How to Listen

Major Jackson

I am going to cock my head tonight like a dog
in front of McGlinchy's Tavern on Locust;
I am going to stand beside the man who works all day combing
his thatch of gray hair corkscrewed in every direction.
I am going to pay attention to our lives
unraveling between the forks of his fine-tooth comb.
For once, we won't talk about the end of the world
or Vietnam or his exquisite paper shoes.
For once, I am going to ignore the profanity and
the dancing and the jukebox so I can hear his head crackle
beneath the sky's stretch of faint stars.

from Leaving Saturn, 2002
The University of Georgia Press, Athens, GA

Bike Ride with Older Boys

Laura Kasischke

The one I didn't go on.

I was thirteen,
and they were older.
I'd met them at the public pool. I must

have given them my number. I'm sure

I'd given them my number,
knowing the girl I was. . .

It was summer. My afternoons
were made of time and vinyl.
My mother worked,
but I had a bike. They wanted

to go for a ride.
Just me and them. I said
okay fine, I'd
meet them at the Stop-n-Go
at four o'clock.
And then I didn't show.

I have been given a little gift—
something sweet
and inexpensive, something
I never worked or asked or said
thank you for, most
days not aware
of what I have been given, or what I missed—

because it's that, too, isn't it?
I never saw those boys again.
I'm not as dumb
as they think I am

but neither am I wise. Perhaps

it is the best
afternoon of my life. Two
cute and older boys
pedaling beside me—respectful, awed. When we

turn down my street, the other girls see me ...

Everything as I imagined it would be.

Or, I am in a vacant field. When I
stand up again, there are bits of glass and gravel
ground into my knees.
I will never love myself again.
Who knew then
that someday I would be

thirty-seven, wiping
crumbs off the kitchen table with a sponge, remembering
them, thinking
of this—

those boys still waiting
outside the Stop-n-Go, smoking
cigarettes, growing older.

from Dance and Disappear, 2002
University of Massachusetts Press, Amherst, MA

My Father's Hats

Mark Irwin

Sunday mornings I would reach
high into his dark closet while standing
on a chair and tiptoeing reach
higher, touching, sometimes fumbling
the soft crowns and imagine
I was in a forest, wind hymning
through pines, where the musky scent
of rain clinging to damp earth was
his scent I loved, lingering on
bands, leather, and on the inner silk
crowns where I would smell his
hair and almost think I was being
held, or climbing a tree, touching
the yellow fruit, leaves whose scent
was that of clove in the godsome
air, as now, thinking of his fabulous
sleep, I stand on this canyon floor
and watch light slowly close
on water I can't be sure is there.

from New Letters, Volume 66, Number 3, 2000
New Letters

The Hymn of a Fat Woman

Joyce Huff

All of the saints starved themselves.
Not a single fat one.
The words “deity” and “diet” must have come from the same
Latin root.

Those saints must have been thin as knucklebones
or shards of stained
glass or Christ carved
on his cross.

Hard
as pew seats. Brittle
as hair shirts. Women
made from bone, like the ribs that protrude from his wasted
wooden chest. Women consumed
by fervor.

They must have been able to walk three or four abreast
down that straight and oh-so-narrow path.
They must have slipped with ease through the eye
of the needle, leaving the weighty
camels stranded at the city gate.

Within that spare city’s walls,
I do not think I would find anyone like me.

I imagine I will find my kind outside
lolling in the garden
munching on the apples.

From Gargoyle Magazine
Volume 44

How to Change a Frog Into a Prince

Anna Denise

Start with the underwear. Sit him down.
Hopping on one leg may stir unpleasant memories.
If he gets his tights on, even backwards, praise him.
Fingers, formerly webbed, struggle over buttons.
Arms and legs, lengthened out of proportion, wait,
as you do, for the rest of him to catch up.
This body, so recently reformed, reclaimed,
still carries the marks of its time as a frog. Be gentle.
Avoid the words awkward and gawky.
Do not use tadpole as a term of endearment.
His body, like his clothing, may seem one size too big.
Relax. There's time enough for crowns. He'll grow into it.

from The Poets' Grimm: 20th Century Poems from Grimm's Fairy Tales, 2003
Story Line Press, Ashland, OR

Our Other Sister

Jeffrey Harrison

The cruelest thing I did to my younger sister
wasn't shooting a homemade blowdart into her knee,
where it dangled for a breathless second

before dropping off, but telling her we had
another, older sister who'd gone away.
What my motives were I can't recall: a whim,

or was it some need of mine to toy with loss,
to probe the ache of imaginary wounds?
But that first sentence was like a strand of DNA

that replicated itself in coiling lies
when my sister began asking her desperate questions.
I called our older sister Isabel

and gave her hazel eyes and long blonde hair.
I had her run away to California
where she took drugs and made hippie jewelry.

