The Moon

Robert Bly

Here, a poet finds a new way to describe a half moon.

After writing poems all day,
I go off to see the moon in the pines.
Far in the woods I sit down against a pine.
The moon has her porches turned to face the light,
But the deep part of her house is in the darkness.

from Eating the Honey of Words, 1999
HarperCollins Publishers, New York, NY

I’ve Been Known

Denise Duhamel

I've been known
to spread it on thick to shoot off my mouth to get it off my chest
to tell him where
to get off
to stay put to face the music to cut a shine to go under to sell
myself short to play
myself down
to paint the town to fork over to shell out to shoot up to pull a
fast one to go haywire
to take a shine to
to be stuck on to glam it up to vamp it up to get her one better to
eat a little higher
on the hog
to win out to get away with to go to the spot to make a stake to
make a stand to
stand for something to stand up for
to snow under to slip up to go for it to take a stab at it to try out
to go places to play
up to get back at
to size up to stand off to slop over to be solid with to lose my
shirt to get myself off
to get myself off the hook

From Margie/The American Journal of Poetry
Volume 2, 2004

The Voice You Hear When You Read Silently

Thomas Lux

The voice you hear when you read silently
is not silent, it is a speaking-
out-loud voice in your head; it is *spoken*,
a voice is *saying* it
as you read. It's the writer's words,
of course, in a literary sense
his or her "voice" but the sound
of that voice is the sound of *your* voice.
Not the sound your friends know
or the sound of a tape played back
but your voice
caught in the dark cathedral
of your skull, your voice heard
by an internal ear informed by internal abstracts
and what you know by feeling,
having felt. It is your voice
saying, for example, the word "barn"
that the writer wrote
but the "barn" you say
is a barn you know or knew. The voice
in your head, speaking as you read,
never says anything neutrally- some people
hated the barn they knew,
some people love the barn they know
so you hear the word loaded
and a sensory constellation
is lit: horse-gnawed stalls,
hayloft, black heat tape wrapping
a water pipe, a slippery
spilled *chirr* of oats from a split sack,
the bony, filthy haunches of cows...
And "barn" is only a noun- no verb
or subject has entered into the sentence yet!
The voice you hear when you read to yourself
is the clearest voice: you speak it
speaking to you.

For My Daughter

David Ignatow

Here a father speaks to his daughter.

When I die choose a star
and name it after me
that you may know
I have not abandoned
or forgotten you.
You were such a star to me,
following you through birth
and childhood, my hand
in your hand.

When I die
choose a star and name it
after me so that I may shine
down on you, until you join
me in darkness and silence
together.

from Against the Evidence: Selected Poems 1934-1994
Wesleyan University Press, Middletown, Conn.

What I Would Do

Marc Petersen


If my wife were to have an affair,
I would walk to my toolbox in the garage,
Take from it my 12" flathead screwdriver
And my hickory-handle hammer,
The one that helped me build three redwood fences,
And I would hammer out the pins
In all the door hinges in the house,
And I would pull off all the doors
And I would stack them in the backyard.
And I would empty all the sheets from the linen closet,
And especially the flannels we have slept between for
nineteen winters;
And I would empty all the towels, too,
The big heavy white towels she bought on Saturdays at
Target,
And the red bath towels we got for our wedding,
And which we have never used;
And I would unroll the aluminum foil from its box,
And carry all the pots and pans from the cupboards to the
backyard,
And lay this one long sheet of aluminum foil over all our
pots and pans;
And I would dump all the silverware from the drawer
Onto the driveway; and I would push my motorcycle over
And let all its gas leak out,
And I would leave my Jeep running at the curb
Until its tank was empty or its motor blew up,
And I would turn the TV up full-blast and open all the
window;
And I would turn the stereo up full-blast,
With Beethoven's Ninth Symphony on it,
Schiller's "Ode to Joy," really blasting;
And I would strip our bed;
And I would lie on our stripped bed;
And I would see our maple budding out the window.
I would see our maple budding out our window,
The hummingbird feeder hanging from its lowest bough.
And my cat would jump up to see what was the matter
with me.
And I would tell her. Of course, I would tell her.
From her, I hold nothing back.

The Bagel

David Ignatow

This poem reminds us that anyone can feel like a child at times.


I stopped to pick up the bagel
rolling away in the wind,
annoyed with myself
for having dropped it
as if it were a portent.
Faster and faster it rolled,
with me running after it
bent low, gritting my teeth,
and I found myself doubled over
and rolling down the street
head over heels, one complete somersault
after another like a bagel
and strangely happy with myself.

from Against the Evidence: Selected Poems 1934-1994
Wesleyan University Press, Middletown, Conn.

