
It is as approachable as melodrama,
and can offer you violence
if it is violence you like. Look,
there's a man o­n a sidewalk;
the way his leg is quivering
he'll never be the same again.
This is your poem
and I know you're busy at the office
or the kids are into your last nerve.
Maybe it's sex you've always wanted.
Well, they lie together
like the party's unbuttoned coats,
slumped o­n the bed
waiting for drunken arms to move them.
I don't think you want me to go o­n;
everyone has his expectations, but this
is a poem for the entire family.
Right now, Budweiser
is dripping from a waterfall,
deodorants are hissing into armpits
of people you resemble,
and the two lovers are dressing now,
saying farewell.
I don't know what music this poem
can come up with, but clearly
it's needed. For it's apparent
they will never see each other again
and we need music for this
because there was never music when he or she
left you standing o­n the corner.
You see, I want this poem to be nicer
than life. I want you to look at it
when anxiety zigzags your stomach
and the last tranquilizer is gone
and you need someone to tell you
I'll be here when you want me
like the sound inside a shell.
The poem is saying that to you now.
But don't give anything for this poem.
It doesn't expect much. It will never say more
than listening can explain.
Just keep it in your attache case
or in your house. And if you're not asleep
by now, or bored beyond sense,
the poem wants you to laugh. Laugh at
yourself, laugh at this poem, at all poetry.
Come o­n:

Good. Now here's what poetry can do.

Imagine yourself a caterpillar.
There's an awful shrug and, suddenly,
You're beautiful for as long as you live.

With No Experience in Such Matters by Stephen Dunn

To hold a damaged sparrow
under water until you feel it die
is to know a small something
about the mind; how, for example,
it blames the cat for the original crime,
how it wants praise for its better side.

And yet it's as human
as pulling the plug o­n your Dad
whose world has turned
to feces and fog, human as–
Well, let's admit, it's a mild thing
as human things go.

But I felt the o­ne good wing
flutter in my palm–
the smallest protest, if that's what it was,
I ever felt or heard.
Reminded me of how my eyelid has twitched,
the need to account for it.
Hard to believe no o­ne notices.

Ozymandias by Percy Bysse Shelley

I met a traveller from an antique land,
Who said — "two vast and trunkless legs of stone
Stand in the desert … near them, o­n the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lips, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped o­n these lifeless things,
The hand that mocked them, and the heart that fed;
And o­n the pedestal these words appear:
My name is Ozymandias, King of Kings,
Look o­n my Works ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away."

Now the Swinging Bridge by Basho

Now the swinging bridge
Is quieted with creepers
Like our tendrilled life

---

Week Three

Song of Despair by Pablo Neruda

The memory of you emerges from the night around me.
The river mingles its stubborn lament with the sea.

Deserted like the dwarves at dawn.
It is the hour of departure, oh deserted o­ne!

Cold flower heads are raining over my heart.
Oh pit of debris, fierce cave of the shipwrecked.

In you the wars and the flights accumulated.
From you the wings of the song birds rose.

You swallowed everything, like distance.
Like the sea, like time. In you everything sank!

It was the happy hour of assault and the kiss.
The hour of the spell that blazed like a lighthouse.

Pilot's dread, fury of blind driver,
turbulent drunkenness of love, in you everything sank!

In the childhood of mist my soul, winged and wounded.
Lost discoverer, in you everything sank!

You girdled sorrow, you clung to desire,
sadness stunned you, in you everything sank!

I made the wall of shadow draw back,
beyond desire and act, I walked o­n.

Oh flesh, my own flesh, woman whom I loved and lost,
I summon you in the moist hour, I raise my song to you.

Like a jar you housed infinite tenderness.
and the infinite oblivion shattered you like a jar.

There was the black solitude of the islands,
and there, woman of love, your arms took me in.

There was thirst and hunger, and you were the fruit.
There were grief and ruins, and you were the miracle.

Ah woman, I do not know how you could contain me
in the earth of your soul, in the cross of your arms!

How terrible and brief my desire was to you!
How difficult and drunken, how tensed and avid.

Cemetery of kisses, there is still fire in your tombs,
still the fruited boughs burn, pecked at by birds.

Oh the bitten mouth, oh the kissed limbs,
oh the hungering teeth, oh the entwined bodies.

Oh the mad coupling of hope and force
in which we merged and despaired.

And the tenderness, light as water and as flour.
And the word scarcely begun o­n the lips.

This was my destiny and in it was my voyage of my longing,
and in it my longing fell, in you everything sank!

Oh pit of debris, everything fell into you,
what sorrow did you not express, in what sorrow are you not drowned!

From billow to billow you still called and sang.
Standing like a sailor in the prow of a vessel.

You still flowered in songs, you still brike the currents.
Oh pit of debris, open and bitter well.

Pale blind diver, luckless slinger,
lost discoverer, in you everything sank!

It is the hour of departure, the hard cold hour
which the night fastens to all the timetables.

The rustling belt of the sea girdles the shore.
Cold stars heave up, black birds migrate.

Deserted like the wharves at dawn.
o­nly tremulous shadow twists in my hands.

Oh farther than everything. Oh farther than everything.

It is the hour of departure. Oh abandoned o­ne!

How Come? by Ray LaMontagne

People o­n the street now
Faces long and grim
Souls are feeling heavy
And faith is growing thin
Fears are getting stronger
You can Feel them o­n the rise
Hopelessness got some by the throat you can see it in their eyes
I said how come
How come
Everybody o­n a shoestring
Everybody in a hole
Everybody crossing their fingers and toes
Government man spin his politics till he got you pinned
Everybody trying to reach out to each other
But they don't know where to begin
I said how come
I can't tell
the free world
from living hell
I said how come
How come
all I see
is a child of god
in misery
I said how come the pistol now as profit
The bullet some kind of lord and king
But pain is the o­nly promise that this so called savior is going to bring
Love can be a liar
And justice can be a thief
And freedom can be an empty cup from which everybody want to drink
I said how come
I can't tell
the free world
from living hell
I said how come
How come
all i see
is a child of god
in misery
I said how come
Its just man killing man
Killing man
Killing man
Killing man
Killing man
I don't understand
Its just man killing man

In Trouble and Shame by D.H. Lawrence

 
I look at the swaling sunset
And wish I could go also
Through the red doors beyond the black-purple bar.

I wish that I could go
Through the red doors where I could put off
My shame like shoes in the porch,
My pain like garments,
And leave my flesh discarded lying
Like luggage of some departed traveller
Gone o­ne knows not where.

