Tag Archives: poetry

86. N——

Be sure to drop in to Serial where I am presenting a piece about a boy coming to grips with racism on the verge of the Civil War.

There it is, the N—– word. Everybody in America is afraid of it. When Paula Deen admitted using it during her youth (at a time when everybody in the South was using it freely), they almost crucified her. Granted, a lot of people were just waiting for a chance, but that was their excuse.

I could write it out plainly. It’s my blog; nobody is going to censor me. I feel a little foolish writing a letter followed by dashes, as if eveybody didn’t know what it meant. But if I spelled it out, I would feel like a little kid cussing in front of his parents, then pretending he didn’t know they were there.

I grew up whiter than white (see  posts 46. and 81.), in a black-free community. So how do you learn to hate or fear someone you never see?

Easy. You listen to your parents and their friends, and absorb their attitudes. I didn’t come to hate, in part because my parents didn’t hate. But they did fear.

Black folks seeking freedom during the sixties taught my mind and my heart not to fear them. But the gut takes longer. Forty years later I wrote a poem to confront the fear that lingered.

          Mother Tongue

               I saw a calf born.
His mother, in her need to clean him,
Knocked him over on his first rising,
And on his second rising.

In her need to make him safe,
she drove him to his knees.

               Words are like that –
A mother tongue that overwhelms us,
That makes us what we are,
and sometimes, what we should not be.

*****

When I see a black man, I hear “nigger”
Spoken sharply in my father’s voice.
I step back, my eyes grow tight,
Suspicion fires my blood,
And for one moment he is my enemy.

Then reason returns,
And I am shamed.

It is my father’s fear.
I would leave it in my father’s grave,
If I could . . .,  but I cannot!

I can only drive it down;
And bury it deep in shameful, hollow places.

If reading can remake our thoughts, writing can do even more. Making this poem a decade ago and facing my shame largely removed that inherited fear.

from Spoon River

hiatusSpoon River Anthology: Lucinda Matlock

Edgar Lee Masters is not overlooked, and his Spoon River is well known, but not well enough. It would be hard for it to have its due, since it is, for my taste anyway, one of the crowning achievements of American literature.

Masters lets his 200 plus characters speak their minds without authorial censorship. They are grave, gay, kind, angry, cynical, full of love, full of hatred, spewing venom and offering forgiveness. Masters never tries to arbitrate. He simply lets them tell their stories from the grave, but he does juxtapose. Tom Merritt tells of being killed by his wife’s lover, then his wife tells her story, then the killer tells his. Three stories on three pages, but with viewpoints so different they could be in different universes.

Choosing a poem to illustrate Spoon River could become an exercise in choosing what I believe, thus skewing the picture. Spoon River is huge in variety. Like the Bible, you can find arguments somewhere in it to bolster any position.

Instead, I’ll give you what seems to be Masters’ favorite, the story of his grandmother, given under another name.

Lucinda Matlock
from The Spoon River Anthology
Edgar Lee Masters – 1915

I went to the dances at Chandlerville,
And played snap-out at Winchester.
One time we changed partners,
Driving home in the moonlight of middle June,
And then I found Davis.
We were married and lived together for seventy years,
Enjoying, working, raising the twelve children,
Eight of whom we lost
Ere I had reached the age of sixty.
I spun, I wove, I kept the house, I nursed the sick,
I made the garden, and for holiday
Rambled over the fields where sang the larks,
And by Spoon River gathering many a shell,
And many a flower and medicinal weed —
Shouting to the wooded hills, singing to the green valleys.
At ninety-six I had lived enough, that is all,
And passed to a sweet repose.
What is this I hear of sorrow and weariness,
Anger, discontent and drooping hopes?
Degenerate sons and daughters,
Life is too strong for you —
It takes life to love Life.

Hiatus, sort of ends today. The fantasy short story Prince of Exile will begin here Monday.

71. New Year, New Century

DSCN4794The end of the year is my favorite season. Whether you are Christian or not, the story of the birth of the Christ child is also the birth of hope, the birth of joy, and the birth of innocence. We need all those things in our world. I have come to love this season more now than I did when I was a child.

Add a sense of the world’s renewal at the turning of the year that comes to us from the pagan roots of our Christmas festivals, and it all becomes pretty magical.

