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Showing posts with label read a good poem. Show all posts
Showing posts with label read a good poem. Show all posts

read a good poem: the antilamentation

"regret nothing."

***

nyc, jan 2010.
photo © anita aguilar

***

Regret nothing. Not the cruel novels you read
to the end just to find out who killed the cook, not
the insipid movies that made you cry in the dark,
in spite of your intelligence, your sophistication, not
the lover you left quivering in a hotel parking lot,
the one you beat to the punch line, the door or the one
who left you in your red dress and shoes, the ones
that crimped your toes, don't regret those.
Not the nights you called god names and cursed
your mother, sunk like a dog in the living room couch,
chewing your nails and crushed by loneliness.
You were meant to inhale those smoky nights
over a bottle of flat beer, to sweep stuck onion rings
across the dirty restaurant floor, to wear the frayed
coat with its loose buttons, its pockets full of struck matches.
You've walked those streets a thousand times and still
you end up here. Regret none of it, not one
of the wasted days you wanted to know nothing,
when the lights from the carnival rides
were the only stars you believed in, loving them
for their uselessness, not wanting to be saved.
You've traveled this far on the back of every mistake,
ridden in dark-eyed and morose but calm as a house
after the TV set has been pitched out the window.
Harmless as a broken ax. Emptied of expectation.
Relax. Don't bother remembering any of it. Let's stop here,
under the lit sign on the corner, and watch all the people walk by.

read a good poem: april rain song

park ave. april 19, 2010.

Let the rain kiss you.
Let the rain beat upon your head with silver liquid drops.
Let the rain sing you a lullaby.

The rain makes still pools on the sidewalk.
The rain makes running pools in the gutter.
The rain plays a little sleep-song on our roof at night—

And I love the rain.

--langston hughes via the poetry foundation

read a good poem: cher

this seems right for a saturday night.

i sort of love 70s cher. i used to want her hair. (maybe still do.)

(come to think of it, i have this outfit...)


Cher

I wanted to be Cher, tall
as a glass of iced tea,
her bony shoulders draped
with a curtain of dark hair
that plunged straight down,
the cut tips brushing
her nonexistent butt.
I wanted to wear a lantern
for a hat, a cabbage, a piñata
and walk in thigh-high boots
with six-inch heels that buttoned
up the back. I wanted her
rouged cheek bones and her
throaty panache, her voice
of gravel and clover, the hokum
of her clothes: black fishnet
and pink pom-poms, fringed bells
and her thin strip of a waist
with the bullet-hole navel.
Cher standing with her skinny arm
slung around Sonny's thick neck,
posing in front of the Eiffel Tower,
The Leaning Tower of Pisa,
The Great Wall of China,
The Crumbling Pyramids, smiling
for the camera with her crooked
teeth, hit-and-miss beauty, the sun
bouncing off the bump on her nose.
Give me back the old Cher,
the gangly, imperfect girl
before the shaving knife
took her, before they shoved
pillows in her tits, injected
the lumpy gel into her lips.
Take me back to the woman
I wanted to be, stalwart
and silly, smart as her lion
tamer's whip, my body a torch
stretched the length of the polished
piano, legs bent at the knee, hair
cascading down over Sonny's blunt
fingers as he pummeled the keys,
singing in a sloppy alto
the oldest, saddest songs.
by Dorianne Laux via the writer's almanac


it pains me to post this without knowing who the photographer is...if i find it, i'll fix this.
cher, 1975.

read a good poem: marginalia

a few of mine...

i was never rebellious enough, as a kid, to write in textbooks or library books. i disliked having to use books with other people's scrawl. it was distracting and messy and "wrong." but once i transitioned from borrower to owner, i blitzed mine-- i was a single- and double- underliner, a multi-color highlighter, a circler of proper names and places. i made written notes, too.

i went through some of my books during a holiday weekend at home last year, the ones i've kept from college (constitutional law books, mostly) and the years immediately afterwards (erratic fiction choices, overwhelmingly). highlighting is a sin against books, isn't it? the garish neon has barely faded. the school notes were actually sort of impressive. (will i ever think that rigorously again?)

the personal notes reveal exactly how i was at the time--searching and sad and solitary. i don't mind reading them now but would feel shy if others did, too. it's the reason i eventually stopped making notes and took to dog-earing "meaningful" pages instead.

i thought those folds would be a good guide, that re-reading entire passages, even many years later, would trigger memories, like a snapshot. but judging by my attempts last week, it's a very imperfect technique. i still haven't figured out the connection to neruda's sonnet no 7. and i'm seriously wondering why i liked ask the dust at all? but there are a few pages (didion essays, other poems) that are imprinted forever.

maybe that's the way it should be after all.