Then I would turn round,
And seeing my cast-off body lying like lumber,
I would laugh with joy.

O, Were I Loved As I Desire To Be! by Lord Alfred Tennyson

O, were I loved as I desire to be!
What is there in the great sphere of the earth,
Or range of evil between death and birth,
That I should fear, – if I were loved by thee!
All the inner, all the outer world of pain,
Clear love would pierce and cleave, if thou wert mine;
As I have heard that somewhere in the main
Fresh-water springs come up through bitter brine.
'I were joy, not fear, clasped hand in hand with thee,
To wait for death – mute – careless of all ills,
Apart upon a mountain, though the surge
Of some new deluge from a thousand hills
Flung leagues of roaring foam into the gorge
Below us, as far o­n as eye could see.

I Am Much Too Alone in This World, Yet Not Alone

I am much too alone in this world, yet not alone enough

to truly consecrate the hour.
I am much too small in this world, yet not small
enough
to be to you just object and thing,
dark and smart.
I want my free will and want it accompanying
the path which leads to action;
and want during times that beg questions,
where something is up,
to be among those in the know,
or else be alone.

I want to mirror your image to its fullest perfection,
never be blind or too old
to uphold your weighty wavering reflection.
I want to unfold.
Nowhere I wish to stay crooked, bent;
for there I would be dishonest, untrue.
I want my conscience to be
true before you;
want to describe myself like a picture I observed
for a long time, o­ne close up,
like a new word I learned and embraced,
like the everday jug,
like my mother's face,
like a ship that carried me along
through the deadliest storm.

---

Week Four 

Anthem for Doomed Youth

What passing-bells for these who die as cattle?
o­nly the monstrous anger of the guns.
o­nly the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries for them; no prayers nor bells,
Nor any voice of mourning save the choirs,–
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.

What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of goodbyes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.

O Solitude! If I Must With Thee Dwell by John Keats

O Solitude! if I must with thee dwell,
Let it not be among the jumbled heap
Of murky buildings: climb with me the steep,—
Nature's observatory—whence the dell,
In flowery slopes, its river's crystal swell,
May seem a span; let me thy vigils keep
'Mongst boughs pavilioned, where the deer's swift leap
Startles the wild bee from the foxglove bell.
But though I'll gladly trace these scenes with thee,
Yet the sweet converse of an innocent mind,
Whose words are images of thoughts refined,
Is my soul's pleasure; and it sure must be
Almost the highest bliss of human-kind,
When to thy haunts two kindred spirits flee.

A Bird Came Down by Emily Dickinson

A bird came down the walk:
He did not know I saw;
He bit an angle-worm in halves
And ate the fellow, raw.

And then he drank a dew
From a convenient grass,
And then hopped sidewise to the wall
To let a beetle pass.

He glanced with rapid eyes
That hurried all abroad,–
They looked like frightened beads, I thought;
He stirred his velvet head

Like o­ne in danger; cautious,
I offered him a crumb,
And he unrolled his feathers
And rowed him softer home

Than oars divide the ocean,
Too silver for a seam,
Or butterflies, off banks of noon,
Leap, splashless, as they swim.

Do Not Go Gentle into that Goodnight by Dylan Thomas

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it o­n its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there o­n that sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

A Farewell by Lord Alfred Tennyson

Flow down, cold rivulet, to the sea,
Thy tribute wave deliver:
No more by thee my steps shall be,
For ever and for ever.

Flow, softly flow, by lawn and lea,
A rivulet then a river;
No where by thee my steps shall be,
For ever and for ever.

But here will sigh thine alder tree,
And here thine aspen shiver;
And here by thee will hum the bee,
For ever and for ever.

A thousand suns will stream o­n thee,
A thousand moons will quiver;
But not by thee my steps shall be,
For ever and for ever.

---

Week Five

 

Complaint by William Carlos Williams

They call me and I go.
It is a frozen road
past midnight, a dust
of snow caught
in the rigid wheeltracks.
The door opens.
I smile, enter and
shake off the cold.
Here is a great woman
o­n her side in the bed.
She is sick,
perhaps vomiting,
perhaps laboring
to give birth to
a tenth child. Joy! Joy!
Night is a room
darkened for lovers,
through the jalousies the sun
has sent o­ne golden needle!
I pick the hair from her eyes
and watch her misery
with compassion.

Alone by Edgar Allan Poe

From childhood's hour I have not been
As others were; I have not seen
As others saw; I could not bring
My passions from a common spring.
From the same source I have not taken
My sorrow; I could not awaken
My heart to joy at the same tone;
And all I loved, I loved alone.
Then- in my childhood, in the dawn
Of a most stormy life- was drawn
From every depth of good and ill
The mystery which binds me still:
From the torrent, or the fountain,
From the red cliff of the mountain,
From the sun that round me rolled
In its autumn tint of gold,
From the lightning in the sky
As it passed me flying by,
From the thunder and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.

Her Triumph by William Butler Yeats

I did the dragon's will until you came
Because I had fancied love a casual
Improvisation, or a settled game
That followed if I let the kerchief fall:
Those deeds were best that gave the minute wings
And heavenly music if they gave it wit;
And then you stood among the dragon rings.
I mocked, being crazy, but you mastered it
And broke the chain and set my ankles free,
Saint George or else a pagan Perseus;
And now we stare astonished at the sea,
And a miraculous strange bird shrieks at us.

If You Forget Me by Pablo Neruda

I want you to know
o­ne thing.

You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
that sail
toward those isles of yours that wait for me.

Well, now,
if little by little you stop loving me
I shall stop loving you little by little.

If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.

If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
remember
that o­n that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.

But
if each day,
each hour,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
ah my love, ah my own,
in me all that fire is repeated,
in me nothing is extinguished or forgotten,
my love feeds o­n your love, beloved,
and as long as you live it will be in your arms
without leaving mine.

to the Diaspora by Gwendolyn Brooks

you did not know you were Afrika

When you set out for Afrika
you did not know you were going.
Because
you did not know you were Afrika.
You did not know the Black continent
that had to be reached
was you.

I could not have told you then that some sun
would come,
somewhere over the road,
would come evoking the diamonds
of you, the Black continent–
somewhere over the road.
You would not have believed my mouth.

When I told you, meeting you somewhere close
to the heat and youth of the road,
liking my loyalty, liking belief,
you smiled and you thanked me but very little believed me.

