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Showing posts with label Poetry. Show all posts
Showing posts with label Poetry. Show all posts

27 July 2012

Tomas Tranströmer and Lena Endre

Tomas Tranströmer and Lena Endre held the full house in the Church of Leksand captive with strains of truths onto which we struggle to hold.
Sweden's greatest poet makes his return to Tällberg a musical event by performing 3 pieces for the left hand on piano. He was joined by Sweden's leading stage and screen actress, Lena Endre, who brought her own delicious Swedish to the phrasings. Lena read in Swedish at the concert in Leksand and in English during the opening session of the Forum. In this Tällberg Moment, Tomas plays the music of Frederico Mompou, III Para la mano izquierda, and Lena reads Part IV from Schubertiana, by Tomas Tranströmer.

13 February 2012

Les Demoiselles de Rochefort - Chanson de Maxence / You Must Believe In Spring



Je l'ai cherchée partout j'ai fait le tour du monde
De Venise à Java de Manille à Hankor
De Jeanne à Victoria de Vénus en Joconde
Je ne l'ai pas trouvée et je la cherche encore

Je ne connais rien d'elle et pourtant je la vois
J'ai inventé son nom j'ai entendu sa voix
J'ai dessiné son corps et j'ai peint son visage
Son portrait et l'amour ne font plus qu'une image

Elle a cette beauté des filles romantiques
Et d'un Botticelli le regard innocent
Son profil est celui de ces vierges mythiques
Qui hantent les musées et les adolescents

Sa démarche ressemble aux souvenirs d'enfant
Qui trottent dans ma tête et dansent en rêvant
Sur son front, ses cheveux sont de l'or en bataille
Que le vent de la mer et le soleil chamaillent

Je pourrais vous parler de ses yeux, de ses mains
Je pourrais vous parler d'elle jusqu'à demain
Son amour, c'est ma vie mais à quoi bon rêver?
Je l'ai cherchée partout je ne l'ai pas trouvée

Il pourrait nous parler de ses yeux, de ses mains
Il pourrait nous parler d'elle jusqu'à demain
Son amour, c'est sa vie mais à quoi bon rêver?
Il l'a cherchée partout il ne l'a pas trouvée

Est-elle loin d'ici? est-elle près de moi?
Je n'en sais rien encore mais je sais qu'elle existe
Est-elle pécheresse ou bien fille de roi?
Que m'importe son sang puisque je suis artiste
Et que l'amour dicte sa loi
**************************************

Jacques Perrin (Maxence)
Versione restaurata curata da Agnes Varda.
Colonna Sonora di Michel Legrand

Music written by
Lyrics written by

 *****************************************



When lonely feelings chill
The meadows of your mind,
Just think if Winter comes,
Can Spring be far behind?

Beneath the deepest snows,
The secret of a rose
Is merely that it knows
You must believe in Spring!

Just as a tree is sure
Its leaves will reappear;
It knows its emptiness
Is just a time of year

The frozen mountain dreams
Of April's melting streams,
How crystal clear it seems,
You must believe in Spring!

You must believe in love
And trust it's on its way,
Just as a sleeping rose
Awaits the kiss of May

So in a world of snow,
Of things that come and go,
Where what you think you know,
You can't be certain of,
You must believe in Spring and love

INSTRUMENTAL INTERLUDE

You must believe in love
And trust it's on its way,
Just as a sleeping rose
Awaits the kiss of May

So in a world of snow,
Of things that come and go,
Where what you think you know,
You can't be certain of,
You must believe in Spring and love

You must believe in Spring and love
You must believe in Spring and love
**********************************


Lyrics written by
Original music written by
Original lyrics written by

11 February 2012

Desire Moving Through Maps of Matter and other poems by the Syrian poet Adonis


 
 
 From Wikipedia, the free encyclopedia
 
Ali Ahmad Said Asbar (Arabic: علي أحمد سعيد إسبر‎; transliterated: alî ahmadi sa'îdi asbar or Ali Ahmad Sa'id) born 1 January 1930, also known by the pseudonym Adonis or Adunis (Arabic: أدونيس), is a Syrian poet and essayist who has made his career largely in Lebanon and France. He has written more than twenty books in Arabic language. He has been called the greatest living poet of the Arab world.[1]
  
Desire Moving Through Maps of Matter 

No, I have no country 
except for these clouds rising as mist from lakes of poetry. 
Shelter me, Dhawd, guard me, Dhawd! -- 
my language, my home-- 
I hang you like a charm around the throat of this era 
and explode my passions in your name 
not because you are a temple 
not because you are my father or mother 
but because I dream of laughter, and I weep through you 
so that I translate my insides 
and cling to you as I tremble as my sides shudder like windows 
shaken by a wind let loose from God's fingers.



West and East

Everything stretches in history’s tunnel….
I turn this map around,
for the world is all burned up:
East and West, a heap
of ash gathered
in the self-same grave.



The Edge of the World


I release the earth and I imprison the skies.
I fall down in order to stay faithful to the light, in order to make the world ambiguous, fascinating, changeable, dangerous, in order to announce the steps beyond.

The blood of the gods is still fresh on my clothes.
A seagull's scream echoes through my pages. Let me just pack up my words and leave.

