an appointment with my anguish


Hello Friends,

Gabrielle Calvocoressi was a very special poetry professor of mine, and it is always a treat to have a new poem of hers to share with you. Today's selection is from Rocket Fantastic (September 2017). If you like women in bowties, or bandleaders who represent "a confluence of genders in varying degrees, not either/or nor necessarily both in equal measure," then this is the poetry collection for you! The poem below is not actually about the bandleader, though; it's about grief.

Enjoy.
Ellen


The Sun Got All Over Everything

Over the boys and girls by the pool,
over the bougainvillea, which got so hot
my palms stayed warm for minutes after.
It made a mess of a day
that was supposed to be the worst
and lured me outside so I forgot her death entirely.
And also the polar bears scrambling
on the ice chips. And also that there was no water
in the Golden State. The pool was full
and the sun poured across the women's bodies
so you had to shade your eyes. Or I did. I had to
put my hand up to see what they were saying.
I know it's no excuse. And I had made a plan
to cry all day

and into the evening. I marked in my book,
which seems like something I'd make up in a poem
except this time I actually did it.
I wrote: Grieve. Because we're all so busy
aren't we? And so broke. I needed to make
an appointment with my anguish, so I could
take my mind off buying groceries
that I really couldn't afford. Anyway.
I didn't mean to go outside except there
the sky was, just ridiculously blue,
taunting me with pigment that I felt
the need to name. And from somewhere
close by a voice I couldn't see because the sun
was like a yolk cracked over it said,

What are you drinking? And I said,
I'm grieving. I'm very busy remembering.
I made an appointment because last year
I forgot and then felt awful. The sun opened
its mouth and made a gong of the canyons.

I poured across the girls and slicked across
their Dior lenses. I put my tongue on it
exactly when I should have been tearing
at my clothes and lighting candles.
I got on top and let it find the tightness
in my back and open where my wings would
be. Somewhere my mother was dying
and someone was skinning a giraffe.
And I let it go. I just let it go.

Poems by Gabrielle Calvocoressi were also featured for Poem-a-Day April 23, 2010 and Poem-a-Day April 27, 2007.

Is that a poem in your pocket?


Hello Friends,

April 26 is officially Poem in Your Pocket Day, brought to you by the Academy of American Poets — the same folks who bring you National Poetry Month.

Those of you who have been on this list for nine years or more may have seen today's poem before, but I hope it lends itself to re-reading as one of my very favorite pocket-sized (or any-sized) poems of all time.

Enjoy.
Ellen


Hymn for Lota

Close, close all night
the lovers keep.
They turn together,
in their sleep,

close as two pages
in a book
that read each other
in the dark.

Each knows all
the other knows,
learned by heart
from head to toes.

"Hymn for Lota" comes from the unpublished works of Elizabeth Bishop (1911-1979) — published in the 2006 collection Edgar Allan Poe & The Juke-Box: Uncollected Poems, Drafts, and Fragments by Elizabeth Bishop, edited by Alice Quinn. This poem is also featured in Marta Góes’s one-woman play A Safe Harbor for Elizabeth Bishop.

"Hymn to Lota" by Elizabeth Bishop was also featured for Poem-a-Day April 5, 2009 and Poem-a-Day April 3, 2007.
Poems by Elizabeth Bishop were also featured for Poem-a-Day April 6, 2008 and Poem-a-Day April 13, 2010.

nothing really happened

Incident

We tell the story every year—
how we peered from the windows, shades drawn—
though nothing really happened,
the charred grass now green again.

We peered from the windows, shades drawn,
at the cross trussed like a Christmas tree,
the charred grass still green. Then
we darkened our rooms, lit the hurricane lamps.

At the cross trussed like a Christmas tree,
a few men gathered, white as angels in their gowns.
We darkened our rooms and lit hurricane lamps,
the wicks trembling in their fonts of oil.

It seemed the angels had gathered, white men in their gowns.
When they were done, they left quietly. No one came.
The wicks trembled all night in their fonts of oil;
by morning the flames had all dimmed.

When they were done, the men left quietly. No one came.
Nothing really happened.
By morning all the flames had dimmed.
We tell the story every year.


Hello Friends,

The former U.S. poet laureate Natasha Trethewey is a master at picking the perfect poetic form for her subject matter. The form above, wherein the 2nd and 4th lines of the preceding stanza become the 1st and 3rd lines of the next stanza, is called a pantoum — and it is absolutely perfect for conveying a haunting incident that gets told over and over again.

Sometimes the incidents that haunt us the most are those where "nothing really happened" — If this has happened to you, consider trying to write a pantoum about it.

