Poetry Miscellany
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This group of poems comes from those we read at our Friday lunch poetry group and from suggestions of others.
A Story
by Li-Young Lee
Sad is the man who is asked for a story
and can't come up with one.
His five-year-old son waits in his lap.
Not the same story, Baba. A new one.
The man rubs his chin, scratches his ear.
In a room full of books in a world
of stories, he can recall
not one, and soon, he thinks, the boy
will give up on his father.
Already the man lives far ahead, he sees
the day this boy will go. Don't go!
Hear the alligator story! The angel story once more!
You love the spider story. You laugh at the spider.
Let me tell it!
But the boy is packing his shirts,
he is looking for his keys. Are you a god,
the man screams, that I sit mute before you?
Am I a god that I should never disappoint?
But the boy is here. Please, Baba, a story?
It is an emotional rather than logical equation,
an earthly rather than heavenly one,
which posits that a boy's supplications
and a father's love add up to silence.
-- Li-Young Lee, ©1990. Reproduced from The City in Which I Love You,
with kind permission of BOA Editions, Ltd.
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Early in the Morning
by Li-Young Lee
While the long grain is softening
in the water, gurgling
over a low stove flame, before
the salted Winter Vegetable is sliced
for breakfast, before the birds,
my mother glides an ivory comb
through her hair, heavy
and black as calligrapher's ink.
She sits at the foot of the bed.
My father watches, listens for
the music of comb
against hair.
My mother combs,
pulls her hair back
tight, rolls it
around two fingers, pins it
in a bun to the back of her head.
For half a hundred years she has done this.
My father likes to see it like this.
He says it is kempt.
But I know
it is because of the way
my mother's hair falls
when he pulls the pins out.
Easily, like the curtains
when they untie them in the evening.
-- Li-Young Lee, ©1986. Reproduced from Rose with the kind permission
of BOA Editions, Ltd.
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The Gift
by Li-Young Lee
To pull the metal splinter from my palm
my father recited a story in a low voice.
I watched his lovely face and not the blade.
Before the story ended, he'd removed
the iron sliver I thought I'd die from.
I can't remember the tale,
but hear his voice still, a well
of dark water, a prayer.
And I recall his hands,
two measures of tenderness
he laid against my face,
the flames of discipline
he raised above my head.
Had you entered that afternoon
you would have thought you saw a man
planting something in a boy's palm,
a silver tear, a tiny flame.
Had you followed that boy
you would have arrived here,
where I bend over my wife's right hand.
Look how I shave her thumbnail down
so carefully she feels no pain.
Watch as I lift the splinter out.
I was seven when my father
took my hand like this,
and I did not hold that shard
between my fingers and think,
Metal that will bury me,
christen it Little Assassin,
Ore Going Deep for My Heart.
And I did not lift up my wound and cry,
Death visited here!
I did what a child does
when he's given something to keep.
I kissed my father.
-- Li-Young Lee, ©1986. Reproduced from Rose with the kind permission
of BOA Editions, Ltd.
Eating Alone
by Li-Young Lee
I've pulled the last of the year's young onions.
The garden is bare now. The ground is cold,
brown and old. What is left of the day flames
in the maples at the corner of my
eye. I turn, a cardinal vanishes.
By the cellar door, I wash the onions,
then drink from the icy metal spigot.
Once, years back, I walked beside my father
among the windfall pears. I can't recall
our words. We may have strolled in silence. But
I still see him bend that way-left hand braced
on knee, creaky-to lift and hold to my
eye a rotten pear. In it, a hornet
spun crazily, glazed in slow, glistening juice.
It was my father I saw this morning
waving to me from the trees. I almost
called to him, until I came close enough
to see the shovel, leaning where I had
left it, in the flickering, deep green shade.
White rice steaming, almost done. Sweet green peas
fried in onions. Shrimp braised in sesame
oil and garlic. And my own loneliness.
What more could 1, a young man, want.
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I ASK MY MOTHER TO SING
by Li-Young Lee
She begins, and my grandmother joins her.
Mother and daughter sing like young girls.
If my father were alive, he would play
his accordion and sway like a boat.
I've never been in Peking, or the Summer Palace,
nor stood on the great Stone Boat to watch
the rain begin on Kuen Ming Lake, the picnickers
running away in the grass.
But I love to hear it sung;
how the waterlilies fill with rain until
they overturn, spilling water into water,
then rock back, and fill with more,
Both women have begun to cry.
But neither stops her song.
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VISIONS AND INTERPRETATIONS
by Li-Young Lee
Because this graveyard is a hill,
I must climb up to see my dead,
stopping once midway to rest
beside this tree.
It was here, between the anticipation
of exhaustion, and exhaustion,
between vale and peak,
my father came down to me
and we climbed arm in arm to the top.
He cradled the bouquet I'd brought,
and 1, a good son, never mentioned his grave,
erect like a door behind him.
