Tag Archives: poetry

56. Cinn Sings a Folksong

Sometimes I write poetry as poetry. Sometimes I write it to fill story needs. This folksong was written for Valley of the Menhir to give Tidac and Cinnabar a romantic moment early in their courtship.

She showed him how to hold the thyril and how to strike the bass strings with his thumb while his fingers touched the trebles. His left hand stopped the trebles; the bass strings rang free. He tried manfully – which is to say, clumsily – to coordinate his two hands and was becoming frustrated when she stopped him with a giggle.

“You try too hard,” she said. “You aren’t trying to overcome an armed opponent; you are trying to coax the music out.”

Next he tried to pick out the simple lullaby which she sang over and over for him. He had not heard her sing before; her voice was small but sweet. After a time the tune came, and still later it came freely. Cinnabar kissed him noisily and congratulated him.

Then Cinnabar picked up the thyril and began to play. The melody was sad, but it brightened slowly. She raised his eyes to his and they were full of promise. She began to croon very softly:

*****

I reach for her, lying in her linen bed;

My fingers draw her forth into my arms.

Her rounded hip against my belly —

Her slender neck is in my hand.

My fingers touch and stroke her strings

     evoking music

          the thrumming that fills my loins

               the dry treble that excites the night.

Sometimes she is cold within my arms

And I must coax her voice to life.

Tonight she is fire,

Yielding to the motion of my hands.

My fingers touch and stroke her strings

     evoking magic

          the crying bittersweetness of the night

               wraps its hands around my heart.

*****

An ambiguous song, equally applicable to the thyril or the woman who held it. Whatever I am, or have been, or wish to be, Tidac thought, is now wound up with her.

Cinnabar smiled up at him and laid aside the thyril.

*****

I wrote that scene about 1978, and it remained in every revision until about 2010 when it was cut as a part of a major push to tighten up the pacing of the early part of the story. Too bad; I always liked it.

54. Bind Not, Be Not Bound

In Blondel of Arden, now in Backfile, and in post 56, coming Thursday, I produced song lyrics to give my characters a chance to show their attitudes. In the novel Cyan, due out in spring, I went a step further by having the characters themselves write poetry. I’ll cover that in a future post.

Keir Delacroix is the groundside leader of the explorers on Cyan. Because of events in his childhood, he has an aversion to forcing others to his will – especially women. He spells this out in a poem.

Bind Not, Be Not Bound

Speak softly, draw near,
Touch but do not cling,
Bind not!

Share with me your love and laughter,
Smiles and frowns, days and nights.
As a lover, as a friend,
Mine, but free.
(As I am free.)

Remain as you wish,
Depart when you will.
Be not bound.

This attitude leads him to questionable decisions late in his year of exploration. Those decisions come back to haunt him when the explorers return to Earth, massively change the early days of colonization, and ultimately lead Keir to a broader view of human relationships.

41. Not Here

220px-Allt_a'_MhuilinnAll this week’s posts revolve around Veteran’s Day. Although this poem has the feel of historical Scotland, its intentions are universal. Those who die young and those who grow old, each have their regrets, and their own story to tell.

Not Here

Not here,
Not in this ditch,
Not in this lowly, stinking place.
Not here,
Not in a skirmish,
Twenty men a side
and mine the only death!
To die here, so close to home,
Fallen from this great march
That will carry you to the lowlands.
Gone too soon;
You will forget me before the battle begins.

Not here,
Not where she can see me.
I was a man.
Her eyes told me that I was,
Her sidelong looks — her little smile;
If I had known . . . no!
If I had known, it would have made no difference.
The fire was kindled in us both.
I heard only her moans,
Not the footsteps of her husband.
Not here.
Not like this.
Not pinned to the ground by a peasant’s fork.
Ridicule!
A death so small that only breeds a laugh.

Not here.
Not on this great field of death,
Where my own passing is made small
By the multitude around me.
Here is no sadness for a dying friend;
Sadness is too small for this arena.
Though I lie speechless,
My mouth stopped with dung
From a thousand frightened horses,
Yet I cry out,
“My death is bigger than all this.
I am not just another soldier,
My eyes to be food for ravens,
My body food for worms.
My death is huge!
The whole earth should tremble,
The sky should darken,
As my sky darkens,
Darkens  . . .”

*****

Fifty years have passed
And only one still lives.
Alone and nearly sightless,
With withered limbs and palsied hands.
An old man now, forgotten, lost,
Since newer battles have been fought by younger men.

Alone tonight, his ancient wife
Full two seasons sleeping in the ground.
Narrow bed, in narrow room, and cold.
Yet, at midnight,
On this twenty-eighth of May.
He rises up and staggers to the door
To watch the ghosts go by.

Fifty years ago tonight they gathered
Around the peat fire in old Duncan’s house,
And laughed and drank and lied about their courage;
And when the morning came, gathered up their weapons,
And their youth in their own hands.

Reece, the first to fall, so tall;
His hair so yellow that would soon be red with blood.
Not ten miles from his home he fell, and was forgotten.
Then old Duncan died, a man made young,
For just a moment,
By a girl who laughed and flashed her eyes,
And cut his purse while her husband pinned him to the ground.
Then Sandor, Naill, Kenneth, and the rest;
Twenty-one went out
But only eight came home.