03 February 2012

Under a Certain Little Star - a poem by Wislawa Szymborska

Under a Certain Little Star  
by Wislawa Szymborska
translated by Joanna Trzeciak

My apologies to chance for calling it necessity. 
My apologies to necessity in case I'm mistaken. 
Don't be angry, happiness, that I take you for my own. 
May the dead forgive me that their memory's but a flicker. 
My apologies to time for the quantity of world overlooked per second. 
My apologies to an old love for treating a new one as the first. 
Forgive me, far-off wars, for carrying my flowers home. 
Forgive me, open wounds, for pricking my finger. 
My apologies for the minuet record, to those calling out from the abyss. 
My apologies to those in train stations for sleeping soundly at five in the morning. 
Pardon me, hounded hope, for laughing sometimes. 
Pardon me, deserts, for not rushing in with a spoonful of water. 
And you, O hawk, the same bird for years in the same cage, 
staring, motionless, always at the same spot, 
absolve me even if you happen to be stuffed. 
My apologies to the tree felled for four table legs. 
My apologies to large questions for small answers. 
Truth, do not pay me too much attention. 
Solemnity, be magnanimous toward me. 
Bear with me, O mystery of being, for pulling threads from your veil. 
Soul, don't blame me that I've got you so seldom. 
My apologies to everything that I can't be everywhere. 
My apologies to all for not knowing how to be every man and woman. 
I know that as long as I live nothing can excuse me, 
since I am my own obstacle. 
Do not hold it against me, O speech, that I borrow weighty words, 
and then labor to make them light. 


From Miracle Fair by Wislawa Szymborska, translated by Joanna Trzeciak.
 











01 February 2012

Poems by Tomas Tranströmer, Nobel Prize winner for Literature in 2011

From The Sorrow Gondola - the great Swedish poet Tomas Tranströmer's first collection of poems after his stroke in 1990. Translated by Michael McGriff.





April and Silence
Spring lies deserted.
The velvet-dark ditch
crawls by my side without reflections.
All that shines
are yellow flowers.
I’m carried in my shadow
like a violin in its black case.
The only thing I want to say
gleams out of reach
like the silver
in a pawnshop.

Landscape with Suns
The sun emerges from behind the house
stands in the middle of the street
and breathes on us
with its red wind.
Innsbruck I must leave you.
But tomorrow
there will be a glowing sun
in the gray, half-dead forest
where we must work and live.

Midwinter
A blue light
radiates from my clothing.
Midwinter.
Clattering tambourines of ice.
I close my eyes.
There is a silent world
there is a crack
where the dead
are smuggled across the border.


From The Half-Finished Heaven: The Best Poems of Tomas Tranströmer.  Translated by Robert Bly.





After a Death  

Once there was a shock
that left behind a long, shimmering comet tail.
It keeps us inside. It makes the TV pictures snowy.
It settles in cold drops on the telephone wires.

One can still go slowly on skis in the winter sun
through brush where a few leaves hang on.
They resemble pages torn from old telephone directories.
Names swallowed by the cold.

It is still beautiful to hear the heart beat
but often the shadow seems more real than the body.
The samurai looks insignificant
beside his armor of black dragon scales.

Outskirts  

Men in overalls the same color as earth rise from a ditch.
It's a transitional place, in stalemate, neither country nor city.
Construction cranes on the horizon want to take the big leap,
   but the clocks are against it.
Concrete piping scattered around laps at the light with cold tongues.
Auto-body shops occupy old barns.
Stones throw shadows as sharp as objects on the moon surface.
And these sites keep on getting bigger
like the land bought with Judas' silver: "a potter's field for 
   burying strangers."
 

Allegro
 
After a black day, I play Haydn,
and feel a little warmth in my hands.
The keys are ready. Kind hammers fall.
The sound is spirited, green, and full of silence.
The sound says that freedom exists
and someone pays no tax to Caesar.
I shove my hands in my haydnpockets
and act like a man who is calm about it all.
I raise my haydnflag. The signal is:
"We do not surrender. But want peace."
The music is a house of glass standing on a slope;
rocks are flying, rocks are rolling.
The rocks roll straight through the house
but every pane of glass is still whole.

From The Great Enigma: New Collected Poems.  Translated by Robin Fulton.

Allegro

I play Haydn after a black day
and feel a simple warmth in my hands.
The keys are willing. Soft hammers strike.
The resonance green, lively and calm.
The music says freedom exists
and someone doesn't pay the emperor tax.
I push down my hands in my Haydnpockets
and imitate a person looking on the world calmly.
I hoist the Haydnflag - it signifies:
"We don't give in. But want peace.'

The music is a glass-house on the slope
where the stones fly, the stones roll.
And the stones roll right through
but each pane stays whole.

Allegro

Jag spelar Haydn efter en svart dag
och känner en enkel värme i händerna.
Tangenterna vill. Milda hammare slår.
Klangen är grön, livlig och stilla.
Klangen säger att friheten finns
och att någon inte ger kejsaren skatt.
Jag kör ner händerna i mina haydnfickor
och härmar en som ser lugnt på världen.
Jag hissar haydnflaggan – det betyder:
»Vi ger oss inte. Men vill fred.«
Musiken är ett glashus på sluttningen
där stenarna flyger, stenarna rullar.
Och stenarna rullar tvärs igenom
men varje ruta förblir hel.
Ur Den halvfärdiga himlen, Bonniers 1962
Copyright © Tomas Tranströmer 1962
Återgiven med vänligt tillstånd av Tomas Tranströmer och Bonniers
Dikten vald av Lars Rydquist, chefsbibliotekarie, Svenska Akademiens Nobelbibliotek

The Half-Finished Heaven

Despondency breaks off its course.
Anguish breaks off its course.
The vulture breaks off its flight.
The eager light streams out,
even the ghosts take a draught.
And our paintings see daylight,
our red beasts of the ice-age studios.
Everything begins to look around.
We walk in the sun in hundreds.
Each man is a half-open door
leading to a room for everyone.
The endless ground under us.
The water is shinig among the trees.
The lake is a window into the earth.