***
i looked for "marginalia" after reading this interesting nytimes piece.
it's a good one, i think.
but i am probably predisposed to like any poem that includes the words "egg salad."

hope you like...

***
Marginalia
--Billy Collins

Sometimes the notes are ferocious,
skirmishes against the author
raging along the borders of every page
in tiny black script.
If I could just get my hands on you,
Kierkegaard, or Conor Cruise O'Brien,
they seem to say,
I would bolt the door and beat some logic into your head.

Other comments are more offhand, dismissive -
"Nonsense." "Please!" "HA!!" -
that kind of thing.
I remember once looking up from my reading,
my thumb as a bookmark,
trying to imagine what the person must look like
why wrote "Don't be a ninny"
alongside a paragraph in The Life of Emily Dickinson.

Students are more modest
needing to leave only their splayed footprints
along the shore of the page.
One scrawls "Metaphor" next to a stanza of Eliot's.
Another notes the presence of "Irony"
fifty times outside the paragraphs of A Modest Proposal.

Or they are fans who cheer from the empty bleachers,
Hands cupped around their mouths.
"Absolutely," they shout
to Duns Scotus and James Baldwin.
"Yes." "Bull's-eye." "My man!"
Check marks, asterisks, and exclamation points
rain down along the sidelines.

And if you have managed to graduate from college
without ever having written "Man vs. Nature"
in a margin, perhaps now
is the time to take one step forward.

We have all seized the white perimeter as our own
and reached for a pen if only to show
we did not just laze in an armchair turning pages;
we pressed a thought into the wayside,
planted an impression along the verge.

Even Irish monks in their cold scriptoria
jotted along the borders of the Gospels
brief asides about the pains of copying,
a bird signing near their window,
or the sunlight that illuminated their page-
anonymous men catching a ride into the future
on a vessel more lasting than themselves.

And you have not read Joshua Reynolds,
they say, until you have read him
enwreathed with Blake's furious scribbling.

Yet the one I think of most often,
the one that dangles from me like a locket,
was written in the copy of Catcher in the Rye
I borrowed from the local library
one slow, hot summer.
I was just beginning high school then,
reading books on a davenport in my parents' living room,
and I cannot tell you
how vastly my loneliness was deepened,
how poignant and amplified the world before me seemed,
when I found on one page

A few greasy looking smears
and next to them, written in soft pencil-
by a beautiful girl, I could tell,
whom I would never meet-
"Pardon the egg salad stains, but I'm in love."

via
billy-collins.com

read a good poem: on the origin of things

take off, 1956.
oil and enamel on canvas
helen frankenthaler
take off (detail) ...
taken at the metropolitan museum of art, dec 3, 2009
photo © anita aguilar

***


On The Origins Of Things

Everyone knows that the moon started out
as a renegade fragment of the sun, a solar
flare that fled that hellish furnace
and congealed into a flat frozen pond suspended
between the planets. But did you know
that anger began as music, played
too often and too loudly by drunken performers
at weddings and garden parties? Or that turtles
evolved from knuckles, ice from tears, and darkness
from misunderstanding? As for the dominant
thesis regarding the origin of love, I
abstain from comment, nor will I allow
myself to address the idea that dance
began as a kiss, that happiness was
an accidental import from Spain, that the ancient
game of jump-the-fire gave rise
to politics. But I will confess
that I began as an astronomer—a liking
for bright flashes, vast distances, unreachable things,
a hand stretched always toward the furthest limit—
and that my longing for you has not taken me
very far from that original desire
to inscribe a comet's orbit around the walls
of our city, to gently stroke the surface of the stars.

--by Troy Jollimore via poets.org, february 8, 2010

read a good poem: voyage

l'evasion de rochefort. edouard manet (1832-1884). circa 1881. oil on canvas.

***


I feel as if we opened a book about great ocean voyages
and found ourselves on a great ocean voyage:
sailing through December, around the horn of Christmas
and into the January Sea, and sailing on and on

in a novel without a moral but one in which
all the characters who died in the middle chapters
make the sunsets near the book's end more beautiful.

