Poem of the Week, by E.E. Cummings

Screen Shot 2018-04-05 at 8.44.54 AMSometimes I dream that I’m trying to get to Paris. I’m at the airport but I left my passport at home, and I can’t get a cab to go fetch it, and once I’m home I can’t remember where the passport is, and once I’m back at the airport I’m at the wrong terminal, and now I can’t find my ticket, and what happened to my roller bag, and, and, and this dream goes on all night long and I wake up exhausted. Sometimes don’t you want to step out of yourself for a day, or even a few hours, and just be someone else? Or no one else? This is when you need to read the poem below, by the hypnotic Mr. Cummings, because he knows exactly how you feel.

 

You Are Tired, by Edward Estlin Cummings

You are tired,
(I think)
Of the always puzzle of living and doing;
And so am I.

Come with me, then,
And we’ll leave it far and far away —
(Only you and I, understand!)

You have played,
(I think)
And broke the toys you were fondest of,
And are a little tired now;
Tired of things that break, and —
Just tired.
So am I.

But I come with a dream in my eyes tonight,
And knock with a rose at the hopeless gate of your heart —
Open to me!
For I will show you the places Nobody knows,
And, if you like,
The perfect places of Sleep.

Ah, come with me!
I’ll blow you that wonderful bubble, the moon,
That floats forever and a day;
I’ll sing you the jacinth song
Of the probable stars;
I will attempt the unstartled steppes of dream,
Until I find the Only Flower,
Which shall keep (I think) your little heart
While the moon comes out of the sea.

 

​For more information on E.E. Cummings, please click here.​

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Poem of the Week, by Warsan Shire

Screen Shot 2018-04-05 at 8.44.01 AMI’ll rewrite this whole life and this time there’ll be so much love, / you won’t be able to see beyond it. 

These lines, from the gorgeous poem below, bring me back to childhood and the novel that more than any other book made me want to be a writer. A Tree Grows in Brooklyn is about Francie Nolan, who grew up on the mean streets of Brooklyn in the early part of the 20th century.

She was a lonely girl, even though she was loved, and so was I. Her love for the world and being alive in it was wild and intense, and so was mine. She was filled with longing and confusion, and so was I. That one teacher –the one she adored—told her that in life, she should tell the truth of the way things happened, but that in the stories she wrote, she could make up her own endings. She could write life the way it should be. Warsan Shire is too young to have read A Tree Grows in Brooklyn, but she knows way down deep in her bones the profound power of words to transcend experience.  

 

 

Backwards, by Warsan Shire
 
         for Saaid Shire
The poem can start with him walking backwards into a room.
He takes off his jacket and sits down for the rest of his life;
that’s how we bring Dad back.
I can make the blood run back up my nose, ants rushing into a hole.
We grow into smaller bodies, my breasts disappear,
your cheeks soften, teeth sink back into gums.
I can make us loved, just say the word.
Give them stumps for hands if even once they touched us without consent,
I can write the poem and make it disappear.
Step-Dad spits liquor back into glass,
Mum’s body rolls back up the stairs, the bone pops back into place,
maybe she keeps the baby.
Maybe we’re okay kid?
I’ll rewrite this whole life and this time there’ll be so much love,
you won’t be able to see beyond it.

You won’t be able to see beyond it,
I’ll rewrite this whole life and this time there’ll be so much love.
Maybe we’re okay kid,
maybe she keeps the baby.
Mum’s body rolls back up the stairs, the bone pops back into place,
Step-Dad spits liquor back into glass.
I can write the poem and make it disappear,
give them stumps for hands if even once they touched us without consent,
I can make us loved, just say the word.
Your cheeks soften, teeth sink back into gums
we grow into smaller bodies, my breasts disappear.
I can make the blood run back up my nose, ants rushing into a hole,
that’s how we bring Dad back.
He takes off his jacket and sits down for the rest of his life.
The poem can start with him walking backwards into a room.

 

 

For more information on Warsan Shire, please read this profile of her.

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Poem of the Week, by John Freeman

Screen Shot 2018-04-05 at 8.43.51 AMWhat wearies you? What renews you? Who brings you joy? Who exhausts you? When you think of safety and comfort and happiness, what place or person comes to mind? The answers to these questions are already known to you. They live in your body, in a place beyond conscious thought and its dangerous companions, rationalization and overriding.

If you turn to your body for answers you will know when someone’s love is not love but control and need. You will know when you are living not in safety but in fear. Over time, you will slowly learn to trust yourself. When I first read this small, curious poem below, a deep heaviness descended on me and I physically shrank into my chair in recognition and sorrow. John Freeman says so much in so few words. 