Den halvfärdiga himlen

Modlösheten avbryter sitt lopp.
Ångesten avbryter sitt lopp.
Gamen avbryter sin flykt.
Det ivriga ljuset rinner fram,
även spökena tar sig en klunk.
Och våra målningar kommer i dagen,
våra istidsateljéers röda djur.
Allting börjar se sig omkring.
Vi går i solen hundratals.
Var människa en halvöppen dörr
som leder till ett rum för alla.
Den oändliga marken under oss.
Vattnet lyser mellan träden.
Insjön är ett fönster mot jorden.
Ur Den halvfärdiga himlen, Bonniers 1962
Copyright © Tomas Tranströmer 1962
Återgiven med vänligt tillstånd av Tomas Tranströmer och Bonniers

Under Pressure

The blue sky's engine-drone is deafening.
We're living here on a shuddering work-site
where the ocean depths can suddenly open up -
shells and telephones hiss.
You can see beauty only from the side, hastily,
The dense grain on the field, many colours in a yellow stream.
The restless shadows in my head are drawn there.
They want to creep into the grain and turn to gold.
Darkness falls. At midnight I go to bed.
The smaller boat puts out from the larger boat.
You are alone on the water.
Societty's dark hull drifts further and further away.

Under tryck

Den blå himlens motordån är starkt.
Vi är närvarande på en arbetsplats i darrning,
där havsdjupet plötsligt kan uppenbara sig –
snäckor och telefoner susar.
Det sköna hinner man bara se hastigt från sidan.
Den täta säden på åkern, många färger i en gul ström.
De oroliga skuggorna i mitt huvud dras dit.
De vill krypa in i säden och förvandlas till guld.
Mörkret faller. Vid midnatt går jag till sängs.
Den mindre båten sätts ut från den större båten.
Man är ensam på vattnet.
Samhällets mörka skrov driver allt längre bort.
Ur Klanger och spår, Bonniers 1966
Copyright © Tomas Tranströmer 1966
Återgiven med vänligt tillstånd av Tomas Tranströmer och Bonniers

Open and Closed Spaces

A man feels the world with his work like a glove.
He rests for a while at midday having laid aside the gloves on the shelf.
There they suddenly grow, spread
and black-out the whole house from inside.
The blacked-out house is away out among the winds of spring.
'Amnesty,' runs the whisper in the grass: 'amnesty.'
A boy sprints with an invisible line slanting up in the sky
where his wild dream of the future flies lika a kite bigger than the
             suburb.
Further north you can see from a summit the blue endless carpet of
             pine forest
where the cloud shadows
are standing still.
No, are flying.

Öppna och slutna rum

En man känner på världen med yrket som en handske.
Han vilar en stund mitt på dagen och har lagt ifrån sig
                         handskarna på hyllan.
Där växer de plötsligt, breder ut sig
och mörklägger hela huset inifrån.
Det mörklagda huset är mitt ute bland vårvindarna.
»Amnesti« går viskningen i gräset: »amnesti«.
En pojke springer med en osynlig lina som går snett
                         upp i himlen
där hans vilda dröm om framtiden flyger som en drake
                         större än förstaden.
Längre norrut ser man från en höjd den blå oändliga
                         barrskogsmattan
där molnskuggorna
står stilla.
Nej, flyger fram.
Ur Klanger och spår, Bonniers 1966
Copyright © Tomas Tranströmer 1966
Återgiven med vänligt tillstånd av Tomas Tranströmer och Bonniers

The Nightingale in Badelunda

In the green midnight at the nightingale's northern limit. Heavy leaves hang in trance, the deaf cars race towards the neon-line. The nightingale's voice rises without wavering to the side, it is as penetrating as a cock-crow, but beautiful and free of vanity. I was in prison and it visited me. I was sick and it visited me. I didn't notice it then, but I do now. Time streams down from the sun and the moon and into all the tick-tock-thankful clocks. But right here there is no time. Only the nightingale's voice, the raw resonant notes that whet the night sky's gleaming scythe.

Näktergalen i Badelunda

I den gröna midnatten vid näktergalens nordgräns. Tunga löv hänger i trance, de döva bilarna rusar mot neonlinjen. Näktergalens röst stiger inte åt sidan, den är lika genomträngande som en tupps galande, men skön och utan fåfänga. Jag var i fängelse och den besökte mig. Jag var sjuk och den besökte mig. Jag märkte den inte då, men nu. Tiden strömmar ned från solen och månen och in i alla tick tack tick tacksamma klockor. Men just här finns ingen tid. Bara näktergalens röst, de råa klingande tonerna som slipar natthimlens ljusa lie.
Ur För levande och döda, Bonniers 1989
Copyright © Tomas Tranströmer 1989
Återgiven med vänligt tillstånd av Tomas Tranströmer och Bonniers

The Couple
 
They switch off the light and its white shade
glimmers for a moment before dissolving
like a tablet in a glass of darkness. Then up.
The hotel walls rise into the black sky.
The movements of love have settled, and they sleep
but their most secret thoughts meet as when
two colors meet and flow into each other
on the wet paper of a schoolboy’s painting.
It is dark and silent. But the town has pulled closer
tonight. With quenched windows. The houses have approached.
They stand close up in a throng, waiting,
a crowd whose faces have no expressions.