Hamlet Off-Stage: Laertes Cool

D.C. Berry


Laertes has groupies, proof he has taste,
has cool. Wears skate-board clothes: elephant pants,
the crotch snagging his knees, tent-size tee-shirt.
He wants the play staged at a roller rink:
him, Fortinbras, and me wearing in-lines,
the rest in quads. And instead of a duel,
we throw ourselves a roller-derby brawl.
Why not? Do something with a little class
to offset the end's cartoon slaughter house.

Sister Cat

Frances Mayes

Some needs can never be filled, this poem reminds us.


Cat stands at the fridge,
Cries loudly for milk.
But I've filled her bowl.
Wild cat, I say, Sister,
Look, you have milk.
I clink my fingernail
Against the rim. Milk.
With down and liver,
A word I know she hears.
Her sad miaow. She runs
To me. She dips
In her whiskers but
Doesn't drink. As sometimes
I want the light on
When it is on. Or when
I saw the woman walking
toward my house and
I thought there's Frances.
Then looked in the car mirror
To be sure. She stalks
The room. She wants. Milk
Beyond milk. World beyond
This one, she cries.

from Ex Voto, 1995
Lost Roads Publishers, Little Rock, Ark.

Football

Louis Jenkins

Here's a moment of sports confusion for you.


I take the snap from the center, fake to the right, fade back...
I've got protection. I've got a receiver open downfield...
What the hell is this? This isn't a football, it's a shoe, a man's
brown leather oxford. A cousin to a football maybe, the same
skin, but not the same, a thing made for the earth, not the air.
I realize that this is a world where anything is possible and I
understand, also, that one often has to make do with what one
has. I have eaten pancakes, for instance, with that clear corn
syrup on them because there was no maple syrup and they
weren't very good. Well, anyway, this is different. (My man
downfield is waving his arms.) One has certain responsibilities,
one has to make choices. This isn't right and I'm not going
to throw it.

from Nice Fish: New and Selected Prose Poems, 1995
Holy Cow! Press, Duluth, Minn.

Lesson

Forrest Hamer

This is a father and son poem.


It was 1963 or 4, summer,
and my father was driving our family
from Ft. Hood to North Carolina in our 56 Buick.
We'd been hearing about Klan attacks, and we knew

Mississippi to be more dangerous than usual.
Dark lay hanging from the trees the way moss did,
and when it moaned light against the windows
that night, my father pulled off the road to sleep.

                                                                                 Noises
that usually woke me from rest afraid of monsters
kept my father awake that night, too,
and I lay in the quiet noticing him listen, learning
that he might not be able always to protect us

from everything and the creatures besides;
perhaps not even from the fury suddenly loud
through my body about his trip from Texas
to settle us home before he would go away

to a place no place in the world
he named Viet Nam. A boy needs a father
with him, I kept thinking, fixed against noise
from the dark.

from Call & Response, 1995
Alice James Books, Farmington, Me.

Eldorado

Edgar Allan Poe


Gaily bedight,
A gallant knight,
In sunshine and in shadow,
Had journeyed long,
Singing a song,
In search of Eldorado.

But he grew old-
This knight so bold-
And o'er his heart a shadow
Fell as he found
No spot of ground
That looked like Eldorado.

And, as his strength
Failed him at length,
He met a pilgrim shadow-
"Shadow," said he,
"Where can it be-
This land of Eldorado?"

"Over the Mountains
Of the Moon,
Down the Valley of the Shadow,
Ride, boldly ride,"
The shade replied-
"If you seek for Eldorado!"

Biscuit

Jane Kenyon

This short poem is about the
absolute trust of dogs.


The dog has cleaned his bowl
and his reward is a biscuit,
which I put in his mouth
like a priest offering the host.

I can't bear that trusting face!
He asks for bread, expects
bread, and I in my power
might have given him a stone.

from Otherwise: New and Selected Poems, 1996
University of Arkansas Press

To Help the Monkey Cross the River

Thomas Lux


To help the monkey cross the river,
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.

From The Cradle Place Houghton Mifflin, 2004

To Be of Use

Marge Piercy


The people I love the best
jump into work head first
without dallying in the shallows
and swim off with sure strokes almost out of sight.
They seem to become natives of that element,
the black sleek heads of seals
bouncing like half submerged balls.

I love people who harness themselves, an ox to a heavy cart,
who pull like water buffalo, with massive patience,
who strain in the mud and the muck to move things forward,
who do what has to be done, again and again.

I want to be with people who submerge
in the task, who go into the fields to harvest
and work in a row and pass the bags along,
who stand in the line and haul in their places,
who are not parlor generals and field deserters
but move in a common rhythm
when the food must come in or the fire be put out.

The work of the world is common as mud.
Botched, it smears the hands, crumbles to dust.
But the thing worth doing well done
has a shape that satisfies, clean and evident.
Greek amphoras for wine or oil,
Hopi vases that held corn, are put in museums
but you know they were made to be used.
The pitcher cries for water to carry
and a person for work that is real.