—And someone is spreading a map upon a table,
and someone is hanging a lantern from the stern,
and someone else says, "I'm only sorry
that I forgot my blue parka; It's turning cold."

Sunset like a burning wagon train
Sunrise like a dish of cantaloupe
Clouds like two armies clashing in the sky;
Icebergs and tropical storms,
That's the kind of thing that happens on our ocean voyage—

And in one of the chapters I was blinded by love
And in another, anger made us sick like swallowed glass
& I lay in my bunk and slept for so long,

I forgot about the ocean,
Which all the time was going by, right there, outside my cabin window.

And the sides of the ship were green as money,
and the water made a sound like memory when we sailed.

Then it was summer. Under the constellation of the swan,
under the constellation of the horse.

At night we consoled ourselves
By discussing the meaning of homesickness.
But there was no home to go home to.
There was no getting around the ocean.
We had to go on finding out the story
by pushing into it—

The sea was no longer a metaphor.
The book was no longer a book.
That was the plot.
That was our marvelous punishment.

--by tony hoagland via the writer's almanac

read a good poem: silence

at joseph leonard...jan 30, 2010
photo © anita aguilar



There is the sudden silence of the crowd
above a player not moving on the field,
and the silence of the orchid.

The silence of the falling vase
before it strikes the floor,
the silence of the belt when it is not striking the child.

The stillness of the cup and the water in it,
the silence of the moon
and the quiet of the day far from the roar of the sun.

The silence when I hold you to my chest,
the silence of the window above us,
and the silence when you rise and turn away.

And there is the silence of this morning
which I have broken with my pen,
a silence that had piled up all night

like snow falling in the darkness of the house—
the silence before I wrote a word
and the poorer silence now.

--billy collins, via the poetry foundation

read a good poem: depression glass

photo © anita aguilar

Depression Glass

It seemed those rose-pink dishes
she kept for special company
were always cold, brought down
from the shelf in jingling stacks,
the plates like the panes of ice
she broke from the water bucket
winter mornings, the flaring cups
like tulips that opened too early
and got bitten by frost. They chilled
the coffee no matter how quickly
you drank, while a heavy
everyday mug would have kept
a splash hot for the better
part of a conversation. It was hard
to hold up your end of the gossip
with your coffee cold, but it was
a special occasion, just the same,
to sit at her kitchen table
and sip the bitter percolation
of the past week’s rumors from cups
it had taken a year to collect
at the grocery, with one piece free
for each five pounds of flour.

--by Ted Kooser via
the poetry foundation

read a good poem: chaplinesque

fdr drive. nov 21, 2010. © anita aguilar
***


the resonant, true (and not outrageous) thing i read yesterday about the wikileaks:

The quality of the conversation is determined by the level of trust.
(via david brooks)


i spent part of last evening, then, reading poems on the idea of trust.

but i eventually found my way here (not sure what it may mean to you, but hope you like it)

****

Chaplinesque

We make our meek adjustments,
Contented with such random consolations
As the wind deposits
In slithered and too ample pockets.

For we can still love the world, who find
A famished kitten on the step, and know
Recesses for it from the fury of the street,
Or warm torn elbow coverts.

We will sidestep, and to the final smirk
Dally the doom of that inevitable thumb
That slowly chafes its puckered index toward us,
Facing the dull squint with what innocence
And what surprise!

And yet these fine collapses are not lies
More than the pirouettes of any pliant cane;
Our obsequies are, in a way, no enterprise.
We can evade you, and all else but the heart:
What blame to us if the heart live on.

The game enforces smirks; but we have seen
The moon in lonely alleys make
A grail of laughter of an empty ash can,
And through all sound of gaiety and quest
Have heard a kitten in the wilderness.


--Hart Crane (via the poetry foundation)

read a good poem (or two): "as" and "apostrophe to the apostrophe"

it's picture/poem time again.

i haven't taken a single photo this week--so i went to the old hard drive to see what there is to work with. here's today's:


i've never been sure about this picture, but i liked something about the window setup (at a men's retail clothing store in nolita) immediately as i strolled by. i like the uneven edges of the cross, staked behind the little desert plant, though the crack in the glass adds the real interest.

in searching for a poem, i avoided anything about "a cross" -- not interested in that kind of deep, for here and now. but i looked for poems about signs, symbols.

this one is clever and nice and even if it doesn't work here, i hope you like reading it.