Before I knew it, she'd moved to Santa Fe
and opened a shop. She sent a postcard
every year or so, but she'd stopped calling.

I can still see my younger sister staring at me,
her eyes widening with desolation
then filling with tears. I can still remember

how thrilled and horrified I was
that something I'd just made up
had that kind of power, and I can still feel

the blowdart of remorse stabbing me in the heart
as I rushed to tell her none of it was true.
But it was too late. Our other sister

had already taken shape, and we could not
call her back from her life far away
or tell her how badly we missed her.

from Feeding the Fire, 2001
Sarabande Books, Louisville, KY

Gretel

Andrea Hollander Budy

This poem uses a fairy tale to examine a female stereotype.

A woman is born to this:
sift, measure, mix, roll thin.
She learns the dough until
it folds into her skin and there is
no difference. Much later
she tries to lose it. Makes bets
with herself and wins enough
to keep trying. One day she begins
that long walk in unfamiliar woods.
She means to lose everything
she is. She empties her dark pockets,
dropping enough crumbs
to feed all the men who have ever
touched her or wished.
When she reaches the clearing
she is almost transparent—
so thin
the old woman in the house seizes
only the brother. You know the rest:
She won’t escape that oven. She’ll eat
the crumbs meant for him, remember
something of his touch, reach
for the sifter and the cup.

from House Without a Dreamer, 1993
Story Line Press, Ashland, OR

Ode on a Grecian Urn

John Keats

Thou still unravish’d bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thou express
A flowery tale more sweetly than our rhyme:
What leaf-fring’d legend haunt about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?

Heard melodies are sweet, but those unheard
Are sweeter: therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold lover, never, never canst thou kiss,
Though winning near the goal – yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy’d,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy’d,
A burning forehead, and a parching tongue.

Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead’st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e’er return.

O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say’st,
“Beauty is truth, truth beauty,” – that is all
Ye know on earth, and all ye need to know.

Keats

Christopher Howell

When Keats, at last beyond the curtain
of love’s distraction, lay dying in his room
on the Piazza di Spagna, the melody of the Bernini
Fountain “filling him like flowers,”
he held his breath like a coin, looked out
into the moonlight and thought he saw snow.
He did not suppose it was fever or the body’s
weakness turning the mind. He thought, “England!”
and there he was, secretly, for the rest
of his improvidently short life: up to his neck
in sleigh bells and the impossibly English cries
of street vendors, perfect
and affectionate as his soul.
For days the snow and statuary sang him so far
beyond regret that if now you walk rancorless
and alone there, in the piazza, the white shadow
of his last words to Severn, “Don’t be frightened,”
may enter you.

From Light’s Ladder
University of Washington Press, 2004

My Daughters in New York

James Reiss

Here a father imagines the lives of his daughters who have moved to the city.

What streets, what taxis transport them
over bridges & speed bumps-my daughters swift

in pursuit of union? What suitors amuse them, what mazes
of avenues tilt & confuse them as pleasure, that pinball

goes bouncing off light posts & lands in a pothole,
only to pop up & roll in the gutter? What footloose new

freedoms allow them to plow through all stop signs,
careening at corners, hell-bent for the road to blaze straight?

It's 10 P.M. in the boonies. My children, I'm thinking
you're thinking your children are waiting

for you to conceive them while you're in a snarl
with my sons-in-law-to-be who want also to be

amazing explorers beguiled by these reckless night rides
that may God willing give way to ten thousand good mornings!

from Ten Thousand Good Mornings, 2001
Carnegie Mellon University Press, Pittsburg, PA

Relearning Winter

Mark Svenvold

Here is a greeting to winter.

Hello Winter, hello flanneled
blanket of clouds, clouds
fueled by more clouds, hello again.

Hello afternoons,
off to the west, that sliver
of sunset, rust-colored
and gone too soon.

And night (I admit to a short memory)
you climb back in with chilly fingers
and clocks, and there is no refusal:
ice cracks the water main, the garden hose
stiffens, the bladed leaves of the rhododendron
shine in the fog of a huge moon.