White-Eyes

Mary Oliver


In winter
all the singing is in
the tops of the trees
where the wind-bird

with its white eyes
shoves and pushes
among the branches.
Like any of us

he wants to go to sleep,
but he's restless—
he has an idea,
and slowly it unfolds

from under his beating wings
as long as he stays awake
But his big, round music, after all,
is too breathy to last.

So, it's over.
In the pine-crown
he makes his nest,
he's done all he can.

I don't know the name of this bird,
I only imagine his glittering beak
tucked in a white wing
while the clouds—

which he has summoned
from the north—
which he has taught
to be mild, and silent—

thicken, and begin to fall
into the world below
like stars, or the feathers
of some unimaginable bird

that loves us,
that is asleep now, and silent—
that has turned itself
into snow.

Fat Is Not a Fairy Tale

Jane Yolen


I am thinking of a fairy tale,
Cinder Elephant,
Sleeping Tubby,
Snow Weight,
where the princess is not
anorexic, wasp-waisted,
flinging herself down the stairs.

I am thinking of a fairy tale,
Hansel and Great,
Repoundsel,
Bounty and the Beast,
where the beauty
has a pillowed breast,
and fingers plump as sausage.

I am thinking of a fairy tale
that is not yet written,
for a teller not yet born,
for a listener not yet conceived,
for a world not yet won,
where everything round is good:
the sun, wheels, cookies, and the princess.

from Such a Pretty Face May 2000
Meisha-Merlin Publishing, Inc

Song

Eamon Grennan

This poem is about his daughter.


At her Junior High School graduation,
she sings alone
in front of the lot of us--

her voice soprano, surprising,
almost a woman's. It is
the Our Father in French,

the new language
making her strange, out there,
fully fledged and

ready for anything. Sitting
together -- her separated
mother and father -- we can

hear the racket of traffic
shaking the main streets
of Jersey City as she sings

Deliver us from evil,
and I wonder can she see me
in the dark here, years

from belief, on the edge
of tears. It doesn't matter. She
doesn't miss a beat, keeps

in time, in tune, while into
our common silence I whisper,
Sing, love, sing your heart out!

from Relations: New and Selected Poems, 1998
Graywolf Press, St. Paul, Minn.

Snow

David Berman

Sometimes younger brothers and sisters never stop asking questions.


Walking through a field with my little brother Seth

I pointed to a place where kids had made angels in the snow.
For some reason, I told him that a troop of angels
had been shot and dissolved when they hit the ground.

He asked who had shot them and I said a farmer.




Then we were on the roof of the lake.
The ice looked like a photograph of water.

Why he asked. Why did he shoot them.

I didn't know where I was going with this.

They were on his property, I said.




When it's snowing, the outdoors seem like a room.

Today I traded hellos with my neighbor.
Our voices hung close in the new acoustics.
A room with the walls blasted to shreds and falling.

We returned to our shoveling, working side by side in silence.




But why were they on his property, he asked.



from Actual Air, 1999
Open City Books, New York

Driving to Town Late to Mail a Letter

Robert Bly

Today's is a short poem about the joy of being alone.
(It should be read twice.)


It is a cold and snowy night. The main street is deserted.
The only things moving are swirls of snow.
As I lift the mailbox door, I feel its cold iron.
There is a privacy I love in this snowy night.
Driving around, I will waste more time.

from Silence in the Snowy Fields, 1953
Wesleyan University Press, Middletown, Conn.

In The Well

Andrew Hudgins

A dog fell down a well, and here a boy has to help his father retrieve it.


My father cinched the rope,
a noose around my waist,
and lowered me into
the darkness. I could taste

my fear. It tasted first
of dark, then earth, then rot.
I swung and struck my head
and at that moment got

another then: then blood,
which spiked my mouth with iron.
Hand over hand, my father
dropped me from then to then:

then water. Then wet fur,
which I hugged to my chest.
I shouted. Daddy hauled
the wet rope. I gagged, and pressed

my neighbor's missing dog
against me. I held its death
and rose up to my father.
Then light. Then hands. Then breath.

first published in The Southern Review, 2001
Volume 37, Number 2, Spring 2001

The Poetry of Bad Weather

Debora Greger


Someone had propped a skateboard
by the door of the classroom,
to make quick his escape, come the bell.

For it was February in Florida,
the air of instruction thick with tanning butter.
Why, my students wondered,

did the great dead poets all live north of us?
Was there nothing to do all winter there
but pine for better weather?

Had we a window, the class could keep an eye
on the clock and yet watch the wild plum
nod with the absent grace of the young.

We could study the showy scatter of petals.
We could, for want of a better word, call it “snowy.”
The room filled with stillness, flake by flake.

