Poem-a-Day April 1: Vocabulary

Hello, Friends, and Happy National Poetry Month!

Have you ever fallen in love with a word, just one word? Have you ever just been tickled that a particular word exists — maybe it’s slang in your region, maybe it’s jargon in your profession, maybe it’s a term in your native language with no precise English translation.

Jason Schneiderman’s “Vocabulary” is not about alientating other people or ranking yourself above them with something you memorized off the back of a flashcard. I love this poem because it conveys what it means to discover and share the meaning of words from a place of personal inquisitiveness — from a place of wonder and love.

The very word “vocabulary” can never be fully separated from elitism and hierarchy: there is always inclusion and exclusion in the words we choose. But that doesn’t have to get in the way of learning to love to learn.

Or so says the kid who copied pages of the dictionary just for fun.


Vocabulary

I used to love words,
but not looking them up.

Now I love both,
the knowing,

and the looking up,
the absurdity

of discovering that “boreal”
has been meaning

“northern” all this time
or that “estrus”

is a much better word
for the times when

I would most likely
have said, “in heat.”

When I was translating,
the dictionary

was my enemy,
the repository of knowledge

that I seemed incapable
of retaining. The foreign word

for “inflatable” simply
would not stay in my head,

though the English word “deictic,”
after just one encounter,

has stuck with me for a year.
I once lost “desiccated”

for a decade, first encountered
in an unkind portrayal

of Ronald Reagan, and then
finally returned to me

in an article about cheese.
I fell in love with my husband,

not when he told me
what the word “apercus” means,

but when I looked it up,
and he was right.

There’s even a word
for when you use a word

not to mean its meaning,
but as the word itself,

and I’d tell you what it was
if I could remember it.

My friend reads the dictionary
for its perspective on culture,

laughs when I say that
reference books are not really

books, but proleptic databases.
My third grade teacher

used to joke that if we were bored
we could copy pages out of the dictionary,

but when I did, also a joke,
she was horrified rather than amused.

Discovery is always tinged
with sorrow, the knowledge

that you have been living
without something,

so we try to make learning
the province of the young,

who have less time to regret
having lived in ignorance.

My students are lost
in dictionaries,

unable to figure out why
“categorize” means

“to put into categories”
or why the fifth definition

of “standard” is the one
that will make the sentence

in question make sense.
I wonder how anyone

can live without knowing
the word “wonder.”

A famous author
once said in an interview,

that he ended his novel
with an obscure word

he was sure his reader
would not know

because he liked the idea
of the reader looking it up.

He wanted the reader,
upon closing his book, to open

another, that second book
being a dictionary,

and however much I may have loved
that author, after reading

that story
(and this may surprise you)

I loved him less.


What’s your relationship to the dictionary? Post a word you fell in love with once below!

Cheers,
Ellen

Of Poets and Pockets

Hello Friends —

Poem in Your Pocket Day 2013 is here!

Have you ever thought about why the National Poetry Month folks decided on “Poem in Your Pocket Day”? Poets came up with this day, so you already know there’s not going to be one straightforward answer — there are going to be layers of possible meaning. But I think it’s worth noting they could’ve picked another analogy for small or short — they could’ve made up “Bite-Size Poetry Day” or “Poem In Your Thimble Day” or “Poem That When Curled Up Into A Tiny Scroll Fits In Your Inner Ear Day.”

The poet’s ear elates at alliteration of course, but I think the “pocket” of “Poem in Your Pocket Day” is about more than that — these poets didn’t pick “Pint-Sized Poem Day” or “Post-It Poem Day” for instance.

They also didn’t pick “This Impossibly Long Poem Is Never Gonna End Day.”

So what is the relationship between the pocket and the poem? In modern day, the pocket is a clothing compartment universally known for storing words that we want to remember (as in notes to ourselves, to-do lists, passwords not to forget on the way back to our desks), as well as words that we intend to share (as in, taking your notecards out of your pocket as you walk up to the podium to deliver your speech). These two acts — remembering and sharing — are at the heart of what Poem in Your Pocket Day aims for, remembering and sharing poems. I would argue the pocket evokes the compact, square-but-not-quite-square form of the stanza — the original poetic building block, going back to before humans even wrote down our words, back when we just memorized our stories in order to tell them to each other again, and so invented rhyme and meter to make our stories easier to remember. The stanza is a pocket. The pocket is a stanza. The pocket is an envelope. A mouth. Your pocket (even more than a pocket or the pocket) is most often made of cloth, weaving in a long-standing analogy between fabric and language, that fine line between cloth and paper. And perhaps most importantly, your pocket is frequently associated with a location close to your heart.