I have already spent time celebrating the year’s end as we Westerners see it. Now, on the last day of the year, I would like to turn toward the East, to a land beyond the land of the Magi.

*****

Rabindranath Tagore is a Bengali writer who won the Nobel prize for literature in 1913. He is largely unknown in America, and for good reason. His work is hard going – not because of difficuty of language (there are plenty of translations), but because it is the product of a spiritualism that is beyond the American norm. America loves it’s gurus; we all know that. But the ones who make it here tend to have a gift for sound bites, an easy pop-psych message, and a face the camera loves.

Tagore was glitz free.

When I was studying Anthropology, my subject area was South Asia. I ran across Tagore’s poem Sunset of the Century in a textbook, and was so taken by it that I quoted part of it when I wrote A Fond Farewell to Dying, and quoted it again as the sub-title of this website.

At sunset, December 31, 1899, Tagore looked at his land, crushed under a hundred and fifty years of British domination, and looked forward to the new century which he hoped would bring India its freedom.

Here is the excerpt I quoted in Fond Farewell:

Be not ashamed, my brothers, to stand before the proud and the powerful.
With your white robes of simpleness.
Let your crown be of humility, your freedom the freedom of the soul.
Build God’s throne daily on the ample bareness of your poverty.
And know that what is huge is not great and pride is not everlasting.

That last line is probably my favorite quotation of all time. The complete poem is in today’s Serial post.

Sunset of the Century

hiatusToday, in A Writing Life, I explain my connection to this poem. You can take a look there; I won’t repeat myself here.

Sunset of the Century
Rabindranath Tagore
(Written in the Bengali on the last day of 1899.)

 The last sun of the century sets amidst the blood-red clouds of the West and the whirlwind of hatred.
The naked passion of self-love of Nations, in its drunken delirium of greed, is dancing to the clash of steel and the howling verses of vengeance.
The hungry self of the Nation shall burst in a violence of fury from its own shameless feeding.
For it has made the world its food,
And licking it, crunching it, and swallowing it in big morsels,
It swells and swells
Till in the midst of its unholy feast descends the sudden heaven piercing its
heart of grossness.

 The crimson glow of light on the horizon is not the light of thy dawn of peace,my Motherland.
It is the glimmer of the funeral pyre burning to ashes the vast flesh, – the self-love of the Nation, – dead under its own excess.
Thy morning waits behind the patient dark of the East,
Meek and silent.

 Keep watch, India.
Bring your offerings of worship for that sacred sunrise.
Let the first hymn of its welcome sound in your voice, and sing,
‘Come, Peace, thou daughter of God’s own great suffering.
Come with thy treasure of contentment, the sword of fortitude,
And meekness crowning thy forehead.’
Be not ashamed, my brothers, to stand before the proud and the powerful
With your white robe of simpleness.
Let your crown be of humility, your freedom the freedom of the soul.
Build God’s throne daily upon the ample bareness of your poverty
And know that what is huge is not great and pride is not everlasting

70. The War is Over

240px-Wildfire_near_Cedar_Fort,_Utah Every era has its terrors. Throughout my childhood in the fifties I was deeply aware of the likelihood of nuclear war. I was fifteen during the Cuban missle crisis. When I went to college, Viet Nam was well underway.

As I mention today in Serial, I tried my hand at folk music. I even wrote a song, which no one has heard for the last 45 years. I wish I could call it the melancholy thoughts of youth but, sadly, it’s still spot on.

The War is Over
Syd Logsdon

Now that the last war is over
Now that the violence is done
Search through the rubble for mourners
You will find — not a one.

Now that the green grass is dying
Now that the trees are stripped bare
The sounds of the forest are silent
The brooks have no laughter to spare.

The moon still hangs sad and silent
The stars fill the heavens with light
The sea rolls so dark and so lonely
Over cities where ruins now lie.

Look for your friends in the mountains
Or your enemy’s spoor on the plain
Run through the corridor shelters
Seek a companion in vain.

Cry out your soul for a songbird
But none will answer your call
Search for your friends and your loved ones
But they’re gone — one and all.

Search for the one called the victor
Through the still smoking rubble and ruin
Now that the violence is over
Now that the war has been won.

Innisfree

hiatusYeats is one of the great poets of the English language and The Lake Isle of Innisfree is among his best known poems. I was introduced to it through folk music.