Only the dull roar of air forced to spend its life indoors
could be heard. Not even the songbird
of a cell phone chirped. Go home,

I wanted to tell the horse on the page.
You know the way, even in snow
gone blue with cold.

from Southwest Review, 2006
Volume 91, Number 1, Page 90

The Green One Over There

Katia Kapovich


My half-brother had dark sad eyes, wheaten hair
and the same gorgeous skin his mother had.
He was cute and smart and innately kind,
unlike me at his age, according to our father.
Five years younger than me,
Tim attracted all the love
my father had frozen in his heart
when I was growing up.
Tim was brought up on my old books.
He did better than I with poetry,
reciting by six some “grownup” verses
which I couldn’t memorize at eleven.
At eight he wrote a poem
at the back of his math exercise book
and forgot about it.
It was a love poem
with an underlined dedication, “To A.”
It so happened that I knew who A was.
The poem read as follows:
“I loved and missed her so much
that I forgot what she looked like,
and when she entered the classroom
in the morning, I did not recognize her.
I did not recognize her long face,
nor her slow neck, nor her skinny hands,
I had completely forgotten her green eyes.”
It was quite a work of art, in my opinion,
but I told him that to sigh about
legs and necks and eyes
was sentimental and girlish.
He listened to me with dry eyes
and then tore out the page and threw it away
into the wastebasket.
He never wrote poetry again, but I did.
At fifteen I wrote a short story
which had some success and was even
published in a teenage literary magazine
called “Asterisks.” It was around that time
that I stopped visiting my dad’s house
after I realized
that everything about this boy
put me down, humiliated me
and filled me with jealousy.
I would meet dad on one condition:
if he wanted to see me,
he had to come to my place
or to stop by at the artsy café,
where my older friend Lena and I
would go after school
to sip strawberry milkshakes.
One day my father
came to my school during class hours
to take me to a hospital: the night before
my half-brother had gotten sick.
We arrived in the middle of the doctor’s rounds.
The waiting area was noisy
and smelled of urine and medication.
Dad had gone inside,
I waited for him to call me in.
Through the door left ajar
I saw a row of iron bunks with striped mattresses.
Tim’s was next to the door.
He lay leaning on a big gray pillow,
a glass of water in his hand.
The doctor wanted him to take a pill,
but he wouldn’t hear of it.
He was willful, obstreperous,
he pushed away the hand of medicine.
“I want that ship, that ship …” he whined.
“What ship?” My father turned pale
and stared at the doctor. “Can’t you see?
The green one, over there!” cried Tim,
inserting his finger in the glass of water
where a green ship, a three-funneled steamer,
was slowly sinking at the time.

From Gogol in Rome, 2004
Salt Publishing

A Man I Knew

Margaret Levine


has a condo

a maid who comes
every other week

kids who won't

are on the dresser
they float forever

like a boat

Nights

Kevin Hart


There’s nothing that I really want:
The stars tonight are rich and cold
Above my house that vaguely broods
Upon a path soon lost in dark.

My dinner plate is chipped all round
(It tells me that I’ve changed a lot);
My glass is cracked all down one side
(It shows there is a path for me).

My hands—I rest my head on them.
My eyes—I rest my mind on them.
There’s nothing that I really need
Before I set out on that path.

from Gettysburg Review
Volume 19, Number 3, Autumn 2006, page 470

Fault

Ron Koertge *

In this poem, a mother worries --
we think unnecessarily -- about her son.


In the airport bar, I tell my mother not to worry.
No one ever tripped and fell into the San Andreas
Fault. But as she dabs at her dry eyes, I remember
those old movies where the earth does open.

There's always one blonde entomologist, four
deceitful explorers, and a pilot who's good-looking
but not smart enough to take off his leather jacket
in the jungle.

Still, he and Dr. Cutie Bug are the only ones
who survive the spectacular quake because
they spent their time making plans to go back
to the Mid-West and live near his parents

while the others wanted to steal the gold and ivory
then move to Los Angeles where they would rarely
call their mothers and almost never fly home
and when they did for only a few days at a time.

from Geography of the Forehead, 2000
University of Arkansas Press, Fayetteville, Ark.

* pronounced KUR-chee

Thanks For Remembering Us

Dana Gioia

This poet was sent some flowers by mistake.


The flowers sent here by mistake,
signed with a name that no one knew,
are turning bad. What shall we do?
Our neighbor says they're not for her,
and no one has a birthday near.
We should thank someone for the blunder.
Is one of us having an affair?
At first we laugh, and then we wonder.

The iris was the first to die,
enshrouded in its sickly-sweet
and lingering perfume. The roses
fell one petal at a time,
and now the ferns are turning dry.
The room smells like a funeral,
but there they sit, too much at home,
accusing us of some small crime,
like love forgotten, and we can't
throw out a gift we've never owned.

from Daily Horoscope, 1986
Graywolf Press, St. Paul, Minn.

Painting a Room

Katia Kapovich


Here on a March day in ‘89
I blanch the ceiling and walls with bluish lime.
Drop cloths and old newspapers hide
the hardwood floors. All my furniture has been sold,
or given away to bohemian friends.
There is nothing to eat but bread and wine.