For me, “pocket poems” are the poems short enough not to intimidate the poetry-wary — the friendly, the highly sharable poems. “Pocket poems” are poems that we keep in our heads — poems short enough to memorize, thereby reenacting on a small scale the very invention of poetry. And “pocket poems” are also the poems (of any length) that we keep close to our hearts — that we may “pull out,” as if from a pocket, on any given day, any hour, because they help us construct meaning from that given moment in your lives. The best, the most pocket-y-est of “pocket poems,” are all of those at once.

Today your friend Ellen and various other poetry enthusiasts scattered throughout the country will be handing out conveniently pocket-sized poems on the street to unsuspecting passers-by. Even when I’m feeling extra-introverted and not-so-courageous, or super-overworked-busy, I have never been sorry to have taken a couple of hours one day a year to hand poems to strangers. It is a truly rewarding experience — just try it; you’ll know soon enough what I mean. If you think this April might be your April to try it, here’s a PDF of pocket-sized poems for printing out, cutting out, and handing out. The Academy of American Poets — the folks who officially bring you National Poetry Month — also have a collection of pocket poems here. Some other suggestions for you from the Academy:

  • Add a poem to your email footer for the day
  • Post a poem on your blog or social networking page
  • Text a poem to friends
  • Start a street team to pass out poems in your community
  • Post pocket-sized verses in public places
  • Project a poem on a wall, inside or out
  • Urge local businesses to offer discounts for those carrying poems
  • Start a “poems for pockets” swap or give-a-way in your school or workplace

And, don’t forget: If today is not your day, no one knows when “real” Poem in Your Pocket Day is anyway — so take some poetic license! You’re pretty much good through the end of April / National Poetry Month. Or whenever.

Enjoy.
Ellen


The Shirt

The shirt touches his neck
and smoothes over his back.
It slides down his sides.
It even goes down below his belt—
down into his pants.
Lucky shirt.



Pocket-sized “The Shirt” by Jane Kenyon was also featured for Poem-a-Day April 7, 2009 and Poem-a-Day April 22, 2007.

Where Have All the Poems Gone?

Hi Friends,

It’s come to my attention that some of you noticed a lack of poems in your inbox this month.

For the past many years, I’ve celebrated National Poetry Month by sharing with all of you little bits of what I love about poetry — via one poem per day, delivered to your email inbox, for the duration of the month: 30 days. 30 poems. 30 poets.

One of my weaknesses is that I really suck at doing things half-assed, watered down, or sloppily slapped together; I have an extremely difficult time lowering my standards for myself and my own work — like, to a fault; it’s a problem. This April, I found that I wasn’t gonna be able to do my poem-a-day series all-out, the way it deserves to be done — so I haven’t done it all.

But that’s not right, either. I do still want to celebrate poetry month with each you. So, some thoughts:

1. Send me a poem this April? Include a little note about why it’s a favorite of yours, or why you think it’s a poem I might like, or a comment or a question you have about the poem.

2. Six Aprils’ worth of poem-a-days are yours to revist or explore for the first time here at meetmein811.blogspot.com. Do you have a favorite previous poem-a-day, one that still sticks with you all these Aprils later?

3. I’m going to email you next week about Poem in Your Pocket Day, which is officially April 18 this year, but works well on pretty much any day in April.

4. Brackets! Poets! Powell’s Books! 3 of my favorite things, all rolled into one. Check out Powell’s Books’ new experiment this April, Poetry Madness.

5. A poem! for you! for April! (below) A thank you to Jeannine for reminding me that e.e. cummings has probably written more of my favorite poems specifically about April and spring than any other poet. What other poets do you think might rival Cummings for the (Poet)King of Spring title?

6. As always, you can learn more about National Poetry Month at the website of the Academy of American Poets, www.poets.org.

I hope that you’re all doing well!

Love,
Ellen


when faces called flowers float out of the ground
and breathing is wishing and wishing is having—
but keeping is downward and doubting and never
—it’s april(yes,april;my darling)it’s spring!
yes the pretty birds frolic as spry as can fly
yes the little fish gambol as glad as can be
(yes the mountains are dancing together)

when every leaf opens without any sound
and wishing is having and having is giving—
but keeping is doting and nothing and nonsense
—alive;we’re alive,dear:it’s(kiss me now)spring!
now the pretty birds hover so she and so he
now the little fish quiver so you and so i
(now the mountains are dancing,the mountains)

when more than was lost has been found has been found
and having is giving and giving is living—
but keeping is darkness and winter and cringing
—it’s spring(all our night becomes day)o,it’s spring!
all the pretty birds dive to the heart of the sky
all the little fish climb through the mind of the sea
(all the mountains are dancing;are dancing)

— E.E. Cummings, from XAIPE (1950)

BOOKS I LEFT BEHIND AT POWELL’S

A LIST, A LOVE LETTER, A POSTCARD TO MYSELF — SEPTEMBER 2012

The poetry section at Powell’s Books is more expansive than the 811 aisle of many a library. Upon landing at PDX, I hopped on the MAX and proceeded directly to W. Burnside & 10th — my #1 destination whenever in Portland, OR. That first afternoon, I made it from A through F. Two days later, I made it through to Z. Just in the poetry section.

