“in signs / We would smooth out like imprints on a bed”

This week I found myself unprepared with a new poem to memorize, so I turned to The Poetry Foundation’s website for a fresh read. I found there a profile of Gjertrud Schnackenberg, and I loved the few poems available on the site to read.  I chose “Signs” to memorize (length, always length, alas). It’s sharp, unexpected, and fast — wheeling from palm-reading to a formation of geese to an airplane crash to a “housefly’s panicked scribbling on the air” without time for the reader to catch a breath.

“Signs” appeared in the June 1974 issue of Poetry.

“Dios padre sus miles de mundos / mece sin ruido” // ” God the father his thousands of worlds / rocks without sound”

Chilean poet Gabriela Mistral was the first Latin American author to win the Nobel Prize for Literature, so you’d think her poems would be easy to find, since, you, know, she’s pretty darn awesome.

Not so.

I comb bookshelves on a fairly regular basis, and in, say, the ten years that I’ve been on the lookout for one of her books, I’ve never found one.

But the interwebs is a blessing, despite its many flaws, and on Powells.com I found a true gem: a third printing of a 1957 volume of Mistral’s poetry translated by Langston Hughes. THE Langston Hughes. Doubly awesome.

The book’s shortcoming is that it doesn’t include the poems in the original Spanish, but after ten years, I’ll take it. Of course, those ten years took most of my fluency in Spanish with them, but c’est la vie. Sorry. Es la vida. If you’d like a side-by-side translation, you might check out Ursula K. LeGuin’s newer edition, also on Powell’s.

These past few weeks we’ve been watching our son make an speedy transition from babydom into boyhood, and I’m feeling a little nostalgic, so out of the many lovely poems in this volume, I’m learning “Cradle Song” or “Meciendo” in Spanish, which means “rocking.” It’s sweet without becoming treacly, and, as you’d expect, it’s quite rhythmic and repetitive. Underneath the poem runs a current of power and tragedy, which presages, I think, Mistral’s later, dark work. “Meciendo” comes from her early volume Desolacion.

I’m going to try to learn the poem in Spanish. As far as I can tell, Hughes’s translation is less literal than Le Guin’s, but each has its own advantages. I might try my own translation — I’ll post an update next week.

“The flash across the gap of being”

Howard Nemerov is a poet whose work I’d like to know better. He’s the favorite poet of one of my poetry-inclined uncles, and when I took the time to flip through The Selected Poems of Howard Nemerov, I was amazed by the versatility, the breadth, the sheer variety of his work. It’s meaty poetry, the kind that requires many days of reading and re-reading to achieve an understanding.

It was difficult to choose a poem to memorize, since so many in even this small collection are appealing, but I landed on “Moment” for its length (just fifteen lines) and the way the simplicity of the title underscores the complexity of the thought within the poem, which juxtaposes some dozen images with the repeated word “now.” What begins with “Now” and a “starflake” crescendoes to “the mind of God” and the inevitable “now.”  The poem is one sentence, and I found the moments when I needed to take a breath underscored the “nowness” as well. And I’m a sucker for good linebreaks, if you couldn’t tell, and here’s one for the ages: “And now is quiet in the tomb as now / Explodes inside the sun, and it is now” (10-11).

What a mind at work. I’ll be back for more.

“a thread of her devising”

Charlotte’s Web may be the book I’m most looking forward to reading with my small son. I remember my mother reading it to me, and in particular the calm, gracious way she delivered Charlotte’s classic “Salutations.”

[Actually, in many ways, my mother reminds me of Charlotte: inventive and resourceful, especially when protecting the people she loves; ready to sacrifice for her children; and possessed of a remarkable facility with language.]

E.B. White, who wrote Charlotte’s Web, and Stuart Little, and The Trumpet of the Swan, is also the White in Strunk & White, whose Elements of Style is a perennial classic, the pronouncements of which I fear my writing never lives up to.

It should come as no surprise, then, that White is gifted writer in many genres. “Once More to the Lake” is a particular favorite of mine, an essay that neatly encapsulates the tension between childhood and adulthood, memory and the present. His letters are kind and witty (read a wonderful example at Letters of Note), and I’d like to find a volume of them the next time I’m haunting a used bookstore.

A used bookstore is where I found a paperback edition (1983, I believe) of Poems and Sketches of E.B. White. Someone wrote a lovely inscription on the title page that refers to White’s death in 1985:

To dear B–,

In memory of the era that ended during our ’85 visit. How sad- but he will live in our memories & his words will continue to entertain and bind us!

