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Emily
    01/17/06 at 03:32 PM
  Reply with quote#1

Seemed like a natural progression - poems you like, poems you wrote, other poetry-related stuff, etc. 

 

I wanted to kick things off by sharing with you all this great interview of poet Li-Young Lee.  I re-read the interview this weekend, and is often the case with re-reads, it suddenly had a different meaning to me. 

 

I apologize, but the last two pages are missing from this excerpt- I'll try to get them posted somehow tomorrow.

http://www.thesunmagazine.org/356_Lee.pdf

Emily
    01/17/06 at 03:36 PM
  Reply with quote#2

A couple of Lee's poems:

 

One Heart

Look at the birds.  Even flying

is born

 

out of nothing.  The first sky

is inside you, friend, open

 

at either end of day.

The work of wings

 

was always freedom, fastening

one heart to every falling thing.

 

~*~*~*~*~*~*

From Blossoms

From blossoms comes

this brown paper bag of peaches

we bought from the joy

at the bend in the road where we turned toward

signs painted Peaches.

 

From laden boughs, from hands,

from sweet fellowship in the bins,

comes nectar at the roadside, succulent

peaches we devour, dusty skin and all,

comes the familiar dust of summer, dust we eat.

 

O, to take what we love inside,

to carry within us an orchard, to eat

not only the skin, but the shade,

not only the sugar, but the days, to hold

the fruit in our hands, adore it, then bite into

the round jubilance of peach.

 

There are days we live

as if death were nowhere

in the background; from joy

to joy to joy, from wing to wing,

from blossom to blossom to

impossible blossom, to sweet impossible blossom.

 

Emily
    01/18/06 at 12:33 PM
  Reply with quote#3

Okay, here's the rest of the Lee interview (sorry for the gigantic post, the forum wouldn't let me upload it as a doc):

K&T: In The Winged Seed, you write about brining Communion to the disabled and the poor with your father. How did your experience of being a poor immigrant, and then watching your father minister to the poor, affect you?

Lee: I don’t know what to say about poverty. We were poor. At one point, my mother sold her wedding ring so we could bet by. But my father’s work brought him in touch with people who had even less. He saw astonishing suffering, destitution rivaling the worst slums of Jakarta or Hong Kong, except this was in rural Pennsylvania. In the area where we lived, the people earned their living mainly as coal miners and steelworkers, but most of the mines had closed down, and the mills were beginning to fold, so plenty of people were out of work. There was a lot of alcoholism. And there were those who didn’t even have money for alcohol. I was dumbfounded to find people in the twentieth century in the U.S. living in the hills in unheated shacks. I remember thinking, That guy lives in a shack and survives on squirrels and dandelion leaves. What the hell is this? Aren’t we in America? Traveling with my father to visit shut-ins, I saw shocking things, inhuman conditions.
        But I believe the experience was good for me. When my wife and I moved to Chicago with my mother and my siblings after my father’s death, we bought an old house that was falling down. It was a former crack house, but it was the only place my family could afford. The sheriff came and threw out the crack dealers and prostitutes, and we moved in. Everybody but me wanted to rehab the house. I kept saying no. When they asked me why, I said it was because if Father came back he wouldn’t recognize it, because he’d been so poor. I thought we had to live poor for his sake. Now, however, knowing a little of my own psychology, I realize I must have meant the father in me. I didn’t want to live in a nice place; I wanted to live in a poor place.
        We still live in the same house. Little by little, we’ve been working on it, and it’s been very painful for me. All my siblings, my wife, and my mother have been saying to me, “It’s OK, Li-Young. We can afford to have a new door. We don’t have to have an old door that is falling off its hinges.” It’s not that I want to romanticize poverty. It’s that I feel that’s where I belong - that poverty is in some sense essential.

K&T: Is poverty essential in terms of the lessons you learn from it?

Lee: Yes. I think it shapes the hierarchy of your values. If you’re poor, you realize that you wear terrible clothes that you got from the neighbor, and that when you’re done with them, you’re going to give them to your brother, and so on. On Christmas we had no real presents to give, so we gave one another presents from our own belongings. When you live like this, you ask, “What is my value in the world?” You know you can’t answer, “I’m rich,” or even, “I’m clean.” So you begin to value people differently. Does this mean that everybody should be poor? I would say that I was fortunate to experience poverty and fortunate to get out of it.