If I had a million dollars and any empty shelf room, I’d’ve given some of these beautiful creatures a loving home… Alas I didn’t even have the nerve to take photos in the aisles, but what I do have is this list.

DROOL-WORTHY / IMPOSSIBLE TO FIND / NEVER SEEN BEFORE:

  • #1 Hymn to the Gentle Sun by Sister Mary Norbert Korte (1967 1st edition of the poet’s first book, published in Berkeley CA, good condition… you’d probably have to track down the “Redwood Mama Activist” herself to find another copy like this one)
  • #2 Dorothy Q Together With a Ballad of the Boston Tea Party & Grandmother’s Story of Bunker Hill Battle by Oliver Wendell Holmes (late 1800s, 1st edition, identified by pg. 50 ‘flashed’ instead of ‘clashed’)
  • #3 Slick But Not Streamlined by John Betjeman with an introduction by W.H. Auden (1947, gorgeous 1st edition with dust jacket)
  • #4 Come In by Robert Frost (1943, 1st edition with dust jacket, full of illustrations, gorgeous)
  • #5 Tabret & Harp by Marion Armstrong (1967 — I think 1st & only edition) …you can find other Marion Armstrong, but not this one. Page 11 particularly caught my ear:

Brightly, oddly,
Greedy as a shark,
The teeth of the ungodly
Glitter in the dark.

  • #6 Richard Aldridge, Fantasy Poets series pamphlet (opens four ways), marked for one shilling — (1956, published in Britain — Aldridge was a Fulbright scholar studying at Worcester College, Oxford, at the time this was printed. This is so rare I’d wonder if Aldridge himself might not have a copy and want this one.)
  • #7 Rootabaga Pigeons by Carl Sandburg (kids’ book by the poet, lovely gilded hardback edition, good shape)
  • #8 History of Prostitution by William W. Sanger, Eugenics Publishing Co. (worn but not bad for mid-1800s printing) I want this partly for fascination/curiosity’s sake, and partly because I don’t want anyone else to have it who might try to falsely associate it with Margaret Sanger

… AND THAT’S MOSTLY JUST IN THE POETRY SECTION. I DIDN’T EVEN MAKE IT INTO THE RARE BOOK ROOM.

OTHER TEMPTATIONS LEFT BEHIND:

  • Shelf Life, the Powell’s documentary DVD
  • To Herland & Beyond by Ann J. Lane (I have a Herland obsession — 1912 Charlotte Perkins Gilman all-female dis/utopia novella)
  • Word on the Street by Richard Nagler (2010, photos of a single word in urban scenes, as graffiti, sign, etc.)
  • Going Postal by Martha Cooper (2009, photos of mailing label street art)
  • Destroy This Memory by Richard Misrach (2010, photos of graffiti messages on post-Katrina abandoned buildings)
  • How To Avoid Huge Ships and Other Implausibly Titled Books (2008 — what can I say? I am that sucker who is attracted to books comprised mainly of photos of the covers of other books)
  • Complete Nonsense by Edward Lear (1996 reprinting in a hand-colored edition I’d never seen before)
  • Field Work by Seamus Heaney (1979, 1st edition — not rare, but still a really nice copy)
  • Instructions to the Double by Tess Gallagher (1994, known poet and known press, so you’d think it wouldn’t be that hard to find, but it is)
  • Pursuit by Erica Funkhouser (2002, Houghton Mifflin imprint, so not hard to find)
  • John Kinsella — someone gave Powell’s a copy of almost every book this Australian nature poet has ever written
  • The Important Thing by Margaret Wise Brown (Goodnight Moon author, this title recently reintroduced into circulation)
  • Here by Wislawa Szymborska (you know, that Polish poet who won the Nobel Prize who’s not Czeslaw Milosz)
  • All of Us by Raymond Carver
  • Tongue and Thunder by David Cloutier (1980, Copper Beach — not Canyon — Press)
  • A Moon Over Wings by Tom Aslin (2008, Clark City Press)

Did I mention I love Powell’s? Go buy some books — you know you love them.
http://www.powells.com

POEM-A-DAY APRIL 2012

Poem-a-Day April 30: No time

End

There are
No clocks on the wall,
And no time,
No shadows that move
From dawn to dusk
Across the floor.