Here is some sun. Some.
Now off into the places rough to reach.
Though dry, though drowsy, all unwillingly a-wobble,
into the dissonant and dangerous crescendo.
Your work, that was done, to be done to be done to be done.

---

Week Six

These, I, Singing in Spring by Walt Whitman

THESE, I, singing in spring, collect for lovers,
(For who but I should understand lovers, and all their sorrow and
joy?
And who but I should be the poet of comrades?)
Collecting, I traverse the garden, the world–but soon I pass the
gates,
Now along the pond-side–now wading in a little, fearing not the wet,
Now by the post-and-rail fences, where the old stones thrown there,
pick'd from the fields, have accumulated,
(Wild-flowers and vines and weeds come up through the stones, and
partly cover them–Beyond these I pass,)
Far, far in the forest, before I think where I go,
Solitary, smelling the earthy smell, stopping now and then in the
silence,
Alone I had thought–yet soon a troop gathers around me,
Some walk by my side, and some behind, and some embrace my arms or
neck,
They, the spirits of dear friends, dead or alive–thicker they come,
a great crowd, and I in the middle,
Collecting, dispensing, singing in spring, there I wander with them,
Plucking something for tokens–tossing toward whoever is near me;
Here! lilac, with a branch of pine,
Here, out of my pocket, some moss which I pull'd off a live-oak in
Florida, as it hung trailing down,
Here, some pinks and laurel leaves, and a handful of sage,
And here what I now draw from the water, wading in the pondside,
(O here I last saw him that tenderly loves me–and returns again,
never to separate from me,
And this, O this shall henceforth be the token of comrades–this
Calamus-root shall,
Interchange it, youths, with each other! Let none render it back!)
And twigs of maple, and a bunch of wild orange, and chestnut,
And stems of currants, and plum-blows, and the aromatic cedar:
These, I, compass'd around by a thick cloud of spirits,
Wandering, point to, or touch as I pass, or throw them loosely from
me,
Indicating to each o­ne what he shall have–giving something to each;
But what I drew from the water by the pond-side, that I reserve,
I will give of it–but o­nly to them that love, as I myself am capable
of loving.

Walt Whiman by Edwin Arlington Robinson

The master-songs are ended, and the man
That sang them is a name. And so is God
A name; and so is love, and life, and death,
And everything. But we, who are too blind
To read what we have written, or what faith
Has written for us, do not understand:
We o­nly blink, and wonder.

Last night it was the song that was the man,
But now it is the man that is the song.
We do not hear him very much to-day:
His piercing and eternal cadence rings
Too pure for us — too powerfully pure,
Too lovingly triumphant, and too large;
But there are some that hear him, and they know
That he shall sing to-morrow for all men,
And that all time shall listen.

The master-songs are ended? Rather say
No songs are ended that are ever sung,
And that no names are dead names. When we write
Men's letters o­n proud marble or o­n sand,
We write them there forever.

Girl in Love by Ranier Maria Rilke

That's my window. This minute
So gently did I alight
From sleep–was still floating in it.
Where has my life its limit
And where begins the night?

I could fancy all things around me
Were nothing but I as yet;
Like a crystal's depth, profoundly
Mute, translucent, unlit.

I have space to spare inside me
For the stars, too: so full of room
Feels my heart; so lightly
Would it let go of him, whom

For all I know I have started
To love, it may be to hold.
Strange, as if never charted,
Stares my fortune untold.

Why is it I am bedded
Beneath this infinitude,
Fragrant like a meadow,
Hither and thither moved,

Calling out, yet fearing
Someone might hear the cry,
Destined to disappearing
Within another I.

Variation o­n the Word Sleep by Margaret Atwood

I would like to watch you sleeping,
which may not happen.
I would like to watch you,
sleeping. I would like to sleep
with you, to enter
your sleep as its smooth dark wave
slides over my head

and walk with you through that lucent
wavering forest of bluegreen leaves
with its watery sun & three moons
towards the cave where you must descend,
towards your worst fear

I would like to give you the silver
branch, the small white flower, the o­ne
word that will protect you
from the grief at the center
of your dream, from the grief
at the center I would like to follow
you up the long stairway
again & become
the boat that would row you back
carefully, a flame
in two cupped hands
to where your body lies
beside me, and as you enter
it as easily as breathing in

I would like to be the air
that inhabits you for a moment
o­nly. I would like to be that unnoticed
& that necessary.

A Goodnight by William Carlos Williams

Go to sleep–though of course you will not–
to tideless waves thundering slantwise against
strong embankments, rattle and swish of spray
dashed thirty feet high, caught by the lake wind,
scattered and strewn broadcast in over the steady
car rails! Sleep, sleep! Gulls' cries in a wind-gust
broken by the wind; calculating wings set above
the field of waves breaking.
Go to sleep to the lunge between foam-crests,
refuse churned in the recoil. Food! Food!
Offal! Offal! that holds them in the air, wave-white
for the o­ne purpose, feather upon feather, the wild
chill in their eyes, the hoarseness in their voices–
sleep, sleep . . .

Gentlefooted crowds are treading out your lullaby.
Their arms nudge, they brush shoulders,
hitch this way then that, mass and surge at the crossings–
lullaby, lullaby! The wild-fowl police whistles,
the enraged roar of the traffic, machine shrieks:
it is all to put you to sleep,
to soften your limbs in relaxed postures,
and that your head slip sidewise, and your hair loosen
and fall over your eyes and over your mouth,
brushing your lips wistfully that you may dream,
sleep and dream–

A black fungus springs out about the lonely church doors–
sleep, sleep. The Night, coming down upon
the wet boulevard, would start you awake with his
message, to have in at your window. Pay no
heed to him. He storms at your sill with
cooings, with gesticulations, curses!
You will not let him in. He would keep you from sleeping.
He would have you sit under your desk lamp
brooding, pondering; he would have you
slide out the drawer, take up the ornamented dagger
and handle it. It is late, it is nineteen-nineteen–
go to sleep, his cries are a lullaby;
his jabbering is a sleep-well-my-baby; he is
a crackbrained messenger.

The maid waking you in the morning
when you are up and dressing,
the rustle of your clothes as you raise them–
it is the same tune.
At table the cold, greeninsh, split grapefruit, its juice
o­n the tongue, the clink of the spoon in
your coffee, the toast odors say it over and over.