Enjoy.
Ellen

P.S. Natasha Trethewey has also been featured for Meet Me in 811's Poem-A-Day April 29, 2014, Poem-A-Day April 18, 2010, and Poem-A-Day April 16, 2009.

5-7-5

The morning breeze
ripples the fur
of the caterpillar


Hello Friends,

Today's haiku comes from the celebrated Japanese poet Yosa Buson (1716 - 1784). This English translation is by Stephen Addiss. In the original Japanese, this haiku follows the format you are probably familiar with: 5 syllables, 7 syllables, 5 syllables. But often to capture the essence of a haiku in translation, it does not make sense to preserve the syllable count.

Do you have a favorite haiku? Send it my way.

Enjoy.
Ellen

Since it’s his birthday…

Since brass, nor stone, nor earth, nor boundless sea
But sad mortality o'er-sways their power,
How with this rage shall beauty hold a plea,
Whose action is no stronger than a flower?
O, how shall summer's honey breath hold out
Against the wreckful siege of battering days,
When rocks impregnable are not so stout,
Nor gates of steel so strong, but time decays?
O fearful meditation! where, alack,
Shall time's best jewel from time's chest lie hid?
Or what strong hand can hold his swift foot back?
Or who his spoil of beauty can forbid?
O, none, unless this miracle have might,
That in black ink my love may still shine bright.


Hello Friends,

The desire to make something beautiful immortal has motivated many a poet, perhaps none more than Shakespeare (who we believe was born on this day in 1564). Before you is a Shakespearean sonnet that "in black ink" has indeed allowed Shakespeare's love to "still shine bright" centuries later.

— Ellen

Behold this compost!


Hello Friends,

Today's Earth Day poem is both piercing in its innocence — written before plastics and cars, when the worst thing Whitman could imagine we were putting in the ground was dead bodies — and at the same time eerily prescient in its predictions of humans' attitude toward the Earth, anticipating that Earth "grows such sweet things out of such corruptions" and "gives such divine materials to men, and accepts such leavings from them at last."

In terms of the focus on dead bodies, I thought this was a post-Civil War poem but it turns out that an earlier draft called "Poem of Wonder at The Resurrection of the Wheat" pre-dates the Civil War. Whitman was just very interested in chemistry, the endless recycling of material, every atom belonging to you as good belonging to me. When he re-titled this piece "This Compost" it may be a nod to "composition" — in the sense that all poems are also an endless recycling of words, used by other poets in other poems, etc. Whitman himself would recycle the image "the lilacs bloom in the dooryards" from this poem in his later famous elegy to Abraham Lincoln, "When Lilacs Last in the Dooryard Bloom'd."

Enjoy.
Ellen


This Compost

1

Something startles me where I thought I was safest,
I withdraw from the still woods I loved,
I will not go now on the pastures to walk,
I will not strip the clothes from my body to meet my lover the sea,
I will not touch my flesh to the earth as to other flesh to renew me.

O how can it be that the ground itself does not sicken?
How can you be alive you growths of spring?
How can you furnish health you blood of herbs, roots, orchards, grain?
Are they not continually putting distemper’d corpses within you?
Is not every continent work’d over and over with sour dead?

Where have you disposed of their carcasses?
Those drunkards and gluttons of so many generations?
Where have you drawn off all the foul liquid and meat?
I do not see any of it upon you to-day, or perhaps I am deceiv’d,
I will run a furrow with my plough, I will press my spade through
the sod and turn it up underneath,
I am sure I shall expose some of the foul meat.

2

Behold this compost! behold it well!
Perhaps every mite has one form’d part of a sick person—yet behold!
The grass of spring covers the prairies,
The bean bursts noiselessly through the mould in the garden,
The delicate spear of the onion pierces upward,
The apple-buds cluster together on the apple-branches,
The resurrection of the wheat appears with pale visage out of its graves,
The tinge awakes over the willow-tree and the mulberry-tree,
The he-birds carol mornings and evenings while the she-birds sit on their nests,
The young of poultry break through the hatch’d eggs,
The new-born of animals appear, the calf is dropt from the cow, the colt from the mare,
Out of its little hill faithfully rises the potato’s dark green leaves,
Out of its hill rises the yellow maize-stalk, the lilacs bloom in the dooryards,
The summer growth is innocent and disdainful above all those strata of sour dead.

What chemistry!
That the winds are really not infectious,
That this is not cheat, this transparent green-wash of the sea which is so amorous after me,
That it is safe to allow it to lick my naked body all over with its tongues,
That it will not endanger me with the fevers that have deposited themselves in it,
That all is clean forever and forever,
That the cool drink from the well tastes so good,
That blackberries are so flavorous and juicy,
That the fruits of the apple-orchard and the orange-orchard, that melons, grapes, peaches, plums will
none of them poison me,
That when I recline on the grass I do not catch any disease,
Though probably every spear of grass rises out of what was once a catching disease.