And rain, street lacquer,
oily puddles and spinning rubber,
mist of angels on the head of a pin,
hello,

and snow, upside-down cake of clouds,
white, freon scent, you build
even as you empty the world of texture-
hello to this new relief,
this new solitude now upon us,
upon which we feed.

from Soul Data, 1998
University of North Texas Press, Denton, TX

Birth Day

Elise Paschen

This poem expresses a mother's joy at giving birth.
For Alexandra, born May 17, 1999

Armored in red, her voice commands
every corner. Bells gong on squares,
in steeples, answering the prayers.
Bright tulips crown the boulevards.

Pulled from the womb she imitates
that mythic kick from some god's head.
She roars, and we are conquered.
Her legs, set free, combat the air.

Naked warrior: she is our own.
Entire empires are overthrown.

from Birthday Poems: A Celebration, 2002
Thunder's Mouth Press, New York, NY

Timely Enumerations Concerning Sri Lanka

Oliver Rice

Those are the central mountains,
the surrounding plains,
the coasts of mangrove, lagoon, river delta.

This is the temple compound
where the rite will begin this morning
exactly at the hour of Buddha’s enlightenment.

A muttering rises from the roadway
where already, the curfew lifted,
the prawn sellers are out.

That is a tea estate,
a rubber,
a coconut,
where coolies live and die.
There is a graphite mine
where they dig on their knees.

This is the assistant in the ceremony arriving,
who otherwise drives a three wheel taxi,
and these are the brushes, the paints,
the ritual mirror he bears.

The koha birds begin their proclamations
to the boutiques in the new town,
the tenements in the old town,
to the enclaves of the Tamil Hindu minority,
the Sinhalese Buddhist majority.

Those are the relics of the Portuguese occupation,
the Dutch,
the British,
of the struggle for independence.

Here is the ladder propped before the sculpture,
and this is the artist, regally attired,
climbing meticulously, rung by rung,
his back to the carving,
who otherwise keeps records for the tax collector.


The sun rises again on the headlines,
the beggars at the railroad station,
the fish drying on the beach.

Those are the sites of bloodshed
between the government and the insurgents,
villages where massacres have occurred,
rooms where captives were tortured,
grounds where they were surreptitiously buried.

This is the assistant holding the mirror
for the artist to view the stone face,
and here is the artist painting, over his shoulder,
the eyes of the statue,
whereupon it is transformed into the god.

Someone wails behind the rusty bars of a window.

That is a convoy of tanks,
an elder fixing his shoes under an umbrella,
a boy in a bullock cart with a rag around his head,
a film of smog on the palm leaves,
debris from the bombing of a casino.

This is the artist being led away blindfolded.

A dog fight breaks out in the schoolyard.

That is a souvenir shop,
attended by a girl in a white sarong.

From The Gettysburg Review
Volume 17, #2 Summer 2004

After English Class

Jean Little

Photo Credit: http://www.trekearth.com

I used to like "Stopping by Woods on a Snowy Evening."
I liked the coming darkness,
The jingle of harness bells, breaking--and adding to
--the stillness,
The gentle drift of snow. . . .
But today, the teacher told us what everything stood for.
The woods, the horse, the miles to go, the sleep--
They all have "hidden meanings."
It's grown so complicated now that,
Next time I drive by,
I don't think I'll bother to stop.

A New Poet

Linda Pastan

Finding a new poet
is like finding a new wildflower
out in the woods. You don't see

its name in the flower books, and
nobody you tell believes
in its odd color or the way

its leaves grow in splayed rows
down the whole length of the page. In fact
the very page smells of spilled

red wine and the mustiness of the sea
on a foggy day - the odor of truth
and of lying.

And the words are so familiar,
so strangely new, words
you almost wrote yourself, if only

in your dreams there had been a pencil
or a pen or even a paintbrush,
if only there had been a flower.

from Heroes In Disguise, 1991
W.W. Norton & Company, Inc., New York, NY

Dutch

Kay Ryan

This poem is a version of the story of the little Dutch boy who saved his country from being flooded by plugging a hole in a dike with one finger.

Much of life
is Dutch
one-digit
operations
in which
legions of
big robust
people crouch
behind
badly cracked
dike systems
attached
by the thumbs
their wide
balloon-pantsed rumps
up-ended to the
northern sun
while, back
in town, little
black-suspendered
tulip magnates
stride around.

from Say Uncle, 2000
Grove Press, New York, NY

Rotary

Christina Pugh

This poem is a meditation on the old fashioned rotary phones that came before the touch-tone type.