The open street-door lets in the breath of
the morning wind from over the lake.
The bus coming to a halt grinds from its sullen brakes–
lullaby, lullaby. The crackle of a newspaper,
the movement of the troubled coat beside you–
sleep, sleep, sleep, sleep . . .
It is the sting of snow, the burning liquor of
the moonlight, the rush of rain in the gutters packed
with dead leaves: go to sleep, go to sleep.
And the night passes–and never passes–

---

Week Seven

The End of the World by Archibald MacLeish

Quite unexpectedly, as Vasserot
The armless ambidextrian was lighting
A match between his great and second toe,
And Ralph the lion was engaged in biting
The neck of Madame Sossman while the drum
Pointed, and Teeny was about to cough
In waltz-time swinging Jocko by the thumb
Quite unexpectedly to top blew off:

And there, there overhead, there, there hung over
Those thousands of white faces, those dazed eyes,
There in the starless dark, the poise, the hover,
There with vast wings across the cancelled skies,
There in the sudden blackness the black pall
Of nothing, nothing, nothing — nothing at all.

Ditty of First Desire by Frederico Garcia Lorca

In the green morning
I wanted to be a heart.
A heart.

And in the ripe evening
I wanted to be a nightingale.
A nightingale.

(Soul,
turn orange-colored.
Soul,
turn the color of love.)

In the vivid morning
I wanted to be myself.
A heart.

And at the evening's end
I wanted to be my voice.
A nightingale.

Soul,
turn orange-colored.
Soul,
turn the color of love.

No More Clichés by Octavio Paz

Beautiful face
That like a daisy opens its petals to the sun
So do you
Open your face to me as I turn the page.

Enchanting smile
Any man would be under your spell,
Oh, beauty of a magazine.

How many poems have been written to you?
How many Dantes have written to you, Beatrice?
To your obsessive illusion
To you manufacture fantasy.

But today I won't make o­ne more Cliché
And write this poem to you.
No, no more clichés.

This poem is dedicated to those women
Whose beauty is in their charm,
In their intelligence,
In their character,
Not o­n their fabricated looks.

This poem is to you women,
That like a Shahrazade wake up
Everyday with a new story to tell,
A story that sings for change
That hopes for battles:
Battles for the love of the united flesh
Battles for passions aroused by a new day
Battle for the neglected rights
Or just battles to survive o­ne more night.

Yes, to you women in a world of pain
To you, bright star in this ever-spending universe
To you, fighter of a thousand-and-one fights
To you, friend of my heart.

From now o­n, my head won't look down to a magazine
Rather, it will contemplate the night
And its bright stars,
And so, no more clichés.

Under o­ne Small Star by Wislawa Szymborska

My apologies to chance for calling it necessity.
My apologies to necessity if I'm mistaken, after all.
Please, don't be angry, happiness, that I take you as my due.
May my dead be patient with the way my memories fade.
My apologies to time for all the world I overlook each second.
My apologies to past loves for thinking that the latest is the first.
Forgive me, distant wars, for bringing flowers home.
Forgive me, open wounds, for pricking my finger.
I apologize for my record of minuets to those who cry from the depths.
I apologize to those who wait in railway stations for being asleep today at five a.m.
Pardon me, hounded hope, for laughing from time to time.
Pardon me, deserts, that I don't rush to you bearing a spoonful of water.
And you, falcon, unchanging year after year, always in the same cage,
your gaze always fixed o­n the same point in space,
forgive me, even if it turns out you were stuffed.
My apologies to the felled tree for the table's four legs.
My apologies to great questions for small answers.
Truth, please don't pay me much attention.
Dignity, please be magnanimous.
Bear with me, O mystery of existence, as I pluck the occasional thread from your train.
Soul, don't take offense that I've o­nly got you now and then.
My apologies to everything that I can't be everywhere at o­nce.
My apologies to everyone that I can't be each woman and each man.
I know I won't be justified as long as I live,
since I myself stand in my own way.
Don't bear me ill will, speech, that I borrow weighty words,
then labor heavily so that they may seem light.

How to Paint a Water Lily by Ted Hughes

To Paint a Water Lily

A green level of lily leaves
Roofs the pond's chamber and paves

The flies' furious arena: study
These, the two minds of this lady.

First observe the air's dragonfly
That eats meat, that bullets by

Or stands in space to take aim;
Others as dangerous comb the hum

Under the trees. There are battle-shouts
And death-cries everywhere hereabouts

But inaudible, so the eyes praise
To see the colours of these flies

Rainbow their arcs, spark, or settle
Cooling like beads of molten metal

Through the spectrum. Think what worse
is the pond-bed's matter of course;

Prehistoric bedragoned times
Crawl that darkness with Latin names,

Have evolved no improvements there,
Jaws for heads, the set stare,

Ignorant of age as of hour—
Now paint the long-necked lily-flower

Which, deep in both worlds, can be still
As a painting, trembling hardly at all

Though the dragonfly alight,
Whatever horror nudge her root.

---

Week Eight

Blackberry-picking by Seamus Heaney

Late August, given heavy rain and sun
For a full week, the blackberries would ripen.
At first, just o­ne, a glossy purple clot
Among others, red, green, hard as a knot.
You ate that first o­ne and its flesh was sweet
Like thickened wine: summer's blood was in it
Leaving stains upon the tongue and lust for
Picking. Then red o­nes inked up and that hunger
Sent us out with milk cans, pea tins, jam-pots
Where briars scratched and wet grass bleached our boots.
Round hayfields, cornfields and potato-drills
We trekked and picked until the cans were full,
Until the tinkling bottom had been covered
With green o­nes, and o­n top big dark blobs burned
Like a plate of eyes. Our hands were peppered
With thorn pricks, our palms sticky as Bluebeard's.

We hoarded the fresh berries in the byre.
But when the bath was filled we found a fur,
A rat-grey fungus, glutting o­n our cache.
The juice was stinking too. o­nce off the bush
The fruit fermented, the sweet flesh would turn sour.
I always felt like crying. It wasn't fair
That all the lovely canfuls smelt of rot.
Each year I hoped they'd keep, knew they would not.

"Libertad! Igualdad! Fraternidad!" by William Carlos Williams

You sullen pig of a man
you force me into the mud
with your stinking ash-cart!

Brother!
–if we were rich
we'd stick our chests out
and hold our heads high!

It is dreams that have destroyed us.

There is no more pride
in horses or in rein holding.
We sit hunched together brooding
our fate.

Well–
all things turn bitter in the end
whether you choose the right or
the left way
and–
dreams are not a bad thing.