An immigration visa in my pocket, I paint
the small apartment where I’ve lived for ten years.
Taking a break around 4 p.m.,
I sit on the last chair in the empty kitchen,
smoke a cigarette and wipe my tears
with the sleeve of my old pullover.
I am free from regrets but not from pain.

Ten years of fears, unrequited loves, odd jobs,
of night phone calls. Now they’ve disconnected the line.
I drop the ashes in the sink, pour turpentine
into a jar, stirring with a spatula. My heart throbs
in my right palm when I pick up the brush again.

For ten years the window’s turquoise square
has held my eyes in its simple frame.
Now, face to face with the darkening sky,
what more can I say to the glass but thanks
for being transparent, seamless, wide
and stretching perspective across the size
of the visible.

Then I wash the brushes and turn off the light.
This is my last night before moving abroad.
I lie down on the floor, a rolled-up coat
under my head. This is the last night.
Freedom smells of a freshly painted room,
of wooden floors swept with a willow broom,
and of stale raisin bread.

From Gogol in Rome, 2004
Salt Publishing

Otherwise

Jane Kenyon

This is a poem of gratitude about the simple pleasures of life.
Jane Kenyon died several years ago of cancer.


I got out of bed
on two strong legs.
It might have been
otherwise. I ate
cereal, sweet
milk, ripe, flawless
peach. It might
have been otherwise.
I took the dog uphill
to the birch wood.
All morning I did
the work I love.

At noon I lay down
with my mate. It might
have been otherwise.
We ate dinner together
at a table with silver
candlesticks. It might
have been otherwise.
I slept in a bed
in a room with paintings
on the walls, and
planned another day
just like this day.
But one day, I know,
it will be otherwise.

from Otherwise, 1996
Graywolf Press, St. Paul, Minn.

Love Poem With Toast

Miller Williams


Some of what we do, we do
to make things happen,
the alarm to wake us up, the coffee to perc,
the car to start.

The rest of what we do, we do
trying to keep something from doing something,
the skin from aging, the hoe from rusting,
the truth from getting out.

With yes and no like the poles of a battery
powering our passage through the days,
we move, as we call it, forward,
wanting to be wanted,
wanting not to lose the rain forest,
wanting the water to boil,
wanting not to have cancer,
wanting to be home by dark,
wanting not to run out of gas,

as each of us wants the other
watching at the end,
as both want not to leave the other alone,
as wanting to love beyond this meat and bone,
we gaze across breakfast and pretend.

from Some Jazz a While: Collected Poems, 1999
University of Illinois Press

Grammar

Tony Hoagland


Maxine, back from a weekend with her boyfriend,
smiles like a big cat and says
that she's a conjugated verb.
She's been doing the direct object
with a second person pronoun named Phil,
and when she walks into the room,
everybody turns:

some kind of light is coming from her head.
Even the geraniums look curious,
and the bees, if they were here, would buzz
suspiciously around her hair, looking
for the door in her corona.
We're all attracted to the perfume
of fermenting joy,

we've all tried to start a fire,
and one day maybe it will blaze up on its own.
In the meantime, she is the one today among us
most able to bear the idea of her own beauty,
and when we see it, what we do is natural:
we take our burned hands
out of our pockets,
and clap.

from Donkey Gospel, 1998
Graywolf Press, St. Paul, Minn.

Cartoon Physics, part 1

Nick Flynn

Today's poem is about the world of cartoons.


Children under, say, ten, shouldn't know
that the universe is ever-expanding,
inexorably pushing into the vacuum, galaxies

swallowed by galaxies, whole

solar systems collapsing, all of it
acted out in silence. At ten we are still learning

the rules of cartoon animation,

that if a man draws a door on a rock
only he can pass through it.
Anyone else who tries

will crash into the rock. Ten-year-olds
should stick with burning houses, car wrecks,
ships going down -- earthbound, tangible

disasters, arenas

where they can be heroes. You can run
back into a burning house, sinking ships

have lifeboats, the trucks will come
with their ladders, if you jump

you will be saved. A child

places her hand on the roof of a schoolbus,
& drives across a city of sand. She knows

the exact spot it will skid, at which point
the bridge will give, who will swim to safety
& who will be pulled under by sharks. She will learn

that if a man runs off the edge of a cliff
he will not fall

until he notices his mistake.

from Some Ether, 2000
Graywolf Press, St. Paul, Minn.

She Didn't Mean to Do It

Daisy Fried

Here's a short poem with a haunting refrain.


Oh, she was sad, oh, she was sad.
She didn't mean to do it.

Certain thrills stay tucked in your limbs,
go no further than your fingers, move your legs through their paces,
but no more. Certain thrills knock you flat
on your sheets on your bed in your room and you fade
and they fade. You falter and they're gone, gone, gone.
Certain thrills puff off you like smoke rings,
some like bell rings growing out, out, turning
brass, steel, gold, till the whole world's filled
with the gonging of your thrills.