And it was here, one summer day, I sat down
to read an old book. When I looked up
from the noon-lit page, I saw a vision
of a world about to come, and a world about to go.
Truth is, I've not seen my father
since he died, and, no, the dead
do not walk arm in arm with me.
If I carry flowers to them, I do so without their help,
the blossoms not always bright, torch-like,
but often heavy as sodden newspaper.
Truth is, I came here with my son one day,
and we rested against this tree,
and I fell asleep, and dreamed
a dream which, upon my boy waking me, I told.
Neither of us understood.
Then we went up.
Even this is not accurate.
Let me begin again:
Between two griefs, a tree.
Between my hands, white chrysanthemums, yellow
chrysanthemums.
The old book I finished reading
I've since read again and again.
And what was far grows near,
and what is near grows more dear,
and all of my visions and interpretations
depend on what I see,
and between my eyes is always
the rain, the migrant rain.
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For a New Citizen of These United States
Li-Young Lee
Forgive me for thinking I saw
the irregular postage stamp of death;
a black moth the size of my left
thumbnail is all I've trapped in the damask.
There is no need for alarm. And
there is no need for sadness, if
the rain at the window now reminds you
of nothing; not even of that
parlor, long like a nave, where cloud-shadow,
wing-shadow, where father-shadow
continually confused the light. In flight,
leaf-throng and, later, soldiers and
flags deepened those windows to submarine.
But you don't remember, I know,
so I won't mention that house where Chung hid,
Lin wizened, you languished, and Ming-
Ming hush-hushed us with small song. And since you
don't recall the missionary
bells chiming the hour, or those words whose sounds
alone exhaust the heart-garden,
heaven, amen-I'll mention none of it.
After all, it was just our life,
merely years in a book of years. It was
1960, and we stood with
the other families on a crowded
railroad platform. The trains came, then
the rains, and then we got separated.
And in the interval between
familiar faces, events occurred, which
one of us faithfully pencilled
in a day-book bound by a rubber band.
But birds, as you say, fly forward.
So I won't show you letters and the shawl
I've so meaninglessly preserved.
And I won't hum along, if you don't, when
our mothers sing Nights in Shanghai.
I won't, each Spring, each time I smell lilac,
recall my mother, patiently
stitching money inside my coat lining,
if you don't remember your mother
preparing for your own escape.
After all, it was only our
life, our life and its forgetting.
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***The poems are from Lee's book Rose (Brockport, NY: Boa, 1986); poem number
9 is from The City in Which I Love You; poem is
from Transforming Vision: Writers on Art, selected by Edward Hirsch (Boston:
Bullfinch-Little Brown, 1994).
Stationary Point
from The Book of Vagaries (1958)
by Pablo Neruda
I would know nothing, dream nothing:
Who will teach my non-being
How to be, without striving to be?
How can the water endure it?
What sky have the stones dreamed?
Immobile, until those migrations
Delay at their apogee
And fly on their arrows
Toward the cold archipelago.
Unmoved in its secretive life,
Like an underground city,
So the days may glide down
Like ungraspable dew:
Nothing fails, or shall perish,
Until we be born again,
Until all that lay plundered
Be restored with the tread
Of the springtime we buried—
The unceasingly stilled, as it lifts
itself out of non-begin, even now,
To be flowering bough.
An Observation
by May Sarton
True gardeners cannot bear a glove
Between the sure touch and the tender root,
Must let their hands grow knotted as they move
With a rough sensitivity about
Under the earth, between the rock and shoot,
Never to bruise or wound the hidden fruit.
And so I watched my mother's hands grow scarred,
She who could heal the wounded plant or friend
With the same vulnerable yet rigorous love;
I minded once to see her beauty gnarled,
But now her truth is given me to live,
As I learn for myself we must be hard
To move among the tender with an open hand,
And to stay sensitive up to the end
Pay with some toughness for a gentle world.
Poem: "An Observation" by May Sarton from A Private Mythology. © W.W. Norton & Co. Reprinted with permission.
Day Bath
from Pomegranate
for my son
by Debra Spencer
Last night I walked him back and forth,
his small head heavy against my chest,
round eyes watching me in the dark,
his body a sandbag in my arms.
I longed for sleep but couldn't bear his crying
so bore him back and forth until the sun rose
and he slept. Now the doors are open,
noon sunlight coming in,
and I can see fuchsias opening.
Now we bathe. I hold him, the soap
makes our skins glide past each other.
I lay him wet on my thighs, his head on my knees,
his feet dancing against my chest,
and I rinse him, pouring water
from my cupped hand.
No matter how I feel, he's the same,
eyes expectant, mouth ready,
with his fat legs and arms,
his belly, his small solid back.
Last night I wanted nothing more
than to get him out of my arms.