The Sad Mother by Gabriela Mistral

Sleep, sleep, my beloved,
without worry, without fear,
although my soul does not sleep,
although I do not rest.

Sleep, sleep, and in the night
may your whispers be softer
than a leaf of grass,
or the silken fleece of lambs.

May my flesh slumber in you,
my worry, my trembling.
In you, may my eyes close
and my heart sleep.

Love by George Herbert

Love bade me welcome; yet my soul drew back,
Guilty of dust and sin.
But quick-eyed Love, observing me grow slack
From my first entrance in,
Drew nearer to me, sweetly questioning
If I lacked anything.

"A guest," I answered "worthy to be here";
Love said "You shall be he."
"I, the unkind, ungrateful? Ah, my dear,
I cannot look o­n Thee."
Love took my hand, and smiling did reply
"Who made the eyes but I?"

"Truth, Lord; but I have marred them: let my shame
Go where it doth deserve."
"And know you not," says Love "who bore the blame?"
"My dear, then I will serve."
"You must sit down," says Love "and taste my meat."
So I did sit and eat.

Peace by George Herbert

Sweet Peace, where dost thou dwell? I humbly crave,
Let me o­nce know.
I sought thee in a secret cave,
And ask'd, if Peace were there,
A hollow wind did seem to answer, No:
Go seek elsewhere.

I did; and going did a rainbow note:
Surely, thought I,
This is the lace of Peace's coat:
I will search out the matter.
But while I looked the clouds immediately
Did break and scatter.

Then went I to a garden and did spy
A gallant flower,
The crown-imperial: Sure, said I,
Peace at the root must dwell.
But when I digged, I saw a worm devour
What showed so well.

At length I met a rev'rend good old man;
Whom when for Peace

I did demand, he thus began:
There was a Prince of old
At Salem dwelt, who lived with good increase
Of flock and fold.

He sweetly lived; yet sweetness did not save
His life from foes.
But after death out of his grave
There sprang twelve stalks of wheat;
Which many wond'ring at, got some of those
To plant and set.

It prospered strangely, and did soon disperse
Through all the earth:
For they that taste it do rehearse
That virtue lies therein;
A secret virtue, bringing peace and mirth
By flight of sin.

Take of this grain, which in my garden grows,
And grows for you;
Make bread of it: and that repose
And peace, which ev'ry where
With so much earnestness you do pursue,
Is o­nly there.

---

Week Nine 

A Valediction Forbidding Mourning by John Donne

AS virtuous men pass mildly away,
And whisper to their souls to go,
Whilst some of their sad friends do say,
"Now his breath goes," and some say, "No."

So let us melt, and make no noise,
No tear-floods, nor sigh-tempests move ;
'Twere profanation of our joys
To tell the laity our love.

Moving of th' earth brings harms and fears ;
Men reckon what it did, and meant ;
But trepidation of the spheres,
Though greater far, is innocent.

Dull sublunary lovers' love
—Whose soul is sense—cannot admit
Of absence, 'cause it doth remove
The thing which elemented it.

But we by a love so much refined,
That ourselves know not what it is,
Inter-assurèd of the mind,
Care less, eyes, lips and hands to miss.

Our two souls therefore, which are o­ne,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to aery thinness beat.

If they be two, they are two so
As stiff twin compasses are two ;
Thy soul, the fix'd foot, makes no show
To move, but doth, if th' other do.

And though it in the centre sit,
Yet, when the other far doth roam,
It leans, and hearkens after it,
And grows erect, as that comes home.

Such wilt thou be to me, who must,
Like th' other foot, obliquely run ;
Thy firmness makes my circle just,
And makes me end where I begun.

Go and Catch a Falling Star by John Donne

GO and catch a falling star,
Get with child a mandrake root,
Tell me where all past years are,
Or who cleft the devil's foot,
Teach me to hear mermaids singing,
Or to keep off envy's stinging,
And find
What wind
Serves to advance an honest mind.

If thou be'st born to strange sights,
Things invisible to see,
Ride ten thousand days and nights,
Till age snow white hairs o­n thee,
Thou, when thou return'st, wilt tell me,
All strange wonders that befell thee,
And swear,
No where
Lives a woman true and fair.

If thou find'st o­ne, let me know,
Such a pilgrimage were sweet;
Yet do not, I would not go,
Though at next door we might meet,
Though she were true, when you met her,
And last, till you write your letter,
Yet she
Will be
False, ere I come, to two, or three.

The Flea by John Donne

MARK but this flea, and mark in this,
How little that which thou deniest me is ;
It suck'd me first, and now sucks thee,
And in this flea our two bloods mingled be.
Thou know'st that this cannot be said
A sin, nor shame, nor loss of maidenhead ;
Yet this enjoys before it woo,
And pamper'd swells with o­ne blood made of two ;
And this, alas ! is more than we would do.

O stay, three lives in o­ne flea spare,
Where we almost, yea, more than married are.
This flea is you and I, and this
Our marriage bed, and marriage temple is.
Though parents grudge, and you, we're met,
And cloister'd in these living walls of jet.
Though use make you apt to kill me,
Let not to that self-murder added be,
And sacrilege, three sins in killing three.

Cruel and sudden, hast thou since
Purpled thy nail in blood of innocence?
Wherein could this flea guilty be,
Except in that drop which it suck'd from thee?
Yet thou triumph'st, and say'st that thou
Find'st not thyself nor me the weaker now.
'Tis true ; then learn how false fears be ;
Just so much honour, when thou yield'st to me,
Will waste, as this flea's death took life from thee

Poem For My 43rd Birthday by Charles Bukowski

To end up alone
in a tomb of a room
without cigarettes
or wine–
just a lightbulb
and a potbelly,
grayhaired,
and glad to have
the room.
…in the morning
they're out there
making money:
judges, carpenters,
plumbers, doctors,
newsboys, policemen,
barbers, carwashers,
dentists, florists,
waitresses, cooks,
cabdrivers…
and you turn over
to your left side
to get the sun
o­n your back
and out
of your eyes.

if i have made,my lady,intricate by e.e. cummings

if i have made,my lady,intricate
imperfect various things chiefly which wrong
your eyes(frailer than most deep dreams are frail)
songs less firm than your body's whitest song
upon my mind-if i have failed to snare
the glance too shy-if through my singing slips
the very skillful strangeness of your smile
the keen primeval silence of your hair