But oh, she was sad, she was just sad, sad,
and she didn't mean to do it.

from She Didn't Mean to Do It, 2000
University of Pittsburgh Press, Pittsburgh, Pa.

Gouge, Adze, Rasp, Hammer

Chris Forhan


The four items in the title are all tools,
which is what this poem is about.
So this is what it's like when love
leaves, and one is disappointed
that the body and mind continue to exist,

exacting payment from each other,
engaging in stale rituals of desire,
and it would seem the best use of one's time

is not to stand for hours outside
her darkened house, drenched and chilled,
blinking into the slanting rain.

So this is what it's like to have to
practice amiability and learn
to say the orchard looks grand this evening

as the sun slips behind scumbled clouds
and the pears, mellowed to a golden-green,
glow like flames among the boughs.

It is now one claims there is comfort
in the constancy of nature, in the wind's way
of snatching dogwood blossoms from their branches,

scattering them in the dirt, in the slug's
sure, slow arrival to nowhere.
It is now one makes a show of praise

for the lilac that strains so hard to win
attention to its sweet inscrutability,
when one admires instead the lowly

gouge, adze, rasp, hammer--
fire-forged, blunt-syllabled things,
unthought-of until a need exists:

a groove chiseled to a fixed width,
a roof sloped just so. It is now
one knows what it is to envy

the rivet, wrench, vise -- whatever
works unburdened by memory and sight,
while high above the damp fields

flocks of swallows roil and dip,
and streams churn, thick with leaping salmon,
and the bee advances on the rose.

originally published in New England Review
Volume 21, Number 4, Fall 2000

Hand Shadows

Mary Cornish


My father put his hands in the white light
of the lantern, and his palms became a horse
that flicked its ears and bucked; an alligator
feigning sleep along the canvas wall leapt up
and snapped its jaws in silhouette, or else
a swan would turn its perfect neck and drop
a fingered beak toward that shadowed head
to lightly preen my father's feathered hair.
Outside our tent, skunks shuffled in the woods
beneath a star that died a little every day,
and from a nebula of light diffused
inside Orion's sword, new stars were born.
My father's hands became two birds, linked
by a thumb, they flew one following the other.

from Red Studio, 2007
Oberlin College Press

The Printer's Error

Aaron Fogel

Here is a poem about typographical errors.


Fellow compositors
and pressworkers!

I, Chief Printer
Frank Steinman,
having worked fifty-
seven years at my trade,
and served five years
as president
of the Holliston
Printer's Council,
being of sound mind
though near death,
leave this testimonial
concerning the nature
of printers' errors.

First: I hold that all books
and all printed
matter have
errors, obvious or no,
and that these are their
most significant moments,
not to be tampered with
by the vanity and folly
of ignorant, academic
textual editors.
Second: I hold that there are
three types of errors, in ascending
order of importance:
One: chance errors
of the printer's trembling hand
not to be corrected incautiously
by foolish professors
and other such rabble
because trembling is part
of divine creation itself.

Two: silent, cool sabotage
by the printer,
the manual laborer
whose protests
have at times taken this
historical form,
covert interferences
not to be corrected
censoriously by the hand
of the second and far
more ignorant saboteur,
the textual editor.
Three: errors
from the touch of God,
divine and often
obscure corrections
of whole books by
nearly unnoticed changes
of single letters
sometimes meaningful but
about which the less said
by preemptive commentary
the better.
Third: I hold that all three
sorts of error,
errors by chance,
errors by workers' protest,
and errors by
God's touch,
are in practice the
same and indistinguishable.

Therefore I,
Frank Steinman,
typographer
for thirty-seven years,
and cooperative Master
of the Holliston Guild
eight years,
being of sound mind and body
though near death
urge the abolition
of all editorial work
whatsoever
and manumission
from all textual editing
to leave what was
as it was, and
as it became,
except insofar as editing
is itself an error, and

therefore also divine.

from The Printer's Error, 2001
Miami University Press, Oxford, Ohio

Notice

Steve Kowit


This evening, the sturdy Levi's
I wore every day for over a year
& which seemed to the end
in perfect condition,
suddenly tore.
How or why I don't know,
but there it was: a big rip at the crotch.
A month ago my friend Nick
walked off a racquetball court,
showered,
got into this street clothes,
& halfway home collapsed & died.
Take heed, you who read this,
& drop to your knees now & again
like the poet Christopher Smart,
& kiss the earth & be joyful,
& make much of your time,
& be kindly to everyone,
even to those who do not deserve it.
For although you may not believe
it will happen,
you too will one day be gone,
I, whose Levi's ripped at the crotch
for no reason,
assure you that such is the case.
Pass it on.