"apostrophe to the apostrophe"

small floater, you stay above the fray,
a wink at nothing's nod, a raised brow
watching p's and q's, a selfless mote
between I and m, a little horn of plenty
spilling plurals, disdaining the bottom line.

unlike your twin relatives—groupies of wit
and wisdom, hangers on in the smallest talk—
you work alone, dark of a crescent moon.
laboring in obscurity, you never ask why,
never exclaim, never tell anyone where to go.

caught up between extremes, you are both
a turning away and a stepping forth,
a loss and an addition. you are the urge
to possess everything, and the sure sign
that something is missing.

--by eric nelson, via the poetry foundation

***

this is an excerpt from one i found last night.
had a change of heart about offering this one, in part because i just don't get it. but like these lines.

"as"

...as cathedral gives way to cavern
and cookie cutter gives way to cookie
and the rookies give way to the All-Blacks
and the shad give way to the smoke shed
and the roughshod give way to the Black Horse avern
that still rings true
despite that T being missing from its sign
where a little nook gives way to a little nookie
when I give way to you...


***
(you know he got me with "cookie" and "nookie," right?)

***

read the full poem, "as" by new yorker poetry editor, paul muldoon...and if you're like me, you'll be googling finn maccool, i am curious (yellow) and (blue), and all-blacks.
and looking up what a hummock is (a knoll).
if you get it all, please share

***
happy friday

read a good poem: waving goodbye

the lovely natalia vodianova in "brief encounter."
photographed by annie leibovitz for vogue, feb 2010 issue.

i have this thing about goodbyes-- not just the breakup goodbye or the big bon voyage.
sometimes the common ones get to me.

i'll go a few extra blocks out of my way to walk a friend to her subway stop or the bus station.

there have been times, after having friends over after a party or a visit, when i'm not quite ready to close the door. literally. i'll tiptoe out into the hallway, peek my head around the corner for a quick chat, until the elevator picks them up.

i've been known to stand a bit too long on the platform.

maybe hang on a little tighter and linger a little longer than i should.

i suppose i'm greedy for extra moments?

***

i read this poem for the first time many months ago and remembered it today.
"this small flag" leaves me on the brink every time, "when the space gets too large for words."

i hope you like it.

***

Waving Goodbye


Why, when we say goodbye
at the end of an evening, do we deny
we are saying it at all, as in We'll
be seeing you, or I'll call, or Stop in,
somebody's always at home? Meanwhile, our friends,
telling us the same things, go on disappearing
beyond the porch light into the space
which except for a moment here or there
is always between us, no matter what we do.
Waving goodbye, of course, is what happens
when the space gets too large
for words – a gesture so innocent
and lonely, it could make a person weep
for days. Think of the hundreds of unknown
voyagers in the old, fluttering newsreel
patting and stroking the growing distance
between their nameless ship and the port
they are leaving, as if to promise I'll always
remember, and just as urgently, Always
remember me. It is loneliness, too,
that makes the neighbor down the road lift
two fingers up from his steering wheel as he passes
day after day on his way to work in the hello
that turns into goodbye? What can our own raised
fingers do for him, locked in his masculine
purposes and speeding away inside the glass?
How can our waving wipe away the reflex
so deep in the woman next door to smile
and wave on her way into her house with the mail,
we'll never know if she is happy
or sad or lost? It can't. Yet in that moment
before she and all the others and we ourselves
turn back to our disparate lives, how
extraordinary it is that we make this small flag
with our hands to show the closeness we wish for
in spite of what pulls us apart again
and again: the porch light snapping off,
the car picking its way down the road through the dark.

-by Wesley McNair via
The Writer's Almanac, April 29, 2010.

read a good poem: hotel lautréamont

east 33rd street/park avenue. election day.
nov 2, 2010.
photo @ anita aguilar

1.

Research has shown that ballads were produced by all of society
working as a team. They didn’t just happen. There was no guesswork.
The people, then, knew what they wanted and how to get it.
We see the results in works as diverse as “Windsor Forest” and “The Wife of Usher’s Well.”

Working as a team, they didn’t just happen. There was no guesswork.
The horns of elfland swing past, and in a few seconds
we see the results in works as diverse as “Windsor Forest” and “The Wife of Usher’s Well,”
or, on a more modern note, in the finale of the Sibelius violin concerto.