 

Mail, by John Freeman

We wrote one another a lot
those days, long winding
letters that crossed a country, in which
I asked if she knew my gratitude;
her replies so generous
it’s only now I realize
my gratitude wasn’t gratitude
but another request.

 

 

Poem of the Week, by Jaime Manrique

Istanbul, smoking hookahFive years ago this week my older daughter and I were sitting on the porch of a cafe in Istanbul, smoking a hookah and eating mezes and pita bread. Later, we walked the streets of our neighborhood, which was on the Bosphorus. At one point the muezzins began their call to prayer, the sound of their voices wafting over the stone walls and cobblestones of that vast and sprawling city. The sun was falling below the horizon and my daughter was walking ahead of me, her tumble of dark curls falling over her navy jacket, and my heart seized up in a familiar way, the way it has seized up my entire life, when the world is too beautiful and you want to stop and freeze it but the minutes are passing and passing and passing regardless.

You can come back here, Alison, I told myself, you can come back. A familiar silent refrain, something I have told myself every time I’m traveling and the heart seize happens again. But you can’t come back. There’s only that moment, and then another moment, and every moment replaces the previous one. Tonight I think of all the skies / I have pondered and once loved, says the poet in this gorgeous poem below. The minute I read those lines I was transported back to that beautiful evening on the Bosphorus with my beautiful girl, and my heart seized up all over again. Poem of the Week, by Jaime Manrique. 

 

House
     –  Jaime Manrique, translated by Edith Grossman

It is a July night
scented with gardenias.
The moon and stars shine
hiding the essence of the night.
As darkness fell
—with its deepening onyx shadows
and the golden brilliance of the stars—
my mother put the garden, her house, the kitchen, in order.
Now, as she sleeps,
I walk in her garden
immersed in the solitude of the moment.
I have forgotten the names
of many trees and flowers
and there used to be more pines
where orange trees flower now.
Tonight I think of all the skies
I have pondered and once loved.
Tonight the shadows around
the house are kind.
The sky is a camera obscura
projecting blurred images.
In my mother’s house
the twinkling stars
pierce me with nostalgia,
and each thread in the net that surrounds this world
is a wound that will not heal.

 

 

For more information on Jaime Manrique, please check out his website.

For more information on acclaimed translator Edith Grossman, please read this interview.

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Poem of the Week, by David Kirby

Me and ArthurOnce, a long time ago, I went to a jumprope exhibition in the gym of a middle school. There were teams of tandem jumpers, rope dancers, and synchronized twirling. The students had practiced for many weeks prior to the exhibition. This was back in the days of big VHS camcorders, and I had one on my shoulder so I could record the coolest moments. At the very end of the competition, the gym floor cleared and a single jump roper entered the room from a side door. One of his legs was twisted up behind his head –it looked effortless, he was that flexible and agile–and he did so many tricks so fast and so well, jump-roping the whole time, that I kept the camcorder trained on him. The crowd burst into a roar.

Then I realized that the jump-roper was my son. Holy shit! That’s my son! I said, and that got recorded too. 

It’s weird, when your kids grow up. Of course you expect it, and it’s wonderful, but still there are moments when you can’t believe it – like, wait, what? When did this happen? How did it happen? This bittersweet poem, which I loved the first moment I read it, makes me feel like crying the same way I feel like crying when I watch that long ago videotape. Holy shit, that’s my son. 

 

Taking It Home to Jerome, by David Kirby

In Baton Rouge, there was a DJ on the soul station who was
always urging his listeners to “take it on home to Jerome.”

No one knew who Jerome was. And nobody cared. So it
didn’t matter. I was, what, ten, twelve? I didn’t have anything

to take home to anyone. Parents and teachers told us that all
we needed to do in this world were three things: be happy,

do good, and find work that fulfills you. But I also wanted
to learn that trick where you grab your left ankle in your

right hand and then jump through with your other leg.
Everything else was to come, everything about love:

the sadness of it, knowing it can’t last, that all lives must end,
all hearts are broken. Sometimes when I’m writing a poem,

I feel as though I’m operating that crusher that turns
a full-size car into a metal cube the size of a suitcase.

At other times, I’m just a secretary: the world has so much
to say, and I’m writing it down. This great tenderness.

 
 
​For more information on David Kirby, please click here.​


 

Poem of the Week, by Stephan Pastis

Alison and DonaldWe used to call them the funnies, and I have a memory of sitting on my dad’s big lap while he folded the newspaper in half, then quarters, so he could read them to me. This would have been on a Sunday, because I remember the strips as being full-color. I still read the daily comics, even though most of them are terrible – tired, unfunny, boring, and retreading the same exact ground for decades on end. Once in a while a strip comes along that’s electrifyingly good –Calvin & Hobbes, Boondocks, Cul de Sac–but they don’t last long, usually because their creators have the courage to cancel them when they’ve run out of steam. So I read out of habit, with no expectation of transcendence. But every once in a while one of them pierces my heart, like today’s Pearls Before Swine, by Stephan Pastis.