One Morning

Eamon Grennan


Looking for distinctive stones, I found the dead otter
rotting by the tideline, and carried all day the scent of this savage
valediction. That headlong high sound the oystercatcher makes
came echoing through the rocky cove
where a cormorant was feeding and submarining in the bay
and a heron rose off a boulder where he'd been invisible,
drifted a little, stood again -- a hieroglyph
or just longevity reflecting on itself
between the sky clouding over and the lightly ruffled water.

This was the morning after your dream of dying, of being held
and told it didn't matter. A butterfly went jinking over
the wave-silky stones, and where I turned
to go up the road again, a couple in a blue camper sat
smoking their cigarettes over their breakfast coffee (blue
scent of smoke, the thick dark smell of fresh coffee)
and talking in quiet voices, first one then the other answering,
their radio telling the daily news behind them. It was warm.
All seemed at peace. I could feel the sun coming off the water.

from Relations: New and Selected Poems, 1998
Graywolf Press, St. Paul, Minn.

Marcus Millsap: School Day Afternoon

Dave Etter


I climb the steps of the yellow school bus,
move to a seat in back, and we're off,
bouncing along the bumpy blacktop.
What am I going to do when I get home?
I'm going to make myself a sugar sandwich
and go outdoors and look at the birds
and the gigantic blue silo
they put up across the road at Motts'.
This weekend we're going to the farm show.
I like roosters and pigs, but farming's no fun.
When I get old enough to do something big,
I'd like to grow orange trees in a greenhouse.
Or maybe I'll drive a school bus
and yell at the kids when I feel mad:
"Shut up back there, you hear me?"
At last, my house, and I grab my science book
and hurry down the steps into the sun.
There's Mr. Mott, staring at his tractor.
He's wearing his DeKalb cap
with the crazy winged ear of corn on it.
He wouldn't wave over here to me
if I was handing out hundred dollar bills.
I'll put brown sugar on my bread this time,
then go lie around by the water pump,
where the grass is very green and soft,
soft as the body of a red-winged blackbird.
Imagine, a blue silo to stare at,
and Mother not coming home till dark!

from Alliance, Illinois
Spoon River Petry Press, 1983

Publication Date

Franz Wright


One of the few pleasures of writing
is the thought of one’s book in the hands of a kind-hearted
intelligent person somewhere. I can’t remember what the others are right now.
I just noticed that it is my own private

National I Hate Myself and Want to Die Day
(which means the next day I will love my life
and want to live forever). The forecast calls
for a cold night in Boston all morning

and all afternoon. They say
tomorrow will be just like today,
only different. I’m in the cemetery now
at the edge of town, how did I get here?

A sparrow limps past on its little bone crutch saying
I am Frederico Garcia Lorca
risen from the dead–
literature will lose, sunlight will win, don’t worry.

From FIELD: Contemporary Poetry and Poetics, vol. 70, 2004
Oberlin College Press

The Meadow

Kate Knapp Johnson

This poet invented a new word for her poem: "my withness," meaning a person who is always with you.

Half the day lost, staring
at this window. I wanted to know
just one true thing

about the soul, but I left thinking
for thought, and now -
two inches of snow have fallen

over the meadow. Where did I go,
how long was I out looking
for you?, who would never leave me,
my withness, my here.

Advice from the Experts

Bill Knott

This very short poem plays a trick
with perspective. Read it twice.


I lay down in the empty street and parked
My feet against the gutter's curb while from
The building above a bunch of gawkers perched
Along its ledges urged me don't, don't jump.

from Laugh at the End of the World:
Collected Comic Poems 1969-1999
BOA Editions, Ltd.

Foundations

Leopold Staff

This short poem expresses a belief in the impossible.


I built on the sand
And it tumbled down,
I built on a rock
And it tumbled down.
Now when I build, I shall begin
With the smoke from the chimney.

from Postwar Polish Poetry
(ed Czeslaw Milosz) Bantam Doubleday Dell Publishing
Translated from the Polish by Czeslaw Milosz

Words Aren’t Just Tools

Anne Carolyn Klein


Words aren’t just tools
For getting things straight
Pinning them down
Holding them up

Don’t use them like hammers
Or even as thumbtacks.

Don’t merely handle them.

Hold them, melt them to your marrow
From where,
Nourishing your heart,
Loving your soul,
They rise again, aloft from your lungs,
Flowing out graciously
Helping the world exist.

Poetry

Don Paterson

This is a sonnet about poetry.


In the same way that the mindless diamond keeps
one spark of the planet's early fires
trapped forever in its net of ice,
it's not love's later heat that poetry holds,
but the atom of the love that drew it forth
from the silence: so if the bright coal of his love
begins to smoulder, the poet hears his voice
suddenly forced, like a bar-room singer's -- boastful
with his own huge feeling, or drowned by violins;
but if it yields a steadier light, he knows
the pure verse, when it finally comes, will sound
like a mountain spring, anonymous and serene.