The horns of elfland swing past, and in a few seconds
the world, as we know it, sinks into dementia, proving narrative passé,
or in the finale of the Sibelius violin concerto.
Not to worry, many hands are making work light again.

The world, as we know it, sinks into dementia, proving narrative passé.
In any case the ruling was long overdue.
Not to worry, many hands are making work light again,
so we stay indoors. The quest was only another adventure.


2.
In any case, the ruling was long overdue.
The people are beside themselves with rapture
so we stay indoors. The quest was only another adventure
and the solution problematic, at any rate far off in the future.

The people are beside themselves with rapture
yet no one thinks to question the source of so much collective euphoria,
and the solution: problematic, at any rate far off in the future.
The saxophone wails, the martini glass is drained.

Yet no one thinks to question the source of so much collective euphoria.
In troubled times one looked to the shaman or priest for comfort and counsel.
The saxophone wails, the martini glass is drained,
and night like black swansdown settles on the city.

In troubled times one looked to the shaman or priest for comfort and counsel.
Now, only the willing are fated to receive death as a reward,
and night like black swansdown settles on the city.
If we tried to leave, would being naked help us?


3.
Now, only the willing are fated to receive death as a reward.
Children twist hula-hoops, imagining a door to the outside.
If we tried to leave, would being naked help us?
And what of older, lighter concerns? What of the river?

Children twist hula-hoops, imagining a door to the outside,
when all we think of is how much we can carry with us.
And what of older, lighter concerns? What of the river?
All the behemoths have filed through the maze of time.

When all we think of is how much we can carry with us
small wonder that those at home sit, nervous, by the unlit grate.
All the behemoths have filed through the maze of time.
It remains for us to come to terms with our commonality.

Small wonder that those at home sit nervous by the unlit grate.
It was their choice, after all, that spurred us to feats of the imagination.
It remains for us to come to terms with our commonality
and in so doing deprive time of further hostages.


4.
It was their choice, after all, that spurred us to feats of the imagination.
Now, silently as one mounts a stair we emerge into the open
and in so doing deprive time of further hostages,
to end the standoff that history long ago began.

Now, silently as one mounts a stair we emerge into the open
but it is shrouded, veiled: We must have made some ghastly error.
To end the standoff that history long ago began
must we thrust ever onward, into perversity?

But it is shrouded, veiled: We must have made some ghastly error.
You mop your forehead with a rose, recommending its thorns.
Must we thrust ever onward, into perversity?
Only night knows for sure; the secret is safe with her.

You mop your forehead with a rose, recommending its thorns.
Research has shown that ballads were produced by all of society;
only night knows for sure. The secret is safe with her:
The people, then, knew what they wanted and how to get it.

-john ashbery, via the poetryfoundation.org

read a good poem: sleepers awake

the big teas. @ TeaGschwendner, rockefeller center, nyc. oct 10, 2010.

Cervantes was asleep when he wrote Don Quixote.
Joyce slept during the Wandering Rocks section of Ulysses.
Homer nodded and occasionally slept during the greater part of the Iliad; he was awake however when he wrote the Odyssey.
Proust snored his way through The Captive, as have legions of his readers after him.
Melville was asleep at the wheel for much of Moby-Dick.
Fitzgerald slept through Tender Is the Night, which is perhaps not so surprising,
but the fact that Mann slumbered on the very slopes of The Magic Mountain is quite extraordinary—that he wrote it, even more so.
Kafka, of course, never slept, even while not writing or on bank holidays.
No one knows too much about George Eliot’s writing habits—my guess is she would sleep a few minutes, wake up and write something, then pop back to sleep again.
Lew Wallace’s forty winks came, incredibly, during the chariot race in Ben-Hur.
Emily Dickinson slept on her cold, narrow bed in Amherst.
When she awoke there would be a new poem inscribed by Jack Frost on the windowpane; outside, glass foliage chimed.
Good old Walt snored as he wrote and, like so many of us, insisted he didn’t.
Maugham snored on the Riviera.
Agatha Christie slept daintily, as a woman sleeps, which is why her novels are like tea sandwiches—artistic, for the most part.
I sleep when I cannot avoid it; my writing and sleeping are constantly improving.

--John Ashbery, via the poetry foundation
(read the rest here)

***
sleep, write well...