Now I am terrified at the Earth, it is that calm and patient,
It grows such sweet things out of such corruptions,
It turns harmless and stainless on its axis, with such endless successions of diseas’d corpses,
It distills such exquisite winds out of such infused fetor,
It renews with such unwitting looks its prodigal, annual sumptuous crops,
It gives such divine materials to men, and accepts such leavings from them at last.

Walt Whitman (1819-1892) was also featured for Meet Me in 811's Poem-A-Day April 12, 2017 as subject matter and as poet in Poem-A-Day April 11, 2017 and Poem-A-Day April 21, 2014.

taxi at the end of the world


Hello Friends,

I have a ticket that I cannot use to hear Carolyn Forché read live at the Folger in DC on Monday April 30. It's an amazing poet at an amazing venue — I really hope one of you will take me up on putting this ticket to good use.

Here is a poem by Carolyn Forché that appeared in the October 2016 issue of Poetry magazine.

Enjoy.
Ellen


The Boatman

We were thirty-one souls all, he said, on the gray-sick of sea
in a cold rubber boat, rising and falling in our filth.
By morning this didn’t matter, no land was in sight,
all were soaked to the bone, living and dead.
We could still float, we said, from war to war.
What lay behind us but ruins of stone piled on ruins of stone?
City called "mother of the poor" surrounded by fields
of cotton and millet, city of jewelers and cloak-makers,
with the oldest church in Christendom and the Sword of Allah.
If anyone remains there now, he assures, they would be utterly alone.
There is a hotel named for it in Rome two hundred meters
from the Piazza di Spagna, where you can have breakfast under
the portraits of film stars. There the staff cannot do enough for you.
But I am talking nonsense again, as I have since that night
we fetched a child, not ours, from the sea, drifting face-
down in a life vest, its eyes taken by fish or the birds above us.
After that, Aleppo went up in smoke, and Raqqa came under a rain
of leaflets warning everyone to go. Leave, yes, but go where?
We lived through the Americans and Russians, through Americans
again, many nights of death from the clouds, mornings surprised
to be waking from the sleep of death, still unburied and alive
but with no safe place. Leave, yes, we obey the leaflets, but go where?
To the sea to be eaten, to the shores of Europe to be caged?
To camp misery and camp remain here. I ask you then, where?
You tell me you are a poet. If so, our destination is the same.
I find myself now the boatman, driving a taxi at the end of the world.
I will see that you arrive safely, my friend, I will get you there.

not pick one

Afternoon on a Hill

I will be the gladdest thing
     Under the sun!
I will touch a hundred flowers
     And not pick one.

I will look at cliffs and clouds
     With quiet eyes,
Watch the wind bow down the grass,
     And the grass rise.

And when lights begin to show
     Up from the town,
I will mark which must be mine,
     And then start down!

Edna St. Vincent Millay was also featured for Meet Me in 811's Poem-A-Day April 17, 2011 and Poem-A-Day April 18, 2007.

a parka / for your soul

Expect Nothing

Expect nothing. Live frugally
On surprise.
Become a stranger
To need of pity
Or, if compassion be freely
Given out
Take only enough
Stop short of urge to plead
Then purge away the need.

Wish for nothing larger
Than your own small heart
Or greater than a star;
Tame wild disappointment
With caress unmoved and cold
Make of it a parka
For your soul.

Discover the reason why
So tiny human giant
Exists at all
So scared unwise
But expect nothing. Live frugally
On surprise.


Hello Friends,

Today's advice poem comes from Alice Walker's 1973 collection Revolutionary Petunias: And Other Poems.

One small textual note: When this poem was originally printed in 1973, the second line of the third stanza read "So tiny human midget," but Walker revised "midget" to "giant" in later editions of her collected poems. This revision suggests to me that she never intended "midget" as a slur; I think she meant to be referring to our smallness in the sense that we are "tiny humans" on one little planet circling one tiny star in a vast universe for a blip in all of infinite time.

Enjoy.
Ellen

Ode to the Pubic Hair Stuck in My Throat


Hello Friends,

It's important to remember you can write a poem about anything. In that spirit, today's poem is "Ode to the Pubic Hair Stuck in My Throat" by Hieu Minh Nguyen, a queer Vietnamese American poet and performer based out of Minneapolis.

Poetry's origins are in spoken communication — we invented meter and rhyme to make long stories easier to memorize and recite. So don't let anyone tell you that spoken word is any less "poetry" than the Ivory Tower variety.

As a spoken word piece, today's poem may be viewed on YouTube here.

Enjoy.
Ellen