National Insecurity
 
The Under Secretary leans forward and draws an X
and her ear-drops dangle like swords of Damocles.
As a mottled butterfly is invisible against the ground
so the demon merges with the opened newspaper.
A helmet worn by no one has taken power.
The mother-turtle flees flying under the water.

November in the Former DDR


The almighty cyclop’s-eye clouded over
and the grass shook itself in the coal dust.

Beaten black and blue by the night’s dreams
we board the train
that stops at every station
and lays eggs.

Almost silent.
The clang of the church bells’ buckets
fetching water.
And someone’s inexorable cough
scolding everything and everyone.

A stone idol moves its lips:
it’s the city.
Ruled by iron-hard misunderstandings
among kiosk attendants butchers
metal-workers naval officers
iron-hard misunderstandings, academics!

How sore my eyes are!
They’ve been reading by the faint glimmer of the glow-worm   lamps.

November offers caramels of granite.
Unpredictable!
Like world history
laughing at the wrong place.

But we hear the clang
of the church bells’ buckets fetching water
every Wednesday
- is it Wednesday? -
so much for our Sundays!

The Indoors is Endless


It’s spring in 1827, Beethoven
hoists his death-mask and sails off.

The grindstones are turning in Europe’s windmills.
The wild geese are flying northwards.

Here is the north, here is Stockholm
swimming palaces and hovels.

The logs in the royal fireplace
collapse from Attention to At Ease.

Peace prevails, vaccine and potatoes,
but the city wells breathe heavily.

Privy barrels in sedan chairs like paschas
are carried by night over the North Bridge.

The cobblestones make them stagger
mamselles loafers gentlemen.

Implacably still, the sign-board
with the smoking blackamoor.

So many islands, so much rowing
with invisible oars against the current!

The channels open up, April May
and sweet honey dribbling June.

The heat reaches islands far out.
The village doors are open, except one.

The snake-clock’s pointer licks the silence.
The rock slopes glow with geology’s patience.

It happened like this, or almost.
It is an obscure family tale

about Erik, done down by a curse
disabled by a bullet through the soul.

He went to town, met an enemy
and sailed home sick and grey.

Keeps to his bed all that summer.
The tools on the wall are in mourning.

He lies awake, hears the woolly flutter
of night moths, his moonlight comrades.

His strength ebbs out, he pushes in vain
against the iron-bound tomorrow.

And the God of the depths cries out of the depths
‘Deliver me! Deliver yourself!’

All the surface action turns inwards.
He’s taken apart, put together.

The wind rises and the wild rose bushes
catch on the fleeing light.

The future opens, he looks into
the self-rotating kaleidoscope

sees indistinct fluttering faces
family faces not yet born.

By mistake his gaze strikes me
as I walk around here in Washington

among grandiose houses where only   
every second column bears weight.

White buildings in crematorium style
where the dream of the poor turns to ash.

The gentle downward slope gets steeper
and imperceptibly becomes an abyss.


Further In

On the main road into the city
when the sun is low.
The traffic thickens, crawls.
It is a sluggish dragon glittering.
I am one of the dragon’s scales.
Suddenly the red sun is
right in the middle of the windscreen
streaming in.
I am transparent
and writing becomes visible
inside me
words in invisible ink
which appear
when the paper is held to the fire!
I know I must get far away
straight through the city and then
further until it is time to go out
and walk far in the forest.
Walk in the footprints of the badger.
It gets dark, difficult to see.
In there on the moss lie stones.
One of the stones is precious.
It can change everything
it can make the darkness shine.
It is a switch for the whole country.
Everything depends on it.
Look at it, touch it…

The Tree and the Sky

There’s a tree walking around in the rain,
it rushes past us in the pouring grey.
It has an errand. It gathers life
out of the rain like a blackbird in an orchard.
When the rain stops so does the tree.
There it is, quiet on clear nights
waiting as we do for the moment
when the snowflakes blossom in space.


Winter's Gaze
I lean like a ladder and with my face
reach into the second floor of the cherry tree.
I'm inside the bell of colours, it chimes with sunlight.
I polish off the swarthy red berries faster than four magpies.
At once, after this joyously sunny opening, the tone darkens:
A sudden chill, from a great distance, meets me.
The moment blackens
and remains like an axe-cut in a tree-trunk.

The Couple
They turn the light off, and its white globe glows
an instant and then dissolves, like a tablet
in a glass of darkness. Then a rising.
The hotel walls shoot up into heaven’s darkness.
Their movements have grown softer, and they sleep,
but their most secret thoughts begin to meet
like two colors that meet and run together
on the wet paper in a schoolboy’s painting.
It is dark and silent. The city however has come nearer
tonight. With its windows turned off. Houses have come.
They stand packed and waiting very near,
a mob of people with blank faces.

After a Death
Once there was a shock
that left behind a long, shimmering comet tail.
It keeps us inside. It makes the TV pictures snowy.
It settles in cold drops on the telephone wires.
One can still go slowly on skis in the winter sun
through brush where a few leaves hang on.
They resemble pages torn from old telephone directories.
Names swallowed by the cold.
It is still beautiful to feel the heart beat
but often the shadow seems more real than the body.
The samurai looks insignificant
beside his armour of black dragon scales.


