“Bathroom Sink” in Simon Hucko’s Flickr stream.
Licensed via the Creative Commons.

And the Ship Sails On
By Joel Brouwer

He faced the sink, one foot up
on the edge of the tub. She stood
behind him, reaching around.
In the mirror, her face rose
over his shoulder like the moon,
and like the moon she regarded him
beautifully but without feeling,
and he looked at her as he would
at the moon: How beautiful!
How distant! No smiling, no weeping,
no talking. A man and a woman
transacting their magnificent business
with the usual equanimity. The man
as a passenger walking the ship’s deck
at evening and the woman as the moon
over his shoulder oiling the ocean
with light. Deep in the ship’s belly
pistons churned and sailors fed
the boilers’ roar with coal. On deck
just the engine’s dull thrum and
a faint click as the woman sets her ring
on the cool white lip of the sink.

Joel Brouwer, “And the Ship Sails On” from And So. Copyright © 2009 by Joel Brouwer.  Available online via the Poetry Foundation.

Trying to choose a poem for the 4th of July weekend, I realized just how much of my favorite poetry is about America either implicitly or explicitly.  Picking one for this weekend, I thought about re-posting one of those older ones.  But then, I came across this poem from Miller Williams and it just sums up so much of what I feel (and study) about America.  Enjoy!

Of History and Hope
By Miller Williams
We have memorized America,
how it was born and who we have been and where.
In ceremonies and silence we say the words,
telling the stories, singing the old songs.
We like the places they take us. Mostly we do.
The great and all the anonymous dead are there.
We know the sound of all the sounds we brought.
The rich taste of it is on our tongues.
But where are we going to be, and why, and who?
The disenfranchised dead want to know.
We mean to be the people we meant to be,
to keep on going where we meant to go.

But how do we fashion the future? Who can say how
except in the minds of those who will call it Now?
The children. The children. And how does our garden grow?
With waving hands—oh, rarely in a row—
and flowering faces. And brambles, that we can no longer allow.

Who were many people coming together
cannot become one people falling apart.
Who dreamed for every child an even chance
cannot let luck alone turn doorknobs or not.
Whose law was never so much of the hand as the head
cannot let chaos make its way to the heart.
Who have seen learning struggle from teacher to child
cannot let ignorance spread itself like rot.
We know what we have done and what we have said,
and how we have grown, degree by slow degree,
believing ourselves toward all we have tried to become—
just and compassionate, equal, able, and free.

All this in the hands of children, eyes already set
on a land we never can visit—it isn’t there yet—
but looking through their eyes, we can see
what our long gift to them may come to be.
If we can truly remember, they will not forget.

Miller Williams, “Of History and Hope” from Some Jazz A While: Collected Poems. Copyright © 1999 by Miller Williams. Available online via the Poetry Foundation.

I Like Americans
Edna St. Vincent Millay

I like Americans.
You may say what you will, they are the nicest people in the world.
They sleep with their windows open.
Their bathtubs are never dry.
They are not grown up yet. They still believe in Santa Claus.

They are terribly in earnest.
But they laugh at everything…

I like Americans.
They give the matches free…

I like Americans.
They are the only men in the world, the sight of whom in their shirt-sleeves is not rumpled, embryonic and agonizing…

I like Americans.
They carry such pretty umbrellas.
The Avenue de l’Opera on a rainy day is just an avenue on a rainy day.
But Fifth Avenue on a rainy day is an old-fashioned garden under a shower…

They are always rocking the boat.
I like Americans.
They either shoot the whole nickel, or give up the bones.
You may say what you will, they are the nicest people in the world.

(Pssst… you may have heard this poem on The Colbert Report.)

Mark Twain left a comment about Huckleberry Finn, in his copy of The Pen and the Book by Walter Besant.
Image via the New York Times.

I discovered this poem after reading an interesting piece in the New York Times, “Book Lovers Fear Dim Future for Marginalia.”  Although I do not agree with some of the author’s points (for example he forgets how “nested” comments can achieve the same back-and-forth, that “true” marginalia died out at the end of the 19th century, etc. etc.) it’s worth a read.  Plus, it pointed me toward this poem by a recent Poet Laureate, Billy Collins.

Marginalia
Billy Collins

Sometimes the notes are ferocious,
