Whitman and the Moth — a poem by Clive James (read by Tom O’Bedlam on YouTube)

Whitman and the Moth

Van Wyck Brooks tells us Whitman in old age
Sat by a pond in nothing but his hat,
Crowding his final notebooks page by page
With names of trees, birds, bugs and things like that.

The war could never break him, though he’d seen
Horrors in hospitals to chill the soul.
But now, preserved, the Union had turned mean:
Evangelizing greed was in control.

Good reason to despair, yet grief was purged
By tracing how creation reigned supreme.
A pupa cracked, a butterfly emerged:
America, still unfolding from its dream.

Sometimes he rose and waded in the pond,
Soothing his aching feet in the sweet mud.
A moth he knew, of which he had grown fond,
Perched on his hand as if to draw his blood.

But they were joined by what each couldn’t do,
The meeting point where great art comes to pass —
Whitman, who danced and sang but never flew,
The moth, which had not written Leaves of Grass,

Composed a picture of the interchange
Between the mind and all that it transcends
Yet must stay near. No, there was nothing strange
In how he put his hand out to make friends

With such a fragile creature, soft as dust.
Feeling the pond cool as the light grew dim,
He blessed new life, though it had only just
Arrived in time to see the end of him.

— Clive James

One Day A Woman — a poem by Miller Williams

One Day A Woman

One day a woman picking peaches in Georgia
lost her hold on the earth and began to rise.
She grabbed limbs but leaves stripped off in her hands.
Some children saw her before she disappeared
into the white cloud, her limbs thrashing.
The children were disbelieved. The disappearance
was filed away with those of other women
who fell into bad hands and were soon forgotten.
Six months later a half-naked man in Kansas
working on the roof of the Methodist Church
was seen by half a dozen well-known
and highly respected citizens to move
directly upward, his tarbrush waving,
until he shrank away to a point and vanished.
Nobody who knew about the first event
knew of the second, so no connection was made.
The tarbrush fell to earth somewhere in Missouri
unnoticed among a herd of Guernsey cows.

— Miller Williams

April — William Carlos Williams

April

If you had come away with me
into another state
we had been quiet together.
But there the sun coming up
out of the nothing beyond the lake was
too low in the sky,
there was too great a pushing
against him,
too much of sumac buds, pink
in the head
with the clear gum upon them,
too many opening hearts of lilac leaves,
too many, too many swollen
limp poplar tassels on the
bare branches!
It was too strong in the air.
I had no rest against that
springtime!
The pounding of the hoofs on the
raw sods
stayed with me half through the night.
I awoke smiling but tired.


William Carlos Williams

Romantics: Johannes Brahms and Clara Schumann — a poem by Lisel Mueller

Romantics
Johannes Brahms and Clara Schumann

The modern biographers worry
“how far it went,” their tender friendship.
They wonder just what it means
when he writes he thinks of her constantly,
his guardian angel, beloved friend.
The modern biographers ask
the rude, irrelevant question
of our age, as if the event
of two bodies meshing together
establishes the degree of love,
forgetting how softly Eros walked
in the nineteenth century, how a hand
held overlong or a gaze anchored
in someone’s eyes could unseat a heart,
and nuances of address, not known
in our egalitarian language
could make the redolent air
tremble and shimmer with the heat
of possibility. Each time I hear
the Intermezzi, sad
and lavish in their tenderness,
I imagine the two of them
sitting in a garden
among late-blooming roses
and dark cascades of leaves,
letting the landscape speak for them,
leaving nothing to overhear.

Lisel Mueller, from Alive Together: New and Selected Poems (Louisiana State University).

The First Green of Spring — a poem by David Budbill

The First Green of Spring

Out walking in the swamp picking cowslip, marsh marigold,
this sweet first green of spring. Now sautéed in a pan melting
to a deeper green than they ever were alive, this green, this life,

harbinger of things to come. Now we sit at the table munching
on this message from the dawn which says we and the world
are alive again today, and this is the world’s birthday. And

even though we know we are growing old, we are dying, we
will never be young again, we also know we’re still right here
now, today, and, my oh my! don’t these greens taste good.