I arrived at college just at the end of the folk era. It had basically passed me by in my country-western Oklahoma life, and I was hooked as soon as I discovered it. One of my roommates had been in a high school folk group in Minnesota. He quickly found a girlfriend who could sing (beautifully) and a fellow guitarist, and started playing in the local coffee houses. I borrowed his tenor guitar to learn on, then got a six string, and I was just getting reasonably good when folk music disappeared overnight and psychedelic rock became the rage. Timing was never my strong suit.

My roommates and I were always short on cash, so we shared our stash of records. One of my favorites was Hamilton Camp’s Paths of Victory, but it went with my roommate when college was over. Camp took Yeat’s Innisfree and wrote music for it, and a sweeter song was never sung – at least until Judy Collins sang it a cappella to his music a year later.

This is one of the two or three songs I catch myself singing whenever I am alone and can harm no one. Chances are you already know the poem, but I suggest that you Google judy collins innisfree and hear it sung on U-tube. Or, if you are old enough to enjoy an early Dylan sound-alike, Google hamilton camp innisfree.

  It isn’t hard to find. Clearly, I’m not the only one who loves it.

The Lake Isle of Innisfree – William Butler Yeats – 1892

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean-rows will I have there, a hive for the honey-bee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

*****

During this last week of the year, I’m taking a hiatus, sort of, by placing some of my favorite poems instead of things I have written. My fantasy short story Prince of Exile will begin here the first full week of next year.

Channel Firing

hiatusThis poem by Thomas Hardy was written in April of 1914,
fourteen years after Tagore, which I will give you in two days.
Two months later, World War I began.

         Channel Firing

That night your great guns, unawares,
Shook all our coffins as we lay,
And broke the chancel window-squares,
We thought it was the Judgment-day

And sat upright.  While drearisome
Arose the howl of wakened hounds:
The mouse let fall the altar-crumb,
The worms drew back into the mounds,

The glebe cow drooled.  Till God called, “No;
It’s gunnery practice out at sea
Just as before you went below;
The world is as it used to be:

“All nations striving strong to make
Red war yet redder.  Mad as hatters
They do no more for Christés sake
Than you who are helpless in such matters.

“That this is not the judgment-hour
For some of them’s a blessed thing,
For if it were they’d have to scour
Hell’s floor for so much threatening . . .

“Ha, ha.  It will be warmer when
I blow the trumpet (if indeed
I ever do; for you are men,
And rest eternal sorely need).”

So down we lay again.  “I wonder,
Will the world ever saner be,”
Said one, “than when He sent us under
In our indifferent century!”

And many a skeleton shook his head.
“Instead of preaching forty year,”
My neighbour Parson Thirdly said,
“I wish I had stuck to pipes and beer.”

Again the guns disturbed the hour,
Roaring their readiness to avenge,
As far inland as Stourton Tower,
And Camelot, and starlit Stonehenge.

During this last week of the year, I’m taking a hiatus, sort of, by placing some of my favorite poems instead of thing I have written. The fantasy short story Prince of Exile will begin here the first full week of next year.

The First Surveyor

hiatusDuring this last week of the year, I’m taking a hiatus, sort of, by placing some of my favorite poems instead of things I have written. My fantasy short story Prince of Exile will begin here the first full week of next year.

A. B. Paterson, Australian poet, is often called Banjo Paterson because he signed his poetry with a picture of a banjo during his early days as a newspaper writer. Australian egalitarianism carries with it overtones of hidden conflict, between urban and outback, between privileged and unprivileged, and between pioneers and the late comers who often, as in this poem, had no understanding of the ones who came before them.

The First Surveyor

“The opening of the railway line! — the Governor and all!
With flags and banners down the street, a banquet and a ball.
Hark to ’em at the station now! They’re raising cheer on cheer!
‘The man who brought the railway through — our friend the engineer.’
They cheer his pluck and enterprise and engineering skill!
‘Twas my old husband found the pass behind that big red hill.
Before the engineer was born we’d settled with our stock
Behind that great big mountain chain, a line of range and rock —
A line that kept us starving there in weary weeks of drought,
With ne’er a track across the range to let the cattle out.