There is neither light
Nor dark
Outside the door.

There is no door!

————————————–

Hello Friends —

Well, that’s it! “End” by Langston Hughes (included in his Selected Poems (1959)) concludes this April’s poem-a-day series on this, the last day of National Poetry Month 2012. We’ve visited poems from 1000 and poems from 2012; ballad, haiku, abecedarius, concrete poetry, found poetry, quatrains, heroic couplets, and free verse; poems about family, love, death, war, money, transience, David Bowie, Dorothy Allison, Julius Caesar, birds, housework, and grilled cheese sandwiches. I hope that a poem or two spoke to you, and I thank you very much for indulging me in this celebration of works I love.

If you would ever like to re-visit a poem, you can find a list of the poem-a-days I’ve sent you this month (as well as past years) at meetmein811.blogspot.com. As always, you can also learn more about National Poetry Month at the website of the Academy of American Poets, www.poets.org.

Thank you,
Ellen

Poem-a-Day April 29: I must’ve dreamed I was gravity

Hello Friends —
“I dreamed ________” or “and then I woke up” are about as cliché premises in poetry and fiction as you can get, like a bad pick-up line. And yet there’s something endearing about a certain kind of pick-up line so absurd it would only ever occur to a poet to even attempt to pull it off — and fail/succeed beautifully at it.
Enjoy.
Ellen

Dear Tiara

I dreamed I was a mannequin in the pawnshop window
of your conjectures.

I dreamed I was a chant in the mouth of a monk, saffron-robed
syllables in the religion of You.

I dreamed I was a lament to hear the deep sorrow places
of your lungs.

I dreamed I was your bad instincts.

I dreamed I was a hummingbird sipping from the tulip of your ear.

I dreamed I was your ex-boyfriend stored in the basement
with your old baggage.

I dreamed I was a jukebox where every song sang your name.

I dreamed I was in an elevator, rising in the air shaft
of your misgivings.

I dreamed I was a library fine, I’ve checked you out
too long so many times.

I dreamed you were a lake and I was a little fish leaping
through the thin reeds of your throaty humming.

I must’ve dreamed I was a nail, because I woke beside you still
hammered.

I dreamed I was a tooth to fill the absences of your old age.

I dreamed I was a Christmas cactus, blooming in the desert
of my stupidity.

I dreamed I was a saint’s hair shirt, sewn with the thread
of your saliva.

I dreamed I was an All Night Movie Theater, showing the
flickering black reel of my nights before I met you.

I must’ve dreamed I was gravity, I’ve fallen for you so damn hard.


By Sean Thomas Dougherty from Sasha Sings the Laundry on the Line (2010)

Poem-a-Day April 28: Sweeping

Hello Friends —
Today’s heroic couplets are brought to you by Julia Alvarez. First published in Helicon Nine magazine (1985), this poem is also included in her collection Homecoming (1996).
Enjoy.
Ellen


How I Learned To Sweep

My mother never taught me sweeping.
One afternoon she found me watching
t.v. She eyed the dusty floor
boldly, and put a broom before
me, and said she’d like to be able
to eat her dinner off that table,
and nodded at my feet, then left.
I knew right off what she expected
and went at it. I stepped and swept;
the t.v. blared the news; I kept
my mind on what I had to do,
until in minutes, I was through.
Her floor was as immaculate
as a just-washed dinner plate.
I waited for her return
and turned to watch the President,
live from the White House, talk of war:
in the Far East our soldiers were
landing in their helicopters
into jungles their propellers
swept like weeds seen underwater
while perplexing shots were fired
from those beautiful green gardens
into which these dragonflies
filled with little men descended.
I got up and swept again
as they fell out of the sky.
I swept all the harder when
I watched a dozen of them die.
as if their dust fell through the screen
upon the floor I had just cleaned.
She came back and turned the dial;
the screen went dark. That’s beautiful,
she said, and ran her clean hand through
my hair, and on, over the window-
sill, coffee table, rocker, desk,
and held it up—I held my breath—
That’s beautiful, she said, impressed,
she hadn’t found a speck of death.


“How I Learned To Sweep” by Julia Alvarez was also featured for Poem-a-Day April 24, 2009.
Poet Julia Alvarez was also featured for Poem-a-Day April 10, 2010.

Poem-a-Day April 27: Rich

The Mirror in Which Two Are Seen as One

1.