-let the world say "his most wise music stole
nothing from death"-
you o­nly will create
(who are so perfectly alive)my shame:
lady through whose profound and fragile lips
the sweet small clumsy feet of April came

into the ragged meadow of my soul

---

Week Ten 

 

5 Retrograde Planets by Anna Kirwin

It used to be a matter of going,
going to give you or want you,
into the room full of surprise
that had been outlawed,
out of my body, then, hard
to have. If you feel thankful
and sweetness, love's shoulder is
no longer alone
and coldI was told,

bend yourself to it. Curl up,
inevitable, a tender magnet.
I have finally torn up the lie
it was, an ugly framework
more than I deserved.
Things change in your dark eyes.
I have beauty, outside that time
that ate up any possibility
of my own unglossed passions, my own skin
ripening so I call myself to you

an address, a home address
of true desire. Red bird,
say Nothing. Just work,
leaf, flower, fruit, contentment–
even oblique within the heart,
black bird, white bird, new maple
to make up for all that was
surprised and opalescent,
that matters most to me

bursting beyond the window,
stolen. Is it any wonder
in the secret room where you
will touch me, among the trees–
don't dare to claim springsimply
when a man walks through
finally say the wordsrebel
into the cool dappling sunlight. This
is anything your lover is.
It is why he came over.

A Nap by Khong Lo

Huge sky, great green mountains,
Small village of mulberries and smoke.
No o­ne comes,
The ferryman sleeps —
And wakes, at noon,
In a boatload of snow.

In A Classroom by Adrienne RIch

Talking of poetry, hauling the books
arm-full to the table where the heads
bend or gaze upward, listening, reading aloud,
talking of consonants, elision,
caught in the how, oblivious of why:
I look in your face, Jude,
neither frowning nor nodding,
opaque in the slant of dust-motes over the table:
a presence like a stone, if a stone were thinking
What I cannot say, is me. For that I came.

Poem Catching Up with an Idea by Hayden Carruth

Freedom is not to be proved but is rather a postulate
of action. Thus excellent Berdyaev,
who has meant much to me,
although I must shake my head and make a face
when he undertakes to explain
the Holy Ghost. We are unbelievers,
Cindy, which may be (I regularly
think it is) our misfortune. But we are still
existentialist lovers. Yes,
strange Soren Kierkegaard of Hamlet's province
would approve of us–well, somewhat–in our unchurchly
dark
devotions. In Syracuse the rain falls every day,
or so it seems; the faces
of the good unchurchly burghers of Edgehill Road
are as bland as marshmallows and as puffy.
To live here, to love here,
as Jack our friend the Gilbert would say,
sighing, smiling,
requires an extraordinary knowledge of freedom,
unhistorical and reinvented by us here in every
act, as when I brought for you for a love token
the plastic sack of just sprouted lilies-of-the-valley
to plant around the steps of our arched doorway.
That was phenomenon, not poetry, not symbol, the act
without a proof, freedom-in-love.

The Crazy Woman by Gwendolyn Brooks

I shall not sing a May song.
A May song should be gay.
I'll wait until November
And sing a song of gray.

I'll wait until November
That is the time for me.
I'll go out in the frosty dark
And sing most terribly.

And all the little people
Will stare at me and say,
"That is the Crazy Woman
Who would not sing in May."

---

Week Eleven 

La Belle Dame Sans Merci by John Keats

Ah, what can ail thee, wretched wight,
Alone and palely loitering?
The sedge is withered from the lake,
And no birds sing.

Ah, what can ail thee, wretched wight,
So haggard and so woe-begone
The squirrel's granary is full,
And the harvest's done.

I see a lily o­n thy brow
With anguish moist and fever dew,
And o­n thy cheek a fading rose
Fast withereth too.

I met a lady in the meads,
Full beautiful, a faery's child:
Her hair was long, her foot was ligh,
And her eyes were wild.

I set her o­n my pacing steed,
And nothing else saw all day long;
For sideways would she lean, and sing
A faery's song.

I made a garland for her head,
And bracelets too, and fragrant zone;
She looked at me as she did love,
And made sweet moan.

She found me roots of relish sweet,
And honey wild, and manna dew,
And sure in language strange she said,
"I love thee true!"

She took me to her elfin grot,
And there she gazed and sighed deep,
And there I shut her wild, sad eyes–
So kissed to sleep.

And there we slumbered o­n the moss,
And there I dreamed, ah! woe betide,
The latest dream I ever dreamed
o­n the cold hill side.

I saw pale kings, and princes too,
Pale warriors, death-pale were they all;
Who cried–"La belle Dame sans merci
Hath thee in thrall!"

I saw their starved lips in the gloam,
With horrid warning gaped wide,
And I awoke and found me here,
o­n the cold hill side.

And that is why I sojourn here,
Alone and palely loitering,
Though the sedge is withered from the lake,
And no birds sing.

When You are Old by W.B. Yeats

When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had o­nce, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But o­ne man loved the pilgrim soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.

Phantom of Delight by William Wordsworth

SHE was a phantom of delight
When first she gleam'd upon my sight;
A lovely apparition, sent
To be a moment's ornament;
Her eyes as stars of twilight fair;
Like twilight's, too, her dusky hair;
But all things else about her drawn
From May-time and the cheerful dawn;
A dancing shape, an image gay,
To haunt, to startle, and waylay.

I saw her upon nearer view,
A Spirit, yet a Woman too!
Her household motions light and free,
And steps of virgin liberty;
A countenance in which did meet
Sweet records, promises as sweet;
A creature not too bright or good
For human nature's daily food;
For transient sorrows, simple wiles,
Praise, blame, love, kisses, tears, and smiles.

And now I see with eye serene
The very pulse of the machine;
A being breathing thoughtful breath,
A traveller between life and death;
The reason firm, the temperate will,
Endurance, foresight, strength, and skill;
A perfect Woman, nobly plann'd,
To warn, to comfort, and command;
And yet a Spirit still, and bright
With something of angelic light.

Because You Left Me A Handful of Daffodils by Max Garland

I suddenly thought of Brenda Hatfield, queen
of the 5th grade, Concord Elementary.
A very thin, shy girl, almost
as tall as Audrey Hepburn,
but blond.

She wore a dress based upon the principle
of the daffodil: puffed sleeves,
inflated bodice, profusion
of frills along the shoulder blades
and hemline.

A dress based upon the principle of girl
as flower; everything unfolding, spilling
outward and downward: ribbon, stole,
corsage, sash.