“‘Twas then, with horses starved and weak and scarcely fit to crawl,
My husband went to find a way across the rocky wall.
He vanished in the wilderness — God knows where he was gone —
He hunted till his food gave out, but still he battled on.
His horses strayed (’twas well they did), they made towards the grass,
And down behind that big red hill they found an easy pass.

He followed up and blazed the trees, to show the safest track,
Then drew his belt another hole and turned and started back.
His horses died — just one pulled through with nothing much to spare;
God bless the beast that brought him home, the old white Arab mare!
We drove the cattle through the hills, along the new-found way,
And this was our first camping-ground — just where I live today.

“Then others came across the range and built the township here,
And then there came the railway line and this young engineer;
He drove about with tents and traps, a cook to cook his meals,
A bath to wash himself at night, a chain-man at his heels.
And that was all the pluck and skill for which he’s cheered and praised,
For after all he took the track, the same my husband blazed!

“My poor old husband, dead and gone with never a feast nor cheer;
He’s buried by the railway line! — I wonder can he hear
When by the very track he marked, and close to where he’s laid,
The cattle trains go roaring down the one-in-thirty grade.
I wonder does he hear them pass, and can he see the sight
When, whistling shrill, the fast express goes flaming by at night.

“I think ‘twould comfort him to know there’s someone left to care;
I’ll take some things this very night and hold a banquet there —
The hard old fare we’ve often shared together, him and me,
Some damper and a bite of beef, a pannikin of tea:
We’ll do without the bands and flags, the speeches and the fuss,
We know who ought to get the cheers — and that’s enough for us.

“What’s that? They wish that I’d come down — the oldest settler here!
Present me to the Governor and that young engineer!
Well, just you tell his Excellence, and put the thing polite,
I’m sorry, but I can’t come down — I’m dining out tonight!”

59. Don’t Look at Me

dont look topDuring my last couple of decades of teaching, my friend Crystal got me into several situations I wouldn’t normally have experienced. She was a teacher of second language students whose dedication went above and beyond what anyone could expect. Because of my respect for her, and my affection for the students we shared, I occasionally found myself doing extra things to back her up.

For several years she had taught a summer writing program for new English learners which included a guest writer. Funding for the guest writer dried up and I was the only writer she knew, so I volunteered to step into that role.

I only had two pieces which were age appropriate, so the first year I taught a poetry lesson using There Am I (see post 8. Written on 9-11). I talked shortly about myself, read the poem, led them through brainstorming, and set them to writing a poem.

One lesson teachers have to learn is when to back off and shut up. I have aquired that skill, but it’s been hard for me. At the appropriate time, I sat quietly at the head of the table for fifteen minutes while they worked.

I knew some of these strudents from having them in large classes, but I did not know them well. Many of them I did not know at all. We had seen each other on campus, but they were sixth or seventh graders who had not reached me yet.

They were under my eye. That is a powerful phrase. They had to produce for a man they did not really know. If they had been students in my regular classroom it would have been easier, but not easy.

They had to write, under my eye, and then they had to submit what they wrote for judgement.

When I was a child, I loved school, but I have no difficulty understanding why so many hate it. As I watched these children try to write, I considered how I would have felt in their place. Then I took up paper and wrote a new poem while they worked.

dont look full

Technical note for fellow bloggers. Since the theme I use does not allow full control of vertical and horizontal spacing, this poem had to be written on a drawing program, converted into a JPEG, and inserted as if it were a picture.

58. God, if he were God

170px-1099jerusalemMankind has problems, vast, complex and intractable. We pray for help from a wide variety of Gods. But God, if he were God, might well find that all of our problems stem from one excess, which we could correct ourselves, if we only recognized it.

The imagery, of course, comes from  growing up with thrice weekly sermons of hellfire and Armageddon ringing in my ears.

God, if he were God

God, if he were God,
Would call up troops of angels,
Asbestos wings and swords of fire.

And setting out to cleanse the Earth, would stamp
His heavy booted foot upon Jerusalem.
Where men of every race and creed
Cry out his name, while each the other rends.

There God, if he were God,
Would pause and see.

This crowded planet,
Multiplying sorrows,
Where every baby born,
Every ailment cured,
Every life revived,
Compounds the horror
Of numbers grown
Beyond endurance.

One alone is empty.
Two may reside in love,
Three, a family make,
And a hundred make a town.

But the numbers that beset this earth,
Create a taste of Hell.