She is the one you call sister.
Her simplest act has glamour
as when she scales a fish the knife
flashes in her long fingers
no motion wasted or when
rapidly talking of love
she steel-wool burnishes
the battered kettle

Love apples cramp you sideways
with sudden emptiness
the cereals gutting you, the grains
ripe clusters picked by hand
Love: the refrigerator
with open door
the ripe steaks bleeding
their hearts out in plastic film
the whipped butter, the apricots
the sour leftovers

A crate is waiting in the orchard
For you to fill it
Your hands are raw with scraping
The sharp bark, the thorns
Of this succulent tree
Pick, pick, pick
this harvest is a failure
the juice runs down your cheekbones
like sweat or tears

2.

She is the one you call sister
you blaze like lightning about the room
flicker around her like fire
dazzle yourself in her wide eyes
listing her unfelt needs
thrusting the tenets of your life
into her hands

She moves through a world of India print
her body dappled
with softness, the paisley swells at her hip

walking the streets in her cotton shift

buying fresh figs because you love them
photographing the ghetto because you took her there

Why are you crying dry up your tears
we are sisters
words fail you in the stare of her hunger
you hand her another book
scored by your pencil
you hand her a record
of two flutes in India reciting

3.

Late summer nights the insects
fry in the yellowed lightglobe
your skin burns gold in its light
In this mirror, who are you? Dreams of the nunnery
with its discipline, the nursery
with its nurse, the hospital
where all the powerful ones are masked
the graveyard where you sit on the graves
of women who died in childbirth
and women who died at birth
Dream of your sister’s birth
your mother dying in childbirth over and over
not knowing how to stop
bearing you over and over

your mother dead and you unborn
your two hands grasping your head
drawing it down against the blade of life
your nerves the nerves of a midwife
learning her trade

———————————————

Hello Friends —

The poet Adrienne Rich had a younger sister, and also considered her feminist and civil rights activist colleagues sisters — famously refusing to accept the National Book Award in 1974 alone, instead bringing fellow nominees Audre Lorde and Alice Walker on stage with her to accept the award “on behalf of all women.” In 1997, she also famously turned down the White House’s National Medal of Arts, in protest of efforts to defund the National Endowment for the Arts, stating, “Art means nothing if it simply decorates the dinner table of the power which holds it hostage.” Rich passed away one month ago, on March 27, 2012, so it’s up to those that continue after her now to ensure art serves as a tool of justice and not just decoration.

Hear Alice Walker discuss Rich and the 1974 National Book Award, and hear Adrienne Rich read her 1997 National Medal of Arts refusal letter in the Democracy Now video embedded below:

And from Alison Bechdel:
Adrienne Rich by Alison Bechdel

Enjoy.
Ellen

P.S. Thank you to Bonnie for choosing this poem to send out in Rich’s honor.

Poet Adrienne Rich was also featured for Poem-a-Day April 25, 2008.

Poem-a-Day April 26: Blame Picasso.

Hello Friends —

I’m happy to report Operation Distribute Pocket Poems in Long Beach was a success! I hope you enjoyed Poem in Your Pocket Day in your own way.

Today’s poem is by the unofficial poet laureate of Berkeley, California, Julia Vinograd — who has been blowing bubbles and recording street life on Telegraph Avenue for the past 40 years. She also holds an MFA from the University of Iowa (that’s like the poetry equivalent of an MBA from Harvard, very fancypants prestigious).

Sometimes reading hurts —
Ellen

WHAT PICASSO DID TO ME

I got this big thick heavy hardcover Picasso book
with pictures, platitudes, basically poundage
and carrying it home I pulled a muscle in my wrist.
My right hand’s gone cubist,
angles askew as Picasso’s women
crying into pointed teeth and sideways jaws.
My wrist throbs with the last scream of Guernica;
I’ve become too historical to haul myself into a bus
or pour tea,
I even use my other hand in the bathroom.
Picasso’s painted me into a corner
where the blind man sits
pulling my muscle on his blue guitar.
In the bullring my wrist’s already trampled
into the bloody sand
among thrown Spanish roses and oranges.
Neither bull nor matador know I’m alive
but I am alive, my wrist hurts.
The wars got into my wrist,
it’s all in the wrist.
Picasso’s using my wrist to paint
curly women and naked minotaurs
and I want my wrist back.
I’d like to throw the book at Picasso,
I want out of his book that bit me,
I’ve got an ace bandage and a grudge
while cubist tears roll down billboard faces.
So the paint won’t leak out. Or the pain.
Or the world spilling out of my wrist, hurting.