It was the o­nly thing I was ever
elected. A very short king.
I wore a bow tie, and felt
like a third-grader.

Even the scent of the daffodils you left
reminds me. It was a spring night.
And escorting her down the runway
was a losing battle, trying to march
down among the full, thick folds
of crinoline, into the barrage of her
father's flashbulbs, wading
the backwash of her mother's
perfume: scared, smiling,
tiny, down at the end
of that long, thin, Audrey Hepburn arm,
where I was king.

These Days by Jackson Browne

Well I've been out walking
I don't do that much talking these days
These days–
These days I seem to think a lot
About the things that I forgot to do
For you
And all the times I had the chance to

And I had a lover
It's so hard to risk another these days
These days–
Now if I seem to be afraid
To live the life I have made in song
Well it's just that I've been losing so long

I'll keep o­n moving
Things are bound to be improving these days
o­ne of these days–
These days I sit o­n corner stones
And count the time in quarter tones to ten, my friend
Don't confront me with my failures
I had not forgotten them

---

Week Twelve

Snow by Louise Gluck

Late December: my father and I
are going to New York, to the circus.
He holds me
o­n his shoulders in the bitter wind:
scraps of white paper
blow over the railroad ties.

My father liked
to stand like this, to hold me
so he couldn't see me.
I remember
staring straight ahead
into the world my father saw;
I was learning
to absorb its emptiness,
the heavy snow
not falling, whirling around us.

Some Nights Are Difficult for Me, Listen by James Tipton

Some nights are difficult for me, listen:
I want to talk about that hunger
that rises up in the old house;
I want to talk about the loneliness
that wakes at two a.m.
and stares at the deserted bed;
I want to talk about the sadness
of old clothes in the flea market,
and the tongues lost in tiny children;
I want to talk about the woman
who said she would meet me
at the theater and the part of me
that still waits for her; I want
to talk about how bullies
hurt thr sweet heart, how
the heart walks in sleep, how
the heart hides in the clock,
hides in the hands of strangers;
I want to talk about this:
the wedding dress that poetry wore
o­ne morning in the apple trees
so long ago, when she came to me,
innocent, distressed, and lovely.

Bobber by Raymond Carver

On the Columbia River near Vantage,
Washington, we fished for whitefish
in the winter months; my dad, Swede-
Mr. Lindgren-and me. They used belly-reels,
pencil-length sinkers, red, yellow, or brown
flies baited with maggots.
They wanted distance and went clear out there
to the edge of the riffle.
I fished near shore with a quill bobber and a cane pole.

My dad kept his maggots alive and warm
under his lower lip. Mr. Lindgren didn't drink.
I liked him better than my dad for a time.
He lets me steer his car, teased me
about my name "Junior," and said
o­ne day I'd grow into a fine man, remember
all this, and fish with my own son.
But my dad was right. I mean
he kept silent and looked into the river,
worked his tongue, like a thought, behind the bait.

When We Two Parted by Lord Byron

When we two parted
In silence and tears,
Half broken-hearted
To sever for years,
Pale grew thy cheek and cold,
Colder thy kiss;
Truly that hour foretold
Sorrow to this.

The dew of the morning
Sunk chill o­n my brow–
It felt like the warning
Of what I feel now.
Thy vows are all broken,
And light is thy fame;
I hear thy name spoken,
And share in its shame.

They name thee before me,
A knell to mine ear;
A shrudder comes o'er me–
Why wert thou so dear?
They know not I knew thee,
Who knew thee so well–
Long, long I shall rue thee,
Too deeply to tell.

In secret we met–
In silence I grieve,
That thy heart could forget,
Thy spirit deceive
If I should meet thee
After long years,
How should I greet thee?–
With silence and tears.

I Could Take by Hayden Carruth

I could take
two leaves
and give you o­ne.
Would that not be
a kind of perfection?

But I prefer
o­ne leaf
torn to give you half
showing

(after all these years, simply)
love’s complexity in an act,
the tearing and
the unique edges—

one leaf (one word) from the two
imperfections that match.

---

Week Thirteen

 

Sonnets from the Portuguese, XIV by Elizabeth Barrett Browing

If thou must love me, let it be for nought
Except for love's sake o­nly. Do not say
'I love her for her smile–her look–her way
Of speaking gently,–for a trick of thought
That falls in well with mine, and certes brought
A sense of pleasant ease o­n such a day
For these things in themselves, Beloved, may
Be changed, or change for thee,–and love, so wrought,
May be unwrought so. Neither love me for
Thine own dear pity's wiping my cheeks dry,
A creature might forget to weep, who bore
Thy comfort long, and lose thy love, thereby!
But love me for love's sake, that evermore
Thou mayst love o­n, through love's eternity.

The World is a Beautiful Place by Lawrence Ferlinghetti

The world is a beautiful place
to be born into
if you don't mind happiness
not always being
so very much fun
if you don't mind a touch of hell
now and then
just when everything is fine
because even in heaven
they don't sing
all the time

The world is a beautiful place
to be born into
if you don't mind some people dying
all the time
or maybe o­nly starving
some of the time
which isn't half bad
if it isn't you

Oh the world is a beautiful place
to be born into
if you don't much mind
a few dead minds
in the higher places
or a bomb or two
now and then
in your upturned faces
or such other improprieties
as our Name Brand society
is prey to
with its men of distinction
and its men of extinction
and its priests
and other patrolmen

and its various segregations
and congressional investigations
and other constipations
that our fool flesh
is heir to

Yes the world is the best place of all
for a lot of such things as
making the fun scene
and making the love scene
and making the sad scene
and singing low songs and having inspirations
and walking around
looking at everything
and smelling flowers
and goosing statues
and even thinking
and kissing people and
making babies and wearing pants
and waving hats and
dancing
and going swimming in rivers
o­n picnics
in the middle of the summer
and just generally
'living it up'
Yes
but then right in the middle of it
comes the smiling
mortician

Essay o­n the Personal by Stephen Dunn

Because finally the personal
is all that matters,
we spend years describing stones,
chairs, abandoned farmhouses–
until we're ready. Always
it's a matter of precision,
what it feels like
to kiss someone or to walk
out the door. How good it was
to practice o­n stones
which were things we could love
without weeping over. How good
someone else abandoned the farmhouse,
bankrupt and desperate.
Now we can bring a fine edge
to our parents. We can hold hurt
up to the sun for examination.
But just when we think we have it,
the personal goes the way of
belief. What seemed so deep
begins to seem naive, something
that could be trusted
because we hadn't read Plato
or held two contradictory ideas
or women in the same day.
Love, then, becomes an old movie.
Loss seems so common
it belongs to the air,
to breath itself, anyone's.
We're left with style, a particular
way of standing and saying,
the idiosyncratic look
at the frown which means nothing
until we say it does. Years later,
long after we believed it peculiar
to ourselves, we return to love.
We return to everything
strange, inchoate, like living
with someone, like living alone,
settling for the partial, the almost
satisfactory sense of it.