K&T: You’ve had a varied work life, including running a restaurant with your brothers and working in a warehouse. How have these different kinds of work affected you as a writer?

Lee: When my brothers and I owned a restaurant, it was magical. I enjoyed cooking with my brothers. I loved the people I met, and we even won an award for “Best Chicken Wings” at the Reading Terminal Market in Philadelphia. But it was hard work, too hard. I think physical labor is ennobling for about three minutes, and then it’s just drudgery.
        I work in a book warehouse now, in the summer, moving boxes of nursing textbooks, coffee-table books. Las summer my sons worked with me there for the first time. The first week, my oldest son said, “Hey, Babba, I can just work here the rest of my life and read books.” I told him to tell me how he felt after the third week. About the third week, he said “I don’t know how you do this. It’s just eight hours of the same thing. It’s boring, endless.” There’s no shape to that kind of work, no beginning or end. It’s drudgery, heavy and dark. So by the third week my son said he didn’t want to work there anymore, and that he was going to college.
        I keep working there for security: I know, when things get tough, I’ll still have a job. But it doesn’t leave my mind free for other things. Mind is body, and body is mind, right? So if your body gets drained, your mind gets drained. If I could do whatever I wanted to do, I’d read books, take walks with my wife and my kids, and write poems. Basically, I’m pretty lazy.

K&T: Many of your poems seem to be addressed to an unseen God who is nonetheless tangibly present, a physical force. How does your dialogue with this presence inform what you write?

Lee: I feel that the poems are addressed to an “all”: the stars, the trees, the birds - everything. When I’m writing a poem, I feel as if the whole future of the universe depended on that poem. Of course, I laugh as I say this, but I do feel this way. Somebody asked Gerald Stern after 9/11 if he could write a poem for the occasion. He responded: “I already did. It’s all I have been doing.” In a way, every poem is written at Ground Zero. Yehuda Amichai said, “Every poem I write takes all of human history into consideration, all the atrocities, all the good stuff, and it’s the last poem I’m going to write.” So there you are, writing at Ground Zero all the time. The audience is everything: birds, trees, stars, women, children, men, grandmothers, aunts, uncles. Everybody is listening.

K&T: Although God is a constant presence in your poems, you do not invoke God in purely Christian terms. How do you define your belief, if at all?

Lee: Taoism speaks of “the way,” which is, ultimately, the will of God. If you feel that will working every day in your life, then everything will be all right, because you abide by that will.
        I feel that God is a mystery, but it’s the only subject for me, because I sense that God is our deepest identity. If a work of art lacks the presence of God, then it’s not even art to me. For me, the definition of poetry is very narrow, but then, my definition of God is very wide. So, for instance, I would say that God is all through the poetry of Robert Frost, even though he was an atheist. In Frost’s work, the surface subject is people, but there is a deeper divinity in all his lines, a will that is beyond Frost’s personal will.
        The “problem of problems,” as Sigmund Freud put it, is the ethical problem: right and wrong, good and bad. If a poet doesn’t tackle this problem, doesn’t face it down and come to a conclusion, then her or she is just making knickknacks, just decorating. I believe the only possible ethical consciousness is one that accounts for the whole of human being, that doesn’t leave any of it out - and this is precisely what poetry can achieve. On a social scale, this would be a government that accounts for all of its population - the poor, the rich, women, men, children, old people, black, white. Poetry is a way to integrate all of who we are: the saint, the murderer, all of it. By this, I don’t mean to suggest that we give the murderer free rein, but we have to account for that aspect of human psychology and understand it, not just push it aside.

K&T: Jewish theologian Martin Buber spoke of this question of ethics in his book I and Thou. I he an important writer and thinker for you?