 

 

Tree Stump o’ Deep Thought You’re Not Usually Capable Of, by Stephan Pastis

No one knows what we’re doing here.
Some have faith that they do, but no one knows.

So we are scared.
We are alone.
We end.
And we don’t know where we go.

So we cling to money for comfort.
And we chase awards for immortality.
And we hide in the routine of our days.

But then the night.
Always the night.

Which, when it has you alone, whispers that
maybe none of this has any significance.

So love everyone you’re with.
Because comforting each other
on this journey we neither asked for
nor understand
is the best we can do.

And laugh as much as you can.

 

​For more information on Stephan Pastis, please click here.​

Poem of the Week, by June Jordan

IMG_E8678

I used to assume that the basic principles of U.S. democracy –however unequally and poorly applied– were firmly in place and would remain so, and would see us through this current nightmare. But I don’t believe that anymore. When I read this poem the other day I literally jumped up and cheered, even though I was the only one in the house. The one thing I’d change about it (not that I’d change anything about June Jordan’s poetry, ever) would be to swap out “minorities” in the title for “citizens.” We are not beholden to our elected employees. They are beholden to us. This is our government. Poem of the Week, by the magnificent June Jordan.

 

Calling on All Silent Minorities, by June Jordan

HEY

C’MON
COME OUT

WHEREVER YOU ARE

WE NEED TO HAVE THIS MEETING
AT THIS TREE

AIN’ EVEN BEEN
PLANTED
YET

For more information on June Jordan, please click here.​

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Poem of the Week, by Lucille Clifton

IMG_6144
It’s a city of sound, said the Painter, sound and color and light. We were in Havana for a week, soaking it up through the soles of our feet. Miles and miles a day we walked the streets of Habana Vieja, Habana Centro, Vedado. It was gorgeous in an unearthly way, and so were the people.
IMG_E8645
The Cuban men were beautiful, the Cuban women were beautiful, and the Cuban children were beautiful. Everywhere was the sound of music and talking, the frites woman calling her haunting song, laughter and shouting and the high clear tones of solo trumpeters practicing in the far corners of public parks. 
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There was sadness and frustration too. Our friend, a star baseball pitcher in his youth, recruited by the Yankees —the Yanquis!– for their minor leagues: refused permission by his government to leave the country.
IMG_E8678
Our other friend who longed to study English abroad, and who could have, had she either the funds or any way to earn enough funds to buy a plane ticket out. Another who had managed, over many years, to save enough money to buy one of the 70-year-old classic American cars so beloved by the tourists, few of whom understand that the charming car represents life support for an entire extended family.
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Another friend who had taught English for twelve years and was now a tour guide who, when I asked her which she preferred, hesitated and then said, “Honestly? Teaching. Teaching is my first love. But you cannot support a family on $25 CUCs a month, and the government knows it but pretends it doesn’t.”
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We were there for a week, a week filled with poems and songs and stories. The poem below, by one of our greatest American poets, a woman who knew well the power of both womanhood and adversity, keeps coming to mind whenever I think of Habana.
IMG_8741
 
 
homage to my hips, by Lucille Clifton
 
these hips are big hips.
they need space to
move around in.
they don’t fit into little
petty places. these hips
are free hips.
they don’t like to be held back.
these hips have never been enslaved,
they go where they want to go
they do what they want to do.
these hips are mighty hips.
these hips are magic hips.
i have known them
to put a spell on a man and
spin him like a top
 
 
For more information about Lucille Clifton, please click here.

Poem of the Week, by Madeleine L’Engle

img_6107“It was a time like this. . . when all things fall apart.”

Once, long ago, I sat in the office of someone I was paying to listen to me and told her, crying and crying, all the ways that my life had fallen apart. The room felt close and narrow and so did the horizons of my world. Everything is broken, I said. I broke everything.

She listened and listened and then, unlike most people paid to listen, she sat up straight and leaned forward and fixed me with fierce eyes. And when you break something, like a bowl, what do you do? she said. You glue it back together or you go out and get a new one. This is your responsibility: to build a new life, and now. Not to sit around and cry. Get out there and get going.

Things are always falling apart. And it is always our responsibility to build them back up. So keep the faith, friends, keep the faith. Here’s to the coming new year. 

 

Into the Darkest Hour

            – Madeleine L’Engle 

It was a time like this,
war & tumult of war,
a horror in the air.
Hungry yawned the abyss –
and yet there came the star
and the child most wonderfully there.

