"You want it to be one way. But it's the other way."
Decomposition I don't know and I don't know what to do about it. There was just a point where I lost heart for judgments and was swept into the voluptuous, harrowing complexities composing a single breath. —Jim Dodge, Rain on the River
Who made the world?
Who made the swan, and the black bear?
Who made the grasshopper?
This grasshopper, I mean --
the one who has flung herself out of the grass,
the one who is eating sugar out of my hand,
who is moving her jaws back and forth instead of up and down --
who is gazing around with her enormous and complicated eyes.
Now she lifts her pale forearms and thoroughly washes her face.
Now she snaps her wings open, and floats away.
I don't know exactly what a prayer is.
I do know how to pay attention, how to fall down
into the grass, how to kneel down in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn't everything die at last, and too soon?
Tell me, what is it you plan to do
with your one wild and precious life?
From “Naming of Parts“:
“They call it easing the Spring: it is perfectly easy
If you have any strength in your thumb: like the bolt,
And the breech, and the cocking-piece, and the point of balance,
Which in our case we have not got; and the almond-blossom
Silent in all of the gardens and the bees going backwards and forwards,
For to-day we have naming of parts.”
Wonderful poem, which I encountered in a junior college composition class I needed to take to get into Berkeley. Wonderful class, too: the instructor was a poet who lived up in the Richmond hills. I groped, as I often do, for what this poem was saying. Seems pretty obvious now. (And if one wants to read more on Henry Reed, who seems worth the time, here’s a wonderful website dedicated to his work. That’s three “wonderfuls” in the same paragraph. I’m out.)
The closing lines of “A Child’s Christmas in Wales.” My favorite part of one of my favorite poems. Merry Christmas, wherever you are on this Christmas night.
“… Always on Christmas night there was music.
An uncle played the fiddle, a cousin sang
‘Cherry Ripe,’ and another uncle sang ‘Drake’s Drum.’
It was very warm in the little house.
Auntie Hannah, who had got on to the parsnip
wine, sang a song about Bleeding Hearts and Death,
and then another in which she said her heart
was like a Bird’s Nest; and then everybody
laughed again; and then I went to bed.
“Looking out my bedroom window, out into
the moonlight and the unending smoke-colored snow,
I could see the lights in the windows
of all the other houses on our hill and hear
the music rising from them up the long, steadily
falling night. I turned the gas down, I got
into bed. I said some words to the close and
holy darkness, and then I slept.”
Technorati Tags: christmas
Two or three weeks ago in my Irish history class, we were going over the World War I years. One of the things the professor does is weave in poetry and song; he has even sung a song or two despite the palpable discomfort of many of his auditors. For the poetry, his habit is to declaim a stanza or two unless the piece is quite short. During the World War I lecture, he brought in a sonnet by a man well-known in Ireland but little known elsewhere: Tom Kettle.
Kettle was an Irish nationalist of the Home Rule stripe. Meaning: He hoped for an independent Ireland, but supported a campaign to create an Irish government that would still be part of the British Empire. Just as that goal was about to be realized, the European war broke out. When the fighting began, in August 1914, Kettle was in Belgium trying to buy guns for Irish nationalist militias. Instead, he spent several months helping the Belgians in their futile bid to hold off the German onslaught. Prompted largely by what he had seen, he volunteered for service in the British army when he returned home and recruited fellow Irishmen into the ranks. Among radical nationalists, who held to the age-old position that England’s difficulty was Ireland’s opportunity, Kettle’s position was akin to a sellout. When the nationalists launched the Easter Rising in Dublin in 1916, Kettle was devastated; though in poor health, he asked for a front-line combat position. He was sent to France to join an Irish unit in the Battle of the Somme.
It was there that he wrote “To My Daughter Betty, The Gift of God”:
In wiser days, my darling rosebud, blown
To beauty proud as was your mother’s prime,
In that desired, delayed incredible time,
You’ll ask why I abandoned you, my own,
And the dear heart that was your baby’s throne
To dice with death. And, oh! they’ll give you rhyme
And reason: some will call the thing sublime,
And some decry it in a knowing tone.
So here, while the mad guns curse overhead,
And tired men sigh, with mud for couch and floor,
Know that we fools, now with the foolish dead,
Died not for flag, nor King, nor Emperor,
But for a dream, born in a herdsman’s shed,
And for the secret Scripture of the poor.
The poem’s postscript reads: “In the field before Guillemont, Somme. September 4, 1916.” Kettle died leading his troops into action five days later.
Technorati Tags: ireland
And while we’re considering the reflective life, the musing life, the self-conscious life (OK, I was considering it — you don’t have to), there’s this from Walt Whitman:
“It is not upon you alone the dark patches fall,
The dark threw patches down upon me also;
The best I had done seem[d to me blank and suspicious;
My great thoughts, as I supposed them, were they not in reality meagre?
It is not you alone who know what it is to be evil;
I am he who knew what it was to be evil;
I too knitted the old knot of contrariety,
Blabb’d, blush’d, resented, lied, stole, grudg’d,
Had guile, anger,lust, hot wishes I dared not speak,
Was wayward, vain, greedy, shallow, sly, cowardly, malignant;
The wolf, the snake, the hog, not wanting in me;
The cheating look, the frivolous word, the adulterous wish, not wanting,
Refusals, hates, postponements, meanness, laziness, none of these wanting.
I was call’d by my nighest name by clear loud voices of young men as they saw me approaching or passing,
Felt their arms on my neck as I stood, or the negligent leaning of their flesh against me as I sat,
Saw many I loved in the street, or ferry-boat, or public assembly, yet never told them a word,
Lived the same life with the rest, the same old laughing, gnawing, sleeping,
Play’d the part that still looks back on the actor or actress,
The same old role, the role that is what we make it, as great as we like,
Or as small as we like, or both great and small. “