Category : Uncategorized
Category : Uncategorized
It seems these poets have nothing
up their ample sleeves
they turn over so many cards so early,
telling us before the first line
whether it is wet or dry,
night or day, the season the man is standing in
even how much he has had to drink.
Maybe it is autumn and he is looking at a sparrow.
Maybe it is snowing on a town with a beautiful name.
“Viewing Peonies at the Temple of Good Fortune
on a Cloudy Afternoon” is one of Sun Tung Po’s.
“Dipping Water from the River and Simmering Tea”
is another one, or just
“On a Boat, Awake at Night.”
And Lu Yu takes the simple rice cake with
“In a Boat on a Summer Evening
I Heard the Cry of a Waterbird.
It was Very Sad and Seemed to be Saying
My Woman Is Cruel — Moved, I Wrote This Poem.”
There is no iron turnstile to push against here
as with headings like “Vortex on a String,”
“The Horn of Neurosis,” or whatever.
No confusingly inscribed welcome mat to puzzle over.
Instead, “I Walk Out on a Summer Morning
to the Sound of Birds and a Waterfall”
is a bead curtain brushing over my shoulders.
And “Ten Days of Spring Rain Have Kept Me Indoors”
is a servant who shows me into the room
where a poet with a thin beard
is sitting on a mat with a jug of wine
whispering something about clouds and cold wind,
about sickness and the loss of friends
How easy he has made it for me to enter here,
to sit down in a corner;
cross my legs like his, and listen.
If for a moment
the leaves fell upward,
if it seemed a small flock
of brown-orange birds
circled over the trees,
if they circled then scattered each in
its own direction for the lost seed
they had spotted in tall, gold-checkered grass.
If the bloom of flies on the window
in morning sun, if their singing insistence
on grief and desire. If the fish.
If the rise of the fish.
If the blue morning held in the glass of the window,
if my fingers, my palms. If my thighs.
If your hands, if my thighs.
If the seeds, among all the lost gold of the grass.
If your hands on my thighs, if your tongue.
If the leaves. If the singing fell upward. If grief.
For a moment if singing and grief.
If the blue of the body fell upward, out of our hands.
If the morning held it like leaves.
- Jane Hirshfield
from The Lives of the Heart , NY: HarperPerennial, 1997.
One afternoon the last week in April
Showing Kai how to throw a hatchet
One-half turn and it sticks in a stump.
He recalls the hatchet-head
Without a handle, in the shop
And go gets it, and wants it for his own.
A broken-off axe handle behind the door
Is long enough for a hatchet,
We cut it to length and take it
With the hatchet head
And working hatchet, to wood block.
There I begin to shape the old handle
With the hatchet, and the phrase
First learned from Ezra Pound
Rings in my ears!
“When making an axe handle
the pattern is not far off.”
And I say this to Kai
“Look: We’ll shape the handle
By checking the handle
Of the axe we cut with-“
And he sees. And I hear it again:
It’s in Lu Ji’s Wen Fu, fourth century
A.D. “Essay on Literature”-in the
Preface: “In making the handle
Of an axe
By cutting wood with an axe
The model is indeed near at hand.”
My teacher Shih-hsiang Chen
Translated that and taught it years ago
And I see: Pound was an axe,
Chen was an axe, I am an axe
And my son a handle, soon
To be shaping again, model
And tool, craft of culture,
How we go on.
– Gary Snyder
Consider your own father. How is he like the axe handle in your life? In what ways have you modeled yourself after him? How are you different? What do you know about the “axe handle” after which he was shaped (your grandfather)? And before that —- ?
Have you ever seen
in your life
than the way the sun,
relaxed and easy,
floats toward the horizon
and into the clouds or the hills,
or the rumpled sea,
and is gone–
and how it slides again
out of the blackness,
on the other side of the world,
like a red flower
streaming upward on its heavenly oils,
say, on a morning in early summer,
at its perfect imperial distance–
and have you ever felt for anything
such wild love–
do you think there is anywhere, in any language,
a word billowing enough
for the pleasure
that fills you,
as the sun
as it warms you
as you stand there,
or have you too
turned from this world–
or have you too
Now all the doors and windows
are open, and we move so easily
through the rooms. Cats roll
on the sunny rugs, and a clumsy wasp
climbs the pane, pausing
to rub a leg over her head.
All around physical life reconvenes.
The molecules of our bodies must love
to exist: they whirl in circles
and seem to begrudge us nothing.
Heat, Horatio, heat makes them
put this antic disposition on!
This year’s brown spider
sways over the door as I come
and go. A single poppy shouts
from the far field, and the crow,
beyond alarm, goes right on
pulling up the corn.
Jane Kenyon – The Boat of Quiet Hours. © Graywolf Press