Solitude (I)


translted by Robin Robertson

I was nearly killed here, one night in February.
My car shivered, and slewed sideways on the ice,
right across into the other lane. The slur of traffic
came at me with their lights.
My name, my girls, my job, all
slipped free and were left behind, smaller and smaller,
further and further away. I was a nobody:
a boy in a playground, suddenly surrounded.
The headlights of the oncoming cars
bore down on me as I wrestled the wheel through a slick
of terror, clear and slippery as egg-white.
The seconds grew and grew – making more room for me –
stretching huge as hospitals.
I almost felt that I could rest
and take a breath
before the crash.
Then something caught: some helpful sand
or a well-timed gust of wind. The car
snapped out of it, swinging back across the road.
A signpost shot up and cracked, with a sharp clang,
spinning away in the darkness.
And it was still. I sat back in my seat-belt
and watched someone tramp through the whirling snow
to see what was left of me.


TO CITE THIS PAGE:
MLA style: "Tomas Tranströmer - Poetry". Nobelprize.org. 22 Oct 2011 http://www.nobelprize.org/nobel_prizes/literature/laureates/2011/transtromer-poetry.html

05 January 2012

LLÉNALO DE AMOR, poem by Amado Nervo

LLÉNALO DE AMOR


Siempre que haya un hueco en tu vida, 
llénalo de amor.
Adolescente, joven, viejo: 
siempre que haya un hueco en tu vida, 
llénalo de amor.
En cuanto sepas que tienes delante de ti un tiempo baldío, 
ve a buscar al amor.
No pienses: "Sufriré".
No pienses: "Me engañarán".
No pienses: "Dudaré".
Ve, simplemente, diáfanamente, regocijadamente,
en busca del amor.
¿Qué índole de amor? 
No importa.
Todo amor está lleno de excelencia y de nobleza.
Ama como puedas, ama a quien puedas, ama todo lo que puedas... 
pero ama siempre.
No te preocupes de la finalidad de tu amor.
Él lleva en sí mismo su finalidad.
No te juzgues incompleto porque no responden a tus ternuras: 
el amor lleva en sí su propia plenitud.

Siempre que haya un hueco en tu vida, 
llénalo de amor.
 
From the poetry collection Plenitud 

 
My translation:
Whenever there's an emptiness in your life
Fill it with love
Whether you are young or old
Whenever there's an emptiness in your life
Fill it with love
As soon as you know that you'll have some free time
Use it to look for love
Do not think that you will suffer
Do not think that you will be deceived
Do not think that you will be doubted
Just go, simply, clearly, joyfully
and look for love
What is the nature of love?
It does not matter.
All love is full of excellence and nobility.
Love as you can, love whom you can, love everything that you can...
but always love.
Do not worry about the purpose of your love.
Its purpose is within itself.
Do not judge yourself incomplete just because they do not respond to your tenderness:
Love is its own completeness.

Whenever there's an emptiness in your life
Fill it with love

20 November 2011

We Real Cool, a poem by Gwendolyn Brooks

We Real Cool

By Gwendolyn Brooks
The Pool Players.
Seven at the Golden Shovel.
We real cool. We   
Left school. We

Lurk late. We
Strike straight. We

Sing sin. We   
Thin gin. We

Jazz June. We   
Die soon.

After Making Love, a poem by Stephen Dunn

AFTER MAKING LOVE - Stephen Dunn


No one should ask the other,
"What were you thinking?"

No one, that is,
who doesn't want to hear about the past

and its inhabitants,
or the strange loneliness of the present

filled, even as it may be, with pleasure
or those snapshots

of the future, different heads,
on different bodies.

Some people actually desire honesty.
They must never have broken

ino their own solitary houses
after having misplaced the key,

never seen with an intruder's eyes
what is theirs.


 

anyone lived in a pretty how town, a poem by e e cummings

 

anyone lived in a pretty how town by e e cummings


anyone lived in a pretty how town
(with up so floating many bells down)
spring summer autumn winter
he sang his didn't he danced his did.

Women and men (both little and small)
cared for anyone not at all
they sowed their isn't they reaped their same
sun moon stars rain

children guessed (but only a few
and down they forgot as up they grew
autumn winter spring summer)
that noone loved him more by more

when by now and tree by leaf
she laughed his joy she cried his grief
bird by snow and stir by still
anyone's any was all to her

someones married their everyones
laughed their cryings and did their dance
(sleep wake hope and then)they
said their nevers they slept their dream

stars rain sun moon
(and only the snow can begin to explain
how children are apt to forget to remember
with up so floating many bells down)

one day anyone died i guess
(and noone stooped to kiss his face)
busy folk buried them side by side
little by little and was by was

all by all and deep by deep
and more by more they dream their sleep
noone and anyone earth by april
with by spirit and if by yes.

Women and men (both dong and ding)
summer autumn winter spring
reaped their sowing and went their came
sun moon stars rain

Patience, a poem by Kay Ryan

Patience

Patience is
wider than one
once envisioned,
with ribbons
of rivers
and distant
ranges and
tasks undertaken
and finished
with modest
relish by
natives in their
native dress.
Who would
have guessed
it possible
that waiting
is sustainable—
a place with
its own harvests.
Or that in
time's fullness
the diamonds
of patience
couldn't be
distinguished
from the genuine
in brilliance
or hardness.

One Art, a poem by Elizabeth Bishop




One Art  
by Elizabeth Bishop

The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant 
to travel. None of these will bring disaster.

I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.


--Even losing you (the joking voice, a gesture
I love) I shan't have lied.  It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.