— David Budbill

Ogden Nash poem — Adventures of Isabel

In honor of my grandmother, Isabel Smashey, I bring you a poem by Ogden Nash .

Adventures Of Isabel

Isabel met an enormous bear,
Isabel, Isabel, didn’t care;
The bear was hungry, the bear was ravenous,
The bear’s big mouth was cruel and cavernous.
The bear said, Isabel, glad to meet you,
How do, Isabel, now I’ll eat you!
Isabel, Isabel, didn’t worry.
Isabel didn’t scream or scurry.
She washed her hands and she straightened her hair up,
Then Isabel quietly ate the bear up.

Once in a night as black as pitch
Isabel met a wicked old witch.
the witch’s face was cross and wrinkled,
The witch’s gums with teeth were sprinkled.
Ho, ho, Isabel! the old witch crowed,
I’ll turn you into an ugly toad!
Isabel, Isabel, didn’t worry,
Isabel didn’t scream or scurry,
She showed no rage and she showed no rancor,
But she turned the witch into milk and drank her.

Isabel met a hideous giant,
Isabel continued self reliant.
The giant was hairy, the giant was horrid,
He had one eye in the middle of his forhead.
Good morning, Isabel, the giant said,
I’ll grind your bones to make my bread.
Isabel, Isabel, didn’t worry,
Isabel didn’t scream or scurry.
She nibbled the zwieback that she always fed off,
And when it was gone, she cut the giant’s head off.

Isabel met a troublesome doctor,
He punched and he poked till he really shocked her.
The doctor’s talk was of coughs and chills
And the doctor’s satchel bulged with pills.
The doctor said unto Isabel,
Swallow this, it will make you well.
Isabel, Isabel, didn’t worry,
Isabel didn’t scream or scurry.
She took those pills from the pill concocter,
And Isabel calmly cured the doctor.

— Ogden Nash

Litany by Billy Collins

Litany

You are the bread and the knife,
The crystal goblet and the wine…
-Jacques Crickillon

You are the bread and the knife,
the crystal goblet and the wine.
You are the dew on the morning grass
and the burning wheel of the sun.
You are the white apron of the baker,
and the marsh birds suddenly in flight.

However, you are not the wind in the orchard,
the plums on the counter,
or the house of cards.
And you are certainly not the pine-scented air.
There is just no way that you are the pine-scented air.

It is possible that you are the fish under the bridge,
maybe even the pigeon on the general’s head,
but you are not even close
to being the field of cornflowers at dusk.

And a quick look in the mirror will show
that you are neither the boots in the corner
nor the boat asleep in its boathouse.

It might interest you to know,
speaking of the plentiful imagery of the world,
that I am the sound of rain on the roof.

I also happen to be the shooting star,
the evening paper blowing down an alley
and the basket of chestnuts on the kitchen table.

I am also the moon in the trees
and the blind woman’s tea cup.
But don’t worry, I’m not the bread and the knife.
You are still the bread and the knife.
You will always be the bread and the knife,
not to mention the crystal goblet and–somehow–the wine.

— Billy Collins

April is National Poetry Month; Introduction to Poetry — a poem by Billy Collins

Introduction to Poetry

I ask them to take a poem
and hold it up to the light
like a color slide

or press an ear against its hive.

I say drop a mouse into a poem
and watch him probe his way out,

or walk inside the poem’s room
and feel the walls for a light switch.

I want them to waterski
across the surface of a poem
waving at the author’s name on the shore.

But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.

They begin beating it with a hose
to find out what it really means.

— Billy Collins

I think this is a really great poem. It explains why so many of us come to poetry late, and almost accidentally, if at all. I appreciate the pleasure Billy Collins and many others have brought me with their poems. Thanks.