It was a time like this
of fear & lust for power,
license & greed and blight –
and yet the Prince of bliss came into the darkest hour
in quiet & silent light.

And in a time like this
how celebrate his birth
when all things fall apart?
Ah! Wonderful it is:
with no room on the earth,
the stable is our heart.

​For more information on Madeleine L’Engle, please ​click here.

 

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Poem of the Week, by Li-Young Lee

img_5354Thirty years ago I stood in a kitchen reading through a letter of complaint sent to a business about one of their products. “Oh my God,” I remember saying. “Whoever wrote this letter is a horrible speller. And the grammar? Jeez!” Then I turned the page over and looked at the signature. And realized that the letter had been written by someone I loved, someone who had worked incredibly hard their whole life long, someone who could always be counted on to help, someone who was right there in the room. 

That memory has haunted me ever since. When I think about it, the sensation of shame that flooded through me in that moment, that almost made me fall on my knees, was the beginning of a long slow road that brought me to where I am now, a writer and a teacher of writing who doesn’t care how bad her students’ spelling and grammar are. I am so so sorry, a student wrote me last week, thank you for being so patient and correcting my horrible spelling. All my terrible mistakes must feel like fingernails on a chalkboard to you.

But they don’t. I don’t care anymore about things like that. The surface doesn’t matter to me. Years and years of listening to others’ stories and watching others’ faces when their mistakes are pointed out, when they’re being laughed at, when they smile and smile and smile while their eyes fill with tears, have softened and gentled me. They have turned me into someone who will sit with her laptop propped on her lap and spend whatever time it takes to see through to the golden, glowing sun that shines beneath all those halting sentences. 

 

Persimmons, by Li-Young Lee

In sixth grade Mrs. Walker 
slapped the back of my head 
and made me stand in the corner  
for not knowing the difference  
between persimmon and precision.  
How to choose 

persimmons. This is precision. 
Ripe ones are soft and brown-spotted.  
Sniff the bottoms. The sweet one 
will be fragrant. How to eat: 
put the knife away, lay down newspaper.  
Peel the skin tenderly, not to tear the meat.  
Chew the skin, suck it, 
and swallow. Now, eat 
the meat of the fruit, 
so sweet, 
all of it, to the heart. 

Donna undresses, her stomach is white.  
In the yard, dewy and shivering 
with crickets, we lie naked, 
face-up, face-down. 
I teach her Chinese. 
Crickets: chiu chiu. Dew: I’ve forgotten.  
Naked:   I’ve forgotten. 
Ni, wo:   you and me. 
I part her legs, 
remember to tell her 
she is beautiful as the moon. 

Other words 
that got me into trouble were 
fight and fright, wren and yarn. 
Fight was what I did when I was frightened,  
Fright was what I felt when I was fighting.  
Wrens are small, plain birds,  
yarn is what one knits with.
Wrens are soft as yarn. 
My mother made birds out of yarn.  
I loved to watch her tie the stuff;  
a bird, a rabbit, a wee man. 

Mrs. Walker brought a persimmon to class  
and cut it up 
so everyone could taste 
a Chinese apple. Knowing 
it wasn’t ripe or sweet, I didn’t eat 
but watched the other faces. 

My mother said every persimmon has a sun  
inside, something golden, glowing,  
warm as my face. 

Once, in the cellar, I found two wrapped in newspaper,  
forgotten and not yet ripe. 
I took them and set both on my bedroom windowsill,  
where each morning a cardinal 
sang, The sun, the sun. 

Finally understanding  
he was going blind, 
my father sat up all one night  
waiting for a song, a ghost.  
I gave him the persimmons,  
swelled, heavy as sadness,  
and sweet as love. 

This year, in the muddy lighting 
of my parents’ cellar, I rummage, looking  
for something I lost. 
My father sits on the tired, wooden stairs,  
black cane between his knees, 
hand over hand, gripping the handle. 
He’s so happy that I’ve come home. 
I ask how his eyes are, a stupid question.  
All gone, he answers. 

Under some blankets, I find a box. 
Inside the box I find three scrolls. 
I sit beside him and untie 
three paintings by my father: 
Hibiscus leaf and a white flower. 
Two cats preening. 
Two persimmons, so full they want to drop from the cloth. 

He raises both hands to touch the cloth,  
asks, Which is this? 

This is persimmons, Father. 

Oh, the feel of the wolftail on the silk,
the strength, the tense
precision in the wrist.
I painted them hundreds of times
eyes closed. These I painted blind.
Some things never leave a person:
scent of the hair of one you love,
the texture of persimmons,
in your palm, the ripe weight.

 

​For more information on Li-Young Lee, please ​click here.