With much love,  K, [unclear name here] & S*

It’s a delightful book; open to any page and there’s something to amuse or interest. This week I’l be memorizing the poem “Natural History,” addressed to White’s wife, Katharine. It’s a short, delicate poem in which the speaker compares himself to a spider, attached to the point of his leaving (his wife) by a silken strand, to aid in his returning. If I were to teach the poem, it would make a lovely pairing with Donne’s “A Valediction: Forbidding Mourning.”

*I’ve redacted the names of the recipient and the gift-givers to protect their privacy, whomever they may be.

“velvet between the tiles”

I came to Adrienne Rich  (1929-2012) through her book Of Woman Born: Motherhood as Experience and Institution, which I leafed through while I was researching my (still, predictably, unfinished) dissertation. Her sharp, sometimes angry voice snared me, and I’m happy to be hooked.

This week I’m learning “She” from Rich’s An Atlas of the Difficult World: Poems 1988-1991. “She” is dated 1988. It’s a poem about barriers, collection, cleaning, about the dirtiness and dust that accumulates around us and in us. I like that the poem asks the reader to bring the title (she) back into the poem when a new sentence begins; to me, it feels as if Rich is asking the reader to be, in a small way, a co-writer of the poem, to realize it fully in the reading.

You can purchase the collection here.

“a music that he didn’t hear”

This week, I’m learning Robert Hass’s “Envy of Other People’s Poems.” In ten lines, it asks us how our perception of others’ perceptions of us (get that?) changes us, how myth becomes wrapped in fact. I love the way he describes the sounds of the sea that Odysseus can’t or won’t hear.

“Envy of Other People’s Poems” appears in Hass’s Time and Materials, which won the Pulitzer Prize in 2008. You can find the book here. (“Etymology” is one of my other favorites from the collection.)

“My tippet–only tulle”

This week, I’m returning to a poem I first read in the eleventh grade, Emily Dickinson’s “Because I could not stop for Death.” I loved it then for its vivid imagery and off-rhymes, and now for that and for the deft balance between humor and horror.  And that dash at the poem’s end — masterful.

Here’s the poem:

Because I could not stop for Death – 
He kindly stopped for me –  
The Carriage held but just Ourselves –  
And Immortality.

We slowly drove – He knew no haste
And I had put away
My labor and my leisure too,
For His Civility – 

We passed the School, where Children strove
At Recess – in the Ring –  
We passed the Fields of Gazing Grain –  
We passed the Setting Sun – 

Or rather – He passed us – 
The Dews drew quivering and chill – 
For only Gossamer, my Gown – 
My Tippet – only Tulle – 

We paused before a House that seemed
A Swelling of the Ground – 
The Roof was scarcely visible – 
The Cornice – in the Ground – 

Since then – 'tis Centuries – and yet
Feels shorter than the Day
I first surmised the Horses' Heads 
Were toward Eternity –

“Inside half-heaven unfolds”

Most Like an Arch This Marriage

John Ciardi (1916-1986)

Three years ago today, my now-husband got down on one knee on a very, very cold beach (in his hometown on Cape Cod), and proposed. The scene behind him looked like an Edward Hopper painting; the waves were blue and barely white-tipped, and a pale house with black shutters on bluff, far, far down the beach stood out against the sky. The air was so cold that it gave everything we saw an extra sharpness. Each rock and stone stood out against the nearly cloudless sky and the coarse sand of the beach.

We got a feel for that extra sharpness when we both fell, laughing and crying, after I tried to hug Ben.  Monuments of grace we are not, but we’re lucky, three years later, to be as happily in love as we were that day.

This week I thought I’d memorize one of the six poems that our friends and family members read at our wedding (we chose two prose selections too, but that’s for another time). My dear friend Aaron read “Most Like An Arch This Marriage” for us, and you can read it here.

“life’s not a paragraph”

[since feeling is first]

E.E. Cummings (1894-1962)

It’s the first of the year, so a poem that includes “first” in its first line seems appropriate.

For years, starting with an unfortunate foray into “anyone lived in a pretty how town” with a dreadful textbook and checked-out teacher, I was turned off by Cummings’s unconventional punctuation, phrasing, linebreaks, and structure. But now, firmly ensconced in my late twenties, life looks a little more messy than it did at sixteen, and so I rather like the way the lines of this poem splay across the page. I like that I’m left wondering what the “best gesture” of the speaker’s brain might be.

You can read the poem that begins, “since feeling is first” here, at the Writer’s Almanac, and you may find more about E.E. Cummings here, at The Poetry Foundation.