Today he fits neatly
along the hollow my thighs make,
and with his fragrant skin against mine
I feel brash, like a sunflower.
by William Carlos Williams
I'VE fond anticipation of a day
O'erfilled with pure diversion presently,
For I must read a lady poesy
The while we glide by many a leafy bay,
Hid deep in rushes, where at random play
The glossy black winged May-flies, or whence flee
Hush-throated nestlings in alarm,
Whom we have idly frighted with our boat's long sway.
For, lest o'ersaddened by such woes as spring
To rural peace from our meek onward trend,
What else more fit? We'll draw the latch-string
And close the door of sense; then satiate wend,
On poesy's transforming giant wing,
To worlds afar whose fruits all anguish mend.
Like Lilly Like
By Taylor Mali
and it's Lilly Wilson at my office door.
Lilly
the worst I've ever seen.
So, like, bad the whole eighth grade
started calling her Like Lilly Like Wilson Like.
Until I declared my classroom a Like-Free Zone,
and she could not speak for days.
But when she finally did, it was to say,
Mr.
Now I have to think before I . . . say anything.
Imagine that, Lilly.
It's for your own good.
Even if you don't like . . .
it.
I'm writing the poem that will change the world,
and it's Lilly Wilson at my office door.
Lilly is writing a research paper for me
about how homosexuals shouldn't be allowed
to adopt children.
I'm writing the poem that will change the world,
and it's Like Lilly Like Wilson at my office door.
She's having trouble finding sources,
which is to say, ones that back her up.
They all argue in favor of what I thought I was against.
And it took four years of college,
three years of graduate school,
and every incidental teaching experience I have ever had
to let out only,
Well, that's a real interesting problem, Lilly.
But what do you propose to do about it?
That's what I want to know.
And the eighth-grade mind is a beautiful thing;
Like a new-born baby's face, you can often see it
change before your very eyes.
I can't believe I'm saying this, Mr.
but I think I'd like to switch sides.
And I want to tell her to do more than just believe it,
but to enjoy it!
That changing your mind is one of the best ways
of finding out whether or not you still have one.
Or even that minds are like parachutes,
that it doesn't matter what you pack
them with so long as they open
at the right time.
O God, Lilly, I want to say
you make me feel like a teacher,
and who could ask to feel more than that?
I want to say all this but manage only,
Lilly, I am like so impressed with you!
So I finally taught somebody something,
namely, how to change her mind.
And learned in the process that if I ever change the world
it's going to be one eighth grader at a time.
Totally like whatever, you know?
By Taylor Mali
In case you hadn't noticed,
it has somehow become uncool
to sound like you know what you're talking about?
Or believe strongly in what you're saying?
Invisible question marks and parenthetical (you know?)'s
have been attaching themselves to the ends of our sentences?
Even when those sentences aren't, like, questions? You know?
Declarative sentences—so-called
because they used to, like, DECLARE things to be true
as opposed to other things which were, like, not—
have been infected by a totally hip
and tragically cool interrogative tone? You know?
Like, don't think I'm uncool just because I've noticed this;
this is just like the word on the street, you know?
It's like what I've heard?
I have nothing personally invested in my own opinions, okay?
I'm just inviting you to join me in my uncertainty?
What has happened to our conviction?
Where are the limbs out on which we once walked?
Have they been, like, chopped down
with the rest of the rain forest?
Or do we have, like, nothing to say?
Has society become so, like, totally . . .
I mean absolutely . . . You know?
That we've just gotten to the point where it's just, like . . .
whatever!
And so actually our disarticulation . . . ness
is just a clever sort of . . . thing
to disguise the fact that we've become
the most aggressively inarticulate generation
to come along since . . .
you know, a long, long time ago!
I entreat you, I implore you, I exhort you,
I challenge you: To speak with conviction.
To say what you believe in a manner that bespeaks
the determination with which you believe it.
Because contrary to the wisdom of the bumper sticker,
it is not enough these days to simply QUESTION AUTHORITY.
You have to speak with it, too.
Sonnet LXX: On Being Cautioned Against Walking
On a Headland Overlooking the Sea, Because It Was
Frequented by a Lunatic
By Charlotte Smith
Is there a solitary wretch
who hies
To the tall cliff, with starting pace or slow,
And, measuring, views with wild and hollow eyes
Its distance from the waves that chide below;
Who, as the sea-born gale with frequent sighs
Chills his cold bed upon the mountain turf,
With hoarse, half-utter'd lamentation, lies
Murmuring responses to the dashing surf?
In moody sadness, on the giddy brink,
I see him more with envy than with fear;
He has no nice felicities that shrink
From giant horrors; wildly wandering here,
He seems (uncursed with reason) not to know
The depth or the duration of his woe.
The Truth the Dead Know
Anne Sexton
Gone, I say and walk from church
refusing the stiff procession to the grave,
letting the dead ride alone in the hearse.
It is June. I am tired of being brave.