And now the ghosts have passed him by.
The old man hears
The echo of their feet
Trading softly on the turf.
Fading into distance, and he cries . . .

“All the good deaths
now are gone,
where is the glory
where is the song?”

32. Roses, out of the dry ground

220px-Queen_Mary's_Gardens_P6110014

I like poetry a lot, but my personal taste pretty much stops with Frost and Yeats.

I like to pepper my novels with quotations from the Rubyiat, Masters, Tagore, and poetic scriptures from various religions. When an appropriate quotation is not available, I never hesitate to write a bit of poetry to develop a character or move a story along. Poetry written to purpose is not real poetry, but I will be including some of it in later posts as illustrations of the writing process.

Roses, out of the dry ground is a real poem, and the first I wrote as an adult.

Novels come over time, with a few flashes of inspiration and a lot of grinding work. I have enough novels waiting to keep me writing for the next three hundred years.

Poems only come when they come. For me that means rarely, but they are a treasured gift when they do come.

Roses, Out of the Dry Ground

The child fled
From harsh words and rough hands
And the uncaring glance that kills the soul,
To hide among the weeds and brambles,
The lizards and the hard cased beetles,
Where no voice comforts,
And no voice condemns.

There he found a rose, growing
          out of the dry ground.

Out of dirt, caked and broken,
Webbed down by spiders;
With dusty leaves,
          yet blooming.

The child reached out and touched a thorn
So gently that his finger did not bleed.
(For the child knew thorns)
Reached further, and touched the blossom, so gently
That its fragrance filled the desert air.

He sat long among the weeds
And gazed in wonder, that the rose,
So ragged, could still be sweet.

Never knowing,
          it was a mirror that he saw.

31. Discovering Khyyam

412px-033-Earth-could-not-answer-nor-the-Seas-that-mourn-q75-829x1159My novel A Fond Farewell to Dying opens with a quatrain from the Rubyiat of Omar Khyyam.

Oh, threats of Hell and Hopes of Paradise!
One thing is certain – This life flies;
        One Thing is certain and the rest is Lies;
The Flower that once has bloomed forever dies.
Khyyam/FitzGerald quatrain LXIII

It was the perfect setup for a book about people deeply aware of the fleetingness of life and trying to find their own kind of immortality.

Edward FitzGerald is the scholar whose translation of Khyyam is most widely known. He took a mass of unrelated quatrains, translated and arranged them, and gave them a unified voice. Although called a translator, he might better be called the co-author.

Khyyam was a Persian, but not a Muslim. He was one of the leaders of the old order, recently deposed by Muslim conquest. This accounts for the wine bibbing and the questioning attitude toward God, which otherwise would seem odd, even dangerous, among the Sultans, camels, turbans, and oases which fill the poems.

I first encountered Khyyam on a high school field trip to visit nearby University of Tulsa. I managed to sneak a moment in the university bookstore, and bought the most interesting paperback I could lay hands on quickly. It was the Rubiyat. I read it on the bus ride home and was immediately hooked.

The Rubiyat is the perfect book for a questioning young man just beginning to find his own voice and his own mind. Khyyam questions authority; in fact, he questions the ultimate authority, God himself. It is not a book for atheists though, unless they are simply looking for literary support for their opinions. Khyyam was no atheist. You can’t call God to task as he does, unless you believe in Him.

Oh, Thou who Man of baser Earth didst make,
And ev’n with Paradise devise the Snake:
For all the Sin wherewith the Face of Man
Is blacken’d – Man’s forgiveness give – and take!
Khyyam/FitzGerald quatrain LXXXI

A book full of rebelliousness will catch a young man’s eye, but it is the beauty and wisdom in every line which makes it remain a treasure in later life.

30. You Have Spent Your Life

Greek_GalleysWhen I began teaching, I found companionship among fine people. It was the best part of the job, especially after of the solitude of writing full time. I learned from them all, although I never became like any of them. Teaching, more than any other job, except perhaps writing, is all about personal style.

Many of my friends said they envied my knowledge. Fair enough; I envied their strengths as well. Adrianna could keep fifty kids in order on the athletic field. Crystal gave her kids the love they needed, and was patient beyond when patience was reasonable. Dan arranged the math department so the strong were challenged and the weak were not overwhelmed.

I give thanks for the companionship of these colleagues and friends, particularly for Barbara, who took me under her wing when I had just begun to teach. We taught different students from the same stories, which I referred to when I wrote a poem for her on her retirement.

For Barbara

You have spent your life
     growing barley beside the Tigris;
          building pyramids along the Nile.

Rowing beside Odysseus
     going home to Ithaca.
Walking the night
     with Harriet Tubman.
          And dreaming with Dr. King.

A thousand children
     you have taken with you
          on your journey,
     as they struggled toward
          maturity and grace.

You have spent your life well.

I never planned to be a teacher. I called it my day job until it became apparent that I was going to teach all the way to retirement. I would have preferred to be a full time writer; or a professor, as I would have been if writing had not seduced me. But I would have missed much.

By my best estimate, nearly 4000 children moved through my classroom. Sometimes I can still hear their laughter.