Résumé, a poem by Dorothy Parker



'Resume'

Razors pain you; 
Rivers are damp; 
Acids stain you; 
And drugs cause cramp; 
Guns aren't lawful; 
Nooses give; 
Gas smells awful; 
You might as well live. 

Dorothy Parker

19 November 2011

A Memory of the Future - poem by Elizabeth Spires

from the July/August 2011 ATLANTIC MAGAZINE

A Memory of the Future

By Elizabeth Spires

I will say tree, not pine tree.
I will say flower, not forsythia.
I will see birds, many birds,
flying in four directions.

Then rock and cloud will be
lost. Spring will be lost.
And, most terribly,
your name will be lost.

I will revel in a world
no longer particular.
A world made vague,
as if by fog. But not fog.

Vaguely aware,
I will wander at will.
I will wade deeper
into wide water.

You’ll see me, there,
out by the horizon,
an old gray thing,
who finally knows

gray is the most beautiful color.

Elizabeth Spires’s most recent collection is The Wave-Maker (2008). She teaches at Goucher College.

15 November 2011

Love is all... A selection of Wendy Cope's light-hearted, comical poems.


From the Daily Mail website, Mail Online.

Nobody can match Wendy Cope when it comes to writing about men and love. She captures perfectly the shortcomings of the former and the disappointments of the latter – but, despite the compromises we make and the heartbreak we suffer in search of romance, her wise and witty poems ultimately celebrate the joie de vivre which only true love brings. Here is a selection from a new anthology of her writing

Illustration

Valentine
 My heart has made its mind up
And I’m afraid it’s you.
Whatever you’ve got lined up,
My heart has made its mind up
And if you can’t be signed up
This year, next year will do.
My heart has made its mind up
And I’m afraid it’s you.


Bloody Men
Bloody men are like bloody buses —
You wait for about a year
And as soon as one approaches your stop
Two or three others appear.

You look at them flashing their indicators,
Offering you a ride.
You’re trying to read the destinations,
You haven’t much time to decide.

If you make a mistake, there is no turning back.
Jump off, and you’ll stand there and gaze
While the cars and the taxis and lorries go by
And the minutes, the hours, the days.


Rondeau Redouble
There are so many kinds of awful men —
One can’t avoid them all. She often said
She’d never make the same mistake again:
She always made a new mistake instead.

The chinless type who made her feel ill-bred;
The practised charmer, less than charming when
He talked about the wife and kids and fled —
There are so many kinds of awful men.

The half-crazed hippy, deeply into Zen,
Whose cryptic homilies she came to dread;
The fervent youth who worshipped Tony Benn —
‘One can’t avoid them all,’ she often said.

The ageing banker, rich and overfed,
Who held forth on the dollar and the yen —
Though there were many more mistakes ahead,
She’d never make the same mistake again.

The budding poet, scribbling in his den
Odes not to her but to his pussy, Fred;
The drunk who fell asleep at nine or ten —
She always made a new mistake instead.

And so the gambler was at least unwed
And didn’t preach or sneer or wield a pen
Or hoard his wealth or take the Scotch to bed.
She’d lived and learned and lived and learned but then
There are so many kinds.


Illustration

Spared
‘That Love is all there is,
Is all we know of Love…’
— Emily Dickinson

It wasn’t you, it wasn’t me,
Up there, two thousand feet above
A New York street. We’re safe and free,
A little while, to live and love,

Imagining what might have been –
The phone call from the blazing tower,
A last farewell on the machine,
While someone sleeps another hour,

Or worse, perhaps, to say goodbye
And listen to each other’s pain,
Send helpless love across the sky,
Knowing we’ll never meet again,

Or jump together, hand in hand,
To certain death. Spared all of this
For now, how well I understand
That love is all, is all there is.

LOSS
The day he moved out was terrible –
That evening she went through hell.
His absence wasn’t a problem
But the corkscrew had gone as well.

Faint praise
Size isn’t everything. It’s what you do
That matters, darling, and you do it quite well
In some respects. Credit where credit’s due –
You work, you’re literate, you rarely smell.
Small men can be aggressive, people say,
But you are often genial and kind,
As long as you can have things all your way
And I comply, and do not speak my mind.
You look all right. I’ve never been disgusted
By paunchiness. Who wants some skinny youth?
My friends have warned me that you can’t be trusted
But I protest I’ve heard you tell the truth.
Nobody’s perfect. Now and then, my pet,
You’re almost human. You could make it yet.

The Orange
At lunchtime I bought a huge orange —
The size of it made us all laugh.
I peeled and shared it with Robert and Dave —
They got quarters and I had a half.

And that orange, it made me so happy,
As ordinary things often do
Just lately. The shopping. A walk in the park.
This is peace and contentment. It’s new.

The rest of the day was quite easy.
I did all the jobs on my list
And enjoyed them and had some time over.
I love you. I’m glad I exist.

Two cures for love
1 Don’t see him. Don’t phone or write a letter.
2 The easy way: get to know him better.

Illustration

Flowers
Some men never think of it.
You did. You’d come along
And say you’d nearly brought me flowers
But something had gone wrong.

The shop was closed. Or you had doubts —
The sort that minds like ours
Dream up incessantly. You thought
I might not want your flowers.

It made me smile and hug you then.
Now I can only smile.
But, look, the flowers you nearly brought
Have lasted all this while.

After the lunch
On Waterloo Bridge, where we said our goodbyes,
The weather conditions bring tears to my eyes.
I wipe them away with a black woolly glove
And try not to notice I’ve fallen in love.

