We talked about the fact …
We talked about the fact that
it wasn’t the danger,
it wasn’t the skill,
it wasn’t the applause
that made the act what it was.
It was principally the grace;
the bringing into being,
for a moment,
the beautiful thing,
the entrechat on horseback.
of course, has something to do
with it. It is pleasant
to know you can do anything
so difficult. It is good when you
have mastered it, and you are
really in competition with yourself.
“When we make a mistake in
the ring we are very angry. The
audience doesn’t know, but we
But it is a pleasure
to do anything
and do it
No Hemlock Rock (don’t kill yourself)
(Jennifer Michael Hecht)
Don’t kill yourself. Don’t kill yourself.
Don’t. Eat a donut, be a blown nut.
That is, if you’re going to kill yourself,
stand on a street corner rhyming
seizure with Indonesia, and wreck it with
racket. Allow medical terms.
Rave and fail. Be an absurd living ghost,
if necessary, but don’t kill yourself.
Let your friends know that something has
passed, or be glad they’ve guessed.
But don’t kill yourself. If you stay, but are
bat crazy you will batter their hearts
in blooming scores of anguish; but kill
yourself, and hundreds of other people die.
Poison yourself, it poisons the well;
shoot yourself, it cracks the bio-dome.
I will give badges to everyone who’s figured
this out about suicide, and hence
refused it. I am grateful. Stay. Thank
you for staying. Please stay. You
are my hero for staying. I know
about it, and am grateful you stay.
Eat a donut. Rhyme opus with lotus.
Rope is bogus, psychosis. Stay.
Hocus Pocus. Hocus Pocus.
Dare not to kill yourself. I won’t either.
(For some reason, this poem makes me really happy and hopeful.)
The memory of this poem lodged in my mind this morning at work, and I haven’t been able to shake it off. I found it pasted on the front page of my marble composition notebook journal from the spring I lived in London. I still think it’s magic.
To Lou Andreas-Salome (Rainer Maria Rilke)
I held myself too open, I forgot
that outside not just things exist and animals
fully at ease in themselves, whose eyes
reach from their lives’ roundedness no differently
than portraits do from frames; forgot that I
with all I did incessantly crammed
looks into myself; looks, opinion, curiosity.
Who knows: perhaps eyes form in space
and look on everywhere. Ah, only plunged toward you
does my face cease being on display, grows
into you and twines on darkly, endlessly,
into your sheltered heart.
As one puts a handkerchief before pent-in-breath-
no: as one presses it against a wound
out of which the whole of life, in a single gush,
wants to stream, I held you to me: I saw you
turn red from me. How could anyone express
what took place between us? We made up for everything
there was never time for. I matured strangely
in every impulse of unperformed youth,
and you, love, had wildest childhood over my heart.
Memory won’t suffice here: from those moments
there must be layers of pure existence
on my being’s floor, a precipitate
from that immensely overfilled solution.
For I don’t think back; all that I am
stirs me because of you. I don’t invent you
at sadly cooled-off places from which
you’ve gone away; even your not being there
is warm with you and more real and more
than a privation. Longing leads out too often
into vagueness. Why should I cast myself, when,
for all I know, your influence falls on me,
gently, like moonlight on a window seat.
I haven’t celebrated baseball or National Poetry Month enough.
Baseball (Gail Mazur)
the question of what makes a man
slump when his form, his eye,
his power aren’t to blame, this isn’t
like the bad luck that hounds us,
and his frustration in the games
not like our deep rage
for disappointing ourselves
the ball park is an artifact,
manicured, safe, “scene in an Easter egg”,
and the order of the ball game,
the firm structure with the mystery
of accidents always contained,
not the wild field we wander in,
where I’m trying to recite the rules,
to repeat the statistics of the game,
and the wind keeps carrying my words away
Prayer In My Boot (Naomi Shihab Nye)
For the wind no one expected
For the boy who does not know the answer
For the graceful handle I found in a field
attached to nothing
pray it is universally applicable
For our tracks which disappear
the moment we leave them
For the face peering through the cafe window
as we sip our soup
For cheerful American classrooms sparkling
with crisp colored alphabets
happy cat posters
the cage of the guinea pig
the dog with division flying out of his tail
and the classrooms of our cousins
on the other side of the earth
how solemn they are
how gray or green or plain
how there is nothing dangling
nothing striped or polka-dotted or cheery
no self-portraits or visions of cupids
and in these rooms the students raise their hands
and learn the stories of the world
For library books in alphabetical order
and family businesses that failed
and the house with the boarded windows
and the gap in the middle of a sentence
and the envelope we keep mailing ourselves
For every hopeful morning given and given
and every future rough edge
and every afternoon
turning over in its sleep
This is my favorite Adrienne Rich poem, II from Twenty-One Love Poems.
I wake up in your bed. I know I have been dreaming.
Much earlier, the alarm broke us from each other,
you’ve been at your desk for hours. I know what I dreamed:
our friend the poet comes into my room
where I’ve been writing for days,
drafts, carbons, poems are scattered everywhere,
and I want to show her one poem
which is the poem of my life. But I hesitate,
and wake. You’ve kissed my hair
to wake me. I dreamed you were a poem,
I say, a poem I wanted to show someone . . .
and I laugh and fall dreaming again
of the desire to show you to everyone I love,
to move openly together
in the pull of gravity, which is not simple,
which carried the feathered grass a long way down the upbreathing air.