Closer to a bell than a bird,
that clapper ringing
the clear name
of its inventor:

by turns louder
and quieter than a clock,
its numbered face
was more literate,

triplets of alphabet
like grace notes
above each digit.

And when you dialed,
each number was a shallow hole
your finger dragged
to the silver
comma-boundary,

then the sound of the hole
traveling back
to its proper place
on the circle.

You had to wait for its return.
You had to wait.
Even if you were angry
and your finger flew,

you had to await
the round trip
of seven holes
before you could speak.

The rotary was weird for lag,
for the afterthought.

Before the touch-tone,
before the speed-dial,
before the primal grip
of the cellular,

they built glass houses
around telephones:
glass houses in parking lots,
by the roadside,
on sidewalks.

When you stepped in
and closed the door,
transparency hugged you,
and you could almost see

your own lips move,
the dumb-show
of your new secrecy.

Why did no one think
to conserve the peal?

Just try once
to sing it to yourself:
it's gone,

like the sound of breath
if your body left.

from Hayden's Ferry Review, Issue 27, Fall/Winter 2000-2001
Hayden's Ferry Review

Knowledge

Philip Memmer

My philosopher friend is explaining again
that the bottle of well-chilled Coke in my hand

might not be a bottle of Coke,
that the trickle of bottle-sweat cooling in my palm

might not be wet, might not be cool,
that in fact it’s impossible ever to know

if I’m holding a bottle at all.
I try to follow his logic, flipping the steaks

that are almost certainly hissing
over the bed of coals – coals I’d swear

were black at first, then gray, then red –
coals we could spread out and walk on

and why not, I ask, since we’ll never be sure
if our feet burn, if our soles

blister and peel, if our faithlessness
is any better or worse a tool

than the firewalker’s can-do extreme.
Exactly, he smiles. Behind the fence

the moon rises, or seems to.
Have another. Whatever else is true,

the coals feel hotter than ever
as the darkness begins to do

what darkness does. Another what? I ask.

From Poems and Plays #11, spring/summer 2004

Turtle

Kay Ryan

Who would be a turtle who could help it?
A barely mobile hard roll, a four-oared helmet,
She can ill afford the chances she must take
In rowing toward the grasses that she eats.
Her track is graceless, like dragging
A packing-case places, and almost any slope
Defeats her modest hopes. Even being practical,
She’s often stuck up to the axle on her way
To something edible. With everything optimal,
She skirts the ditch which would convert
Her shell into a serving dish. She lives
Below luck-level, never imagining some lottery
Will change her load of pottery to wings.
Her only levity is patience,
The sport of truly chastened things.

From Flamingo Watching
Copper Beach Press, 1994

Immortality

Lisel Mueller

This poem will make you remember how time was frozen in the story of Sleeping Beauty.

In Sleeping Beauty's castle
the clock strikes one hundred years
and the girl in the tower returns to the
world.
So do the servants in the kitchen,
who don't even rub their eyes.
The cook's right hand, lifted
an exact century ago,
completes its downward arc
to the kitchen boy's left ear;
the boy's tensed vocal cords
finally let go
the trapped, enduring whimper,
and the fly, arrested mid-plunge
above the strawberry pie,
fulfills its abiding mission
and dives into the sweet, red glaze.

As a child I had a book
with a picture of that scene.
I was too young to notice
how fear persists, and how
the anger that causes fear persists,
that its trajectory can't be changed
or broken, only interrupted.
My attention was on the fly;
that this slight body
with its transparent wings
and lifespan of one human day
still craved its particular share
of sweetness, a century later.

from Alive Together: New & Selected Poems, 1996
Louisiana State University Press, Baton Rouge, LA

All Watched Over by Machines of Loving Grace

Richard Brautigan

I like to think (and
the sooner the better!)
of a cybernetic meadow
where mammals and computers
live together in mutually
programming harmony
like pure water
touching clear sky.

I like to think
(right now please!)
of a cybernetic forest
filled with pines and electronics
where deer stroll peacefully
past computers
as if they were flowers
with spinning blossoms.

I like to think
(it has to be!)
of a cybernetic ecology
where we are free of our labors
and joined back to nature,
returned to our mammal
brothers and sisters,
and all watched over
by machines of loving grace.

(1967)