Lee: I would want to move past “I and thou” to “I and I.” What if we could we could walk through the world and practice “I and I”? Christ said this, right? Treat your neighbor as yourself. If we looked at everything in the world as ourselves, the that would be complete enlightenment. We could never hurt another person after that. But we’re so unenlightened, we haven’t even gotten to the point of simply loving ourselves. There are plenty of people cutting themselves, killing themselves, drinking themselves to death. I believe the practice of poetry can help us move toward loving all of who we are. It can help us become more comfortable with things in ourselves that we don’t like.

K&T: What you’re saying might be true for the person who writes poems, but what about people who only read poetry?

Lee: That would be like only having heard about the burning bush. You’ve got to write poetry. If you just read it, then you can only hear about the burning bush, but if you write it, then you sit inside the burning bush. I have friends who way, “The only people who read poetry are people who write it.” I think, Well, of course. An everybody should be writing it.
Rob
    01/18/06 at 02:05 PM
  Reply with quote#4

Here's a good one:

Let Nothing In But Art

Let nothing in but art

Ignore the temporal
Daily doings atrophy
The muscle of purpose

Rather than grapple flee
Dart like the doe
Dodge like the eel

Defy encumbrance
Nothing bought is something freed
Density hardens the spirit

Abandon enumeration
Numbers gather like mourners
Records make caskets of our days

Shut the door to dreams

4/94-1/21/95, 2/10/98, 3/15, 3/30/98, 5/27/98

Copyright 1998 by Maurice Leiter


susan
    01/19/06 at 12:04 AM
  Reply with quote#5

Great thread Emily, thanks for sharing Li-Young Lee. One Heart is amazing.

 

An epigram by Thoreau - My life has been the poem.

 

My life has been the poem I would have writ,

But I could not both live and utter it.

 
duncan
    01/29/06 at 10:55 AM
  Reply with quote#6

He Wishes for the Cloths of Heaven - W B Yeats

Had I the heavens' embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
duncan
    01/29/06 at 10:55 AM
  Reply with quote#7

Wishes, For Alix - James A. Emanuel

Always searching, may you find;
if you run-down,
may you wind;
every year
may you grow
reaping only
what you sow
sowing only in the seed
what will ripen into need
what will sweeten to the touch
seeming little, being much.

May your playmates be a song,
may your friends just skip along
laughing you into their game
letting you remain the same
in their hearts and on their lips
even when their fingertips
have to let you go your way—
glad they saw Alix today.
susan
    01/29/06 at 03:29 PM
  Reply with quote#8

yes - Yeats!

 

from When You are Old

 

How many loved your moments of glad grace,

And loved your beauty with love false or true,

But one man loved the pilgrim sould in you,

And loved the sorrows of your changing face

susan
    01/29/06 at 03:31 PM
  Reply with quote#9

ooo - no edit function - some of us really need the edit function:

 

that should have read

 

but one man loved the pilgrim soul in you

Lynne
    02/12/06 at 01:34 PM
  Reply with quote#10

A poem for Valentine's Day, reposting from last year on the BHTM message board. The first version is in English and then the original French version that I found on the web. As we know, Andre Breton coined the phrase "surrealism." This poem appeared in a book called, "Technicians of the Sacred," I think because it has a chant like quality  that draws on imagery of the subconscious much like shamans do during ceremonies when trying to connect to the universal or divine. (Thanks for suggesting this, Cindy)

 

Free Union (1931)

Andre' Breton, 1896-1966

Trans. David Antin from "L'Union Libre"

 

My wife whose hair is a brush of fire

Whose thoughts are summer lightning

Whose waist is an hourglass

Whose waist is the waist of an otter caught in the teeth of a tiger

Whose mouth is a bright cockade with the fragrance of a star of the first magnitude