To Sleep by John Keats

O soft embalmer of the still midnight,
Shutting, with careful fingers and benign,
Our gloom-pleased eyes, embower'd from the light,
Enshaded in forgetfulness divine:
O soothest Sleep! if so it please thee, close
In midst of this thine hymn my willing eyes,
Or wait the "Amen," ere thy poppy throws
Around my bed its lulling charities.
Then save me, or the passed day will shine
Upon my pillow, breeding many woes,–
Save me from curious Conscience, that still lords
Its strength for darkness, burrowing like a mole;
Turn the key deftly in the oiled wards,
And seal the hushed Casket of my Soul.

Not Swans by Susan Ludvigson

I drive toward distant clouds and my mother's dying.
The quickened sky is mercury, it slithers
across the horizon. Against that liquid silence,
a V of birds crosses-sudden and silver.

They tilt, becoming white light as they turn, glitter
like shooting stars arcing slow motion out of the abyss,
not falling.
Now they look like chips of flint,
the arrow broken.
I think, This isn't myth-

they are not signs, not souls.
Reaching blue
again, they're ordinary ducks or maybe
Canada geese. Veering away they shoot
into the west, too far for my eyes, aching

as they do.

Never mind what I said
before. Those birds took my breath. I knew what it meant.

---

Week Fourteen

Your Laughter by Pablo Neruda

Take bread away from me, if you wish,
take air away, but
do not take from me your laughter.

Do not take away the rose,
the lance flower that you pluck,
the water that suddenly
bursts forth in joy,
the sudden wave
of silver born in you.

My struggle is harsh and I come back
with eyes tired
at times from having seen
the unchanging earth,
but when your laughter enters
it rises to the sky seeking me
and it opens for me all
the doors of life.

My love, in the darkest
hour your laughter
opens, and if suddenly
you see my blood staining
the stones of the street,
laugh, because your laughter
will be for my hands
like a fresh sword.

Next to the sea in the autumn,
your laughter must raise
its foamy cascade,
and in the spring, love,
I want your laughter like
the flower I was waiting for,
the blue flower, the rose
of my echoing country.

Laugh at the night,
at the day, at the moon,
laugh at the twisted
streets of the island,
laugh at this clumsy
boy who loves you,
but when I open
my eyes and close them,
when my steps go,
when my steps return,
deny me bread, air,
light, spring,
but never your laughter
for I would die.

all which isn't singing is mere talking by e.e. cummings

all which isn't singing is mere talking
and all talking's talking to o­neself
(whether that o­neself be sought or seeking
master or disciple sheep or wolf)

gush to it as diety or devil
-toss in sobs and reasons threats and smiles
name it cruel fair or blessed evil-
it is you (ne i)nobody else

drive dumb mankind dizzy with haranguing
-you are deafened every mother's son-
all is merely talk which isn't singing
and all talking's to o­neself alone

but the very song of(as mountains
feel and lovers)singing is silence

Do You Love Me? by Robert Wrigley

She's twelve and she's asking the dog,
who does, but who speaks
in tongues, whose feints and gyrations
are themselves parts of speech.

They're o­n the back porch
and I don't really mean to be taking this in
but o­nce I've heard I can't stop listening. Again
and again she asks, and the good dog

sits and wiggles, leaps and licks.
Imagine never asking. Imagine why:
so sure you wouldn't dare, or couldn't care
less. I wonder if the dog's guileless brown eyes

can lie, if the perfect canine lack of abstractions
might not be a bit like the picture books
she "read" as a child, before her parents' lips
shaped the daily miracle of speech

and kisses, and the words were not lead
and weighed o­nly air, and did not mean
so meanly. "Do you love me?" she says
and says, until the dog, sensing perhaps

its own awful speechlessness, tries to bolt,
but she holds it by the collar and will not
let go, until, having come closer,
I hear the rest of it. I hear it all.

She's got the dog's furry jowls in her hands,
she's speaking precisely
into its laid back, quivering ears:
"Say it," she hisses, "Say it to me."

Monarchs Landing and Flying by David Baker

If they have come for the butterflies then
bless their breaking hearts, but the young pair is
looking nowhere except each other's eyes.
He seems like he could carry them both
over the street o­n great wings of grief tucked
under his coat, while all around them float,
like wisps of ash or the delicate
prism sunlight flashing off the city glass,
the orange-yellow-black-wing-flecked monarchs.
Migrant, they're more than two dozen today,
more long-lived than the species who keep
to the localized gardens — they're barely
a gram apiece, landing, holding still for
the common milkweed that feeds their larvae,
or balanced o­n bridges of plume grass stalks
and bottlebrush, wings fanning, closing, calmed
by the long searchlight stems of hollyhock.
If they have come for the butterflies then
why is she weeping when he lifts her chin?
He looks like he's holding his breath back —
or is he trying to shed tears, too? Are
any left? He's got his other hand
raised, waving, and almost before it stops
the taxi's doors flare o­n both sides open.
Nothing's stirring in the garden, not us,
not the thinnest breeze among the flowers,
yet by the time we look again they've flown.

To Help the Monkey Cross the River by Thomas Lux

which he must
cross, by swimming, for fruits and nuts,
to help him
I sit with my rifle o­n a platform
high in a tree, same side of the river
as the hungry monkey. How does this assist
him? When he swims for it
I look first upriver: predators move faster with
the current than against it.
If a crocodile is aimed from upriver to eat the monkey
and an anaconda from downriver burns
with the same ambition, I do
the math, algebra, angles, rate-of-monkey,
croc- and snake-speed, and if, if
it looks as though the anaconda or the croc
will reach the monkey
before he attains the river’s far bank,
I raise my rifle and fire
o­ne, two, three, even four times into the river
just behind the monkey
to hurry him up a little.
Shoot the snake, the crocodile?
They’re just doing their jobs,
but the monkey, the monkey
has little hands like a child’s,
and the smart o­nes, in a cage, can be taught to smile.