Beneath the blue oblivious sky, the water
sings of nothing, not your name, not mine.

from The White Lie; New and Selected Poetry, 2001
Graywolf Press, St. Paul, Minn.

Before She Died

Karen Chase


When I look at the sky now, I look at it for you.
As if with enough attention, I could take it in for you.

With all the leaves gone almost from
the trees, I did not walk briskly through the field.

Late today with my dog Wool, I lay down in the upper field,
he panting and aged, me looking at the blue. Leaning

on him, I wondered how finite these lustered days seem
to you, A stand of hemlock across the lake catches

my eye. It will take a long time to know how it is
for you. Like a dog's lifetime -- long -- multiplied by sevens.

Domestic Work, 1937

Natasha Trethewey


All week she's cleaned
someone else's house,
stared down her own face
in the shine of copper-
bottomed pots, polished
wood, toilets she'd pull
the lid to--that look saying

Let's make a change, girl.

But Sunday mornings are hers--
church clothes starched
and hanging, a record spinning
on the console, the whole house
dancing. She raises the shades,
washes the rooms in light,
buckets of water, Octagon soap.

Cleanliness is next to godliness ...

Windows and doors flung wide,
curtains two-stepping
forward and back, neck bones
bumping in the pot, a choir
of clothes clapping on the line.

Nearer my God to Thee ...

She beats time on the rugs,
blows dust from the broom
like dandelion spores, each one
a wish for something better.

from Domestic Work, 1999
Graywolf Press, St. Paul, Minn.

Shelter

R. S. Jones - an account of his dog Scout's adoption from a shelter


You paused outside to look into my cage.
I tried to play it right,
wanting to catch your eye with a shy glint in my own,
a soft bark, that said, "Choose me,"
in a canine grammar I hoped you'd understand.

Birch

Karen Shepard


You gonna eat that?
You gonna eat that?
You gonna eat that?
I'll eat that.

Dog's Death

John Updike


She must have been kicked unseen or brushed by a car.
Too young to know much, she was beginning to learn
To use the newspapers spread on the kitchen floor
And to win, wetting there, the words, "Good dog!
Good dog!"

We thought her shy malaise was a shot reaction.
The autopsy disclosed a rupture in her liver.
As we teased her with play, blood was filling her skin
And her heart was learning to lie down forever.

Monday morning, as the children were noisily fed
And sent to school, she crawled beneath the youngest's bed.
We found her twisted and limp but still alive.
In the car to the vet's, on my lap, she tried

To bite my hand and died. I stroked her warm fur
And my wife called in a voice imperious with tears.
Though surrounded by love that would have upheld her,
Nevertheless she sank and, stiffening, disappeared.

Back home, we found that in the night her frame,
Drawing near to dissolution, had endured the shame
Of diarrhea and had dragged across the floor
To a newspaper carelessly left there. Good dog.

POETSPEAK In Their Work, About Their Work

Dorie Off To Atlanta

Mark Halliday


Jen? Hi, it’s Dorie. I’m on the bus to LaGuardia. … Atlanta.
What? … Maybe. I’m not really sure. I mean his schedule is so
whacked,
y’know? … But anyway. I was telling you about Marcie. Yeah.
So
I said to her, I said, Marcie, this one seems different, y’know?
I said the last few guys you’ve dated–from what you’ve told
me–
I mean frankly– … Yeah. I said, Marcie, they might be
like very charming, y’know, and with great jobs, but frankly–
what it comes down to is, Let’s hit the bed,
and in the morning, Thanks for the excellent coffee. Y’know?
But this guy– … What? It’s Jason. Yeah.
So I said Marcie, from what you’ve said, Jason sounds
different–
and from what Bob said about him also. … Bob knows him
from some project last fall. So I said Marcie, you’ve had, what,
two coffees, two lunches, and a dinner, and he still hasn’t– …
No, Bob says he’s definitely straight. …
I think there was a divorce like six years ago or something. But
my–
What? … That’s right, yeah, I did. At Nathan’s party after some
show …
Yeah, “The Duchess of Malfi,” I forgot I told you. What? …
Only for five minutes–one cigarette, y’know? … Kind of low-
Key,
like thoughtful. But my point is– … Yeah, exactly! So I said,
Marcie, this is a guy who understands, y’know,
that bed is like part of something, y’know?
Like it’s not the big objective for godsake. It’s like an aspect–
What? … Exactly–it’s an expression of something much more–
Yes!–it’s like, Can we be companions in life, y’know?
So I said, Marcie, for godsake–if you don’t give this guy
like a serious chance, somebody else–y’know? … Right,
I mean let’s face it– … Jen? I’m losing you here–am I breaking
up?
Jen, I’ll call you from the airport–Okay bye.

From The Gettysburg Review, vol. 17 no. 1
Gettysburg College