Whose teeth leave prints like the tracks of whitemice over snow

Whose tongue is made out of amber and polished glass

Whose tongue is a stabbed wafer

The tongue of a doll with eyes that open and shut

Whose tongue is incredible stone

My wife whose eyelashes are strokes in the handwriting of a child

Whose eyebrows are nests of swallows

My wife whose temples are the slate of greenhouse roofs

With steam on the windows

My wife whose shoulders are champagne

Are fountains that curl from the heads of dolphins over the ice

My wife whose wrists are matches

Whose fingers are raffles holding the ace of hearts

Whose fingers are fresh cut hay

My wife with the armpits of martens and beech fruit

And Midsummer Night

That are hedges of privet and nesting places for sea snails

Whose arms are of sea foam and a land locked sea

And a fusion of wheat and a mill

Whose legs are spindles

In the delicate movements of watches and despair

My wife whose calves are sweet with the sap of elders

Whose feet are carved initials

Keyrings and the feet of steeplejacks who drink

My wife whose neck is fine milled barley

Whose throat contains the Valley of Gold

And encounters in the bed of the maelstrom

My wife whose breasts are of the night

And are undersea molehills

And crucibles of rubies

My wife whose breasts are haunted by the ghosts of dew-moistened roses

Whose belly is a fan unfolded in the sunlight

Is a giant talon

My wife with the back of a bird in vertical flight

With a back of quicksilver

And bright lights

My wife whose nape is of smooth worn stone and wet chalk

And of a glass slipped through the fingers of someone who has just drunk

My wife with the thighs of a skiff

That are lustrous and feathered like arrows

Stemmed with the light tailbones of a white peacock

And imperceptible balance

My wife whose rump is sandstone and flax

Whose rump is the back of a swan and the spring

My wife with the sex of an iris

A mine and a platypus

With the sex of an algae and old fashioned candles

My wife with the sex of a mirror

My wife with eyes full of tears

With eyes that are purple armor and a magnetized needle

With eyes of savannahs

With eyes full of water to drink in prisons

My wife with eyes that are forests forever under the axe

My wife with eyes that are the equal of water and air and earth and fire.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

 

L'Union Libre`

Andre Breton

 

Ma femme à la chevelure de feu de bois

Aux pensées d'éclairs de chaleur

A la taille de sablier

Ma femme à la taille de loutre entre les dents du tigre

Ma femme à la bouche de cocarde et de bouquet d'étoiles de

dernière grandeur

Aux dents d'empreintes de souris blanche sur la terre blanche

A la langue d'ambre et de verre frottés

Ma femme à la langue d'hostie poignardée

A la langue de poupée qui ouvre et ferme les yeux

A la langue de pierre incroyable

Ma femme aux cils de bâtons d'écriture d'enfant

Aux sourcils de bord de nid d'hirondelle

Ma femme aux tempes d'ardoise de toit de serre

Et de buée aux vitres

Ma femme aux épaules de champagne

Et de fontaine à têtes de dauphins sous la glace

Ma femme aux poignets d'allumettes

Ma femme aux doigts de hasard et d'as de coeur

Aux doigts de foin coupé

Ma femme aux aisselles de martre et de fênes

De nuit de la Saint-Jean

De troène et de nid de scalares

Aux bras d'écume de mer et d'écluse

Et de mélange du blé et du moulin

Ma femme aux jambes de fusée

Aux mouvements d'horlogerie et de désespoir

Ma femme aux mollets de moelle de sureau

Ma femme aux pieds d'initiales

Aux pieds de trousseaux de clés aux pieds de calfats qui boivent

Ma femme au cou d'orge imperlé

Ma femme à la gorge de Val d'or

De rendez-vous dans le lit même du torrent

Aux seins de nuit

Ma femme aux seins de taupinière marine

Ma femme aux seins de creuset du rubis

Aux seins de spectre de la rose sous la rosée

Ma femme au ventre de dépliement d'éventail des jours

Au ventre de griffe géante

Ma femme au dos d'oiseau qui fuit vertical

Au dos de vif-argent

Au dos de lumière

A la nuque de pierre roulée et de craie mouillée

Et de chute d'un verre dans lequel on vient de boire

Ma femme aux hanches de nacelle

Aux hanches de lustre et de pennes de flèche

Et de tiges de plumes de paon blanc

De balance insensible

Ma femme aux fesses de grès et d'amiante

Ma femme aux fesses de dos de cygne

Ma femme aux fesses de printemps

Au sexe de glaïeul

Ma femme au sexe de placer et d'ornithorynque

Ma femme au sexe d'algue et de bonbons anciens

Ma femme au sexe de miroir

Ma femme aux yeux pleins de larmes

Aux yeux de panoplie violette et d'aiguille aimantée

Ma femme aux yeux de savane

Ma femme aux yeux d'eau pour boire en prison

Ma femme aux yeux de bois toujours sous la hache

Aux yeux de niveau d'eau de niveau d'air de terre et de feu

 

duncan
    02/12/06 at 02:12 PM
  Reply with quote#11

I remember you posting that last year, Lynne. Great stuff! Thanks for posting it again.
Emily
    02/14/06 at 10:48 AM
  Reply with quote#12