On Waterloo Bridge I am trying to think:
This is nothing. You’re high on the charm and the drink.
But the juke-box inside me is playing a song
That says something different. And when was it wrong?

On Waterloo Bridge with the wind in my hair
I am tempted to skip. You’re a fool. I don’t care.
The head does its best but the heart is the boss —
I admit it before I am halfway across.

Two Cures for Love: Selected Poems 1979-2006 by Wendy Cope is published by Faber.

25 September 2011

Suzanne Takes You Down, by Leonard Cohen





Suzanne takes you down to her place near the river
You can hear the boats go by
You can spend the night beside her
And you know that she's half crazy
But that's why you want to be there
And she feeds you tea and oranges
That come all the way from China
And just when you mean to tell her
That you have no love to give her
Then she gets you on her wavelength
And she lets the river answer
That you've always been her lover
And you want to travel with her
And you want to travel blind
And you know that she will trust you
For you've touched her perfect body with your mind.

And Jesus was a sailor
When he walked upon the water
And he spent a long time watching
From his lonely wooden tower
And when he knew for certain
Only drowning men could see him
He said "All men will be sailors then
Until the sea shall free them"
But he himself was broken
Long before the sky would open
Forsaken, almost human
He sank beneath your wisdom like a stone
And you want to travel with him
And you want to travel blind
And you think maybe you'll trust him
For he's touched your perfect body with his mind.

Now Suzanne takes your hand
And she leads you to the river
She is wearing rags and feathers
From Salvation Army counters
And the sun pours down like honey
On our lady of the harbour
And she shows you where to look
Among the garbage and the flowers
There are heroes in the seaweed
There are children in the morning
They are leaning out for love
And they will lean that way forever
While Suzanne holds the mirror
And you want to travel with her
And you want to travel blind
And you know that you can trust her
For she's touched your perfect body with her mind.



Written by Leonard Cohen, Stranger Music Inc. (BMI).

24 September 2011

Poppies in October, by Sylvia Plath




Poppies in October

By Sylvia Plath
 
Even the sun-clouds this morning cannot manage such skirts.   
Nor the woman in the ambulance
Whose red heart blooms through her coat so astoundingly——

A gift, a love gift
Utterly unasked for   
By a sky

Palely and flamily
Igniting its carbon monoxides, by eyes   
Dulled to a halt under bowlers.

O my God, what am I
That these late mouths should cry open
In a forest of frost, in a dawn of cornflowers.

Annabel Lee, by Edgar Allan Poe




Annabel Lee  
by Edgar Allan Poe

It was many and many a year ago,
   In a kingdom by the sea,
That a maiden there lived whom you may know
   By the name of Annabel Lee;
And this maiden she lived with no other thought
   Than to love and be loved by me.

I was a child and she was a child,
   In this kingdom by the sea:
But we loved with a love that was more than love--
   I and my Annabel Lee;
With a love that the winged seraphs of heaven
   Coveted her and me.

And this was the reason that, long ago,
   In this kingdom by the sea,
A wind blew out of a cloud, chilling
   My beautiful Annabel Lee;
So that her highborn kinsman came
   And bore her away from me,
To shut her up in a sepulchre
   In this kingdom by the sea.

The angels, not half so happy in heaven,
   Went envying her and me--
Yes!--that was the reason (as all men know,
   In this kingdom by the sea)
That the wind came out of the cloud by night,
   Chilling and killing my Annabel Lee.

But our love it was stronger by far than the love
   Of those who were older than we--
   Of many far wiser than we--
And neither the angels in heaven above,
   Nor the demons down under the sea,
Can ever dissever my soul from the soul
   Of the beautiful Annabel Lee:

For the moon never beams, without bringing me dreams
   Of the beautiful Annabel Lee;
And the stars never rise, but I feel the bright eyes
   Of the beautiful Annabel Lee;
And so, all the night-tide, I lie down by the side
Of my darling--my darling--my life and my bride,
   In her sepulchre there by the sea,
   In her tomb by the sounding sea.

The Highwayman, by Alfred Noyes





Alfred Noyes (1880-1958)
                                   The Highwayman
                                        PART ONE
                                                 I
    THE wind was a torrent of darkness among the gusty trees,
    The moon was a ghostly galleon tossed upon cloudy seas,
    The road was a ribbon of moonlight over the purple moor,
    And the highwayman came riding—
                      Riding—riding—
    The highwayman came riding, up to the old inn-door.
                                                 II
    He'd a French cocked-hat on his forehead, a bunch of lace at his chin,
    A coat of the claret velvet, and breeches of brown doe-skin;
    They fitted with never a wrinkle: his boots were up to the thigh!
    And he rode with a jewelled twinkle,
                      His pistol butts a-twinkle,
    His rapier hilt a-twinkle, under the jewelled sky.
                                                 III
    Over the cobbles he clattered and clashed in the dark inn-yard,
    And he tapped with his whip on the shutters, but all was locked and barred;
    He whistled a tune to the window, and who should be waiting there
    But the landlord's black-eyed daughter,
                      Bess, the landlord's daughter,
    Plaiting a dark red love-knot into her long black hair.
                                                 IV
    And dark in the dark old inn-yard a stable-wicket creaked
    Where Tim the ostler listened; his face was white and peaked;
    His eyes were hollows of madness, his hair like mouldy hay,
    But he loved the landlord's daughter,
                      The landlord's red-lipped daughter,
    Dumb as a dog he listened, and he heard the robber say—
                                                 V
    "One kiss, my bonny sweetheart, I'm after a prize to-night,
    But I shall be back with the yellow gold before the morning light;
    Yet, if they press me sharply, and harry me through the day,
    Then look for me by moonlight,
                      Watch for me by moonlight,
    I'll come to thee by moonlight, though hell should bar the way."
                                                 VI
    He rose upright in the stirrups; he scarce could reach her hand,
    But she loosened her hair i' the casement! His face burnt like a brand
    As the black cascade of perfume came tumbling over his breast;
    And he kissed its waves in the moonlight,
                      (Oh, sweet, black waves in the moonlight!)
    Then he tugged at his rein in the moonliglt, and galloped away to the West.
 
                                        PART TWO
                                                 I
    He did not come in the dawning; he did not come at noon;
    And out o' the tawny sunset, before the rise o' the moon,
    When the road was a gypsy's ribbon, looping the purple moor,
    A red-coat troop came marching—
                      Marching—marching—
    King George's men came matching, up to the old inn-door.
                                                 II
    They said no word to the landlord, they drank his ale instead,
    But they gagged his daughter and bound her to the foot of her narrow bed;
    Two of them knelt at her casement, with muskets at their side!
    There was death at every window;
                      And hell at one dark window;
    For Bess could see, through her casement, the road that he would ride.
                                                 III
    They had tied her up to attention, with many a sniggering jest;
    They had bound a musket beside her, with the barrel beneath her breast!
    "Now, keep good watch!" and they kissed her.
                      She heard the dead man say—
    Look for me by moonlight;
                      Watch for me by moonlight;
    I'll come to thee by moonlight, though hell should bar the way!
                                                 IV
    She twisted her hands behind her; but all the knots held good!
    She writhed her hands till her fingers were wet with sweat or blood!
    They stretched and strained in the darkness, and the hours crawled by like years,
    Till, now, on the stroke of midnight,
                      Cold, on the stroke of midnight,
    The tip of one finger touched it! The trigger at least was hers!
                                                 V
    The tip of one finger touched it; she strove no more for the rest!
    Up, she stood up to attention, with the barrel beneath her breast,
    She would not risk their hearing; she would not strive again;
    For the road lay bare in the moonlight;
                      Blank and bare in the moonlight;
    And the blood of her veins in the moonlight throbbed to her love's refrain .
                                                 VI
        Tlot-tlot; tlot-tlot! Had they heard it? The horse-hoofs ringing clear;
    Tlot-tlot, tlot-tlot, in the distance? Were they deaf that they did not hear?
    Down the ribbon of moonlight, over the brow of the hill,
    The highwayman came riding,
                      Riding, riding!
    The red-coats looked to their priming! She stood up, straight and still!
                                                 VII
    Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!
    Nearer he came and nearer! Her face was like a light!
    Her eyes grew wide for a moment; she drew one last deep breath,
    Then her finger moved in the moonlight,
                      Her musket shattered the moonlight,
    Shattered her breast in the moonlight and warned him—with her death.
                                                 VIII
    He turned; he spurred to the West; he did not know who stood
    Bowed, with her head o'er the musket, drenched with her own red blood!
    Not till the dawn he heard it, his face grew grey to hear
    How Bess, the landlord's daughter,
                      The landlord's black-eyed daughter,
    Had watched for her love in the moonlight, and died in the darkness there.
                                                 IX
    Back, he spurred like a madman, shrieking a curse to the sky,
    With the white road smoking behind him and his rapier brandished high!
    Blood-red were his spurs i' the golden noon; wine-red was his velvet coat,
    When they shot him down on the highway,
                      Down like a dog on the highway,
    And he lay in his blood on the highway, with the bunch of lace at his throat.
                  *           *           *           *           *           *
                                                 X
    And still of a winter's night, they say, when the wind is in the trees,
    When the moon is a ghostly galleon tossed upon cloudy seas,
    When the road is a ribbon of moonlight over the purple moor,
    A highwayman comes riding—
                      Riding—riding—
    A highwayman comes riding, up to the old inn-door.

                                                 XI
    Over the cobbles he clatters and clangs in the dark inn-yard;
    He taps with his whip on the shutters, but all is locked and barred;
    He whistles a tune to the window, and who should be waiting there
    But the landlord's black-eyed daughter,
                      Bess, the landlord's daughter,
    Plaiting a dark red love-knot into her long black hair.

If I Could Tell You, by W.H. Auden




If I Could Tell You

Time will say nothing but I told you so,
Time only knows the price we have to pay;
If I could tell you I would let you know.

If we should weep when clowns put on their show,
If we should stumble when musicians play,
Time will say nothing but I told you so.

There are no fortunes to be told, although,
Because I love you more than I can say,
If I could tell you I would let you know.

The winds must come from somewhere when they blow,
There must be reasons why the leaves decay;
Time will say nothing but I told you so.

Perhaps the roses really want to grow,
The vision seriously intends to stay;
If I could tell you I would let you know.

Suppose all the lions get up and go,
And all the brooks and soldiers run away;
Will Time say nothing but I told you so?
If I could tell you I would let you know.

W.H. Auden

The Night Is Darkening Round Me by Emily Bronte





The Night Is Darkening Round Me by Emily Bronte
 
The night is darkening round me,
The wild winds coldly blow ,
But a tyrant spell has bound me
And I cannot cannot go.

The giant trees are bending,
Their bare boughs weighed with snow ;
The storm is fast descending,
And yet I cannot go.

Clouds beyond clouds above me,
Wastes beyond wastes below ;
But nothing drear can move me,
I will not cannot go.