Passion makes the old medicine new:

Passion lops off the bough of weariness.

Passion is the elixir that renews:

how can there be weariness

when passion is present?

Oh, don't sigh heavily from fatigue:

seek passion, seek passion, seek passion!

~ Rumi

 

 

Happy Valentine's Day all!

ps - great post Lynne!

Lynne
    02/15/06 at 11:27 AM
  Reply with quote#13

Thanks for the Rumi verse, Emily. I'm really not familiar with Rumi, but I like that.

Here's one or two by Robert Hunter.

Lady of Carlisle

Down in Carlisle, there lived a lady
Being most beautiful and gay
She was determined to stay a lady
No man on earth could her betray

Unless it was a man of honor
A man of honor, and high degree
And then there came two loving soldiers
This fair lady for to see

The first one being a brave lieutenant
A brave lieutenant, a man of war
The other being a bold sea captain
Known on the deck as Jack O'Roses

And then up spoke this fair young lady
"I can't be but one man's bride
If you come back tomorrow morning
On this case we shall decide"

She ordered her a span of horses
Span of horses at her command
Off they rode, these two did ride
Until they came to the lions' den

There she stopped and there she halted
These two soldiers stood gazing round
For the space of half an hour
This young lady lay speechless on the ground

When at last she did recover
She threw her fan in the lions' den
Saying "Which of you to gain a lady
Will return my fan again?"

Then up spoke the brave lieutentant
In a voice both loud and thin
Said "You know a dear lover of women
But I will not give my life for them"

Then up spoke the Jack O' Roses
In a voice both loud and high
Said "You know I am a dear lover of women
I will return your fan or die"

In the lions' den he boldy entered
The lions being both loud and fierce
Then asleep he walked among them
And returned her fan to her

When she saw her true love coming
Seeing no harm to him was done
She threw herself against his bosom
Saying "Here is the prize that you have won,
Here is the prize that you have won"
>>>>>>>>>

Lady with a Fan

Let my inspiration flow, in token rhyme suggesting rhythm
That will not forsake me, till my tale is told and done
While the fire lights aglow, strange shadows from the flames will grow
Till things we've never seen will seem familiar

Shadows of a sailor forming winds both foul and fair, all swarm
Down in Carlisle he loved a lady many years ago
Here beside him stands a man, a soldier by the looks of him,
Who came through many fights, but lost at love

While the story teller speaks, a door within the fire creaks,
Suddenly flies open, and a girl is standing there
Eyes alight, with glowing hair, all that fancy paints as fair
She takes her fan and throws it in the lion's den.

Which of you to gain me, tell, will risk uncertain pains of hell?

I will not forgive you if you will not take the chance
The sailor gave at least a try; the soldier, being much too wise,
Strategy was his strength, and not disaster

The sailor, coming out again, the lady fairly leapt at him
That's how it stands today. You decide if he was wise
The story teller makes no choice, soon you will not hear his voice
His job is to shed light, and not to master

Since the end is never told we paid the teller off in gold
In hopes he will come back, but he cannot be bought or sold
>>>>>>>>

Kathy
    02/15/06 at 05:12 PM
  Reply with quote#14

Lynne, I got chills! Is this the Grateful Dead's Robert Hunter? I am ofen put off by poetry because I need to hear music at the same time, but I DID hear music reading this Hunter stuff...wow! I enjoy Rumi, too. Always, you folks really know what I like to or need to hear here.

Lynne
    02/15/06 at 09:13 PM
  Reply with quote#15

This is the beginning of Terrapin Station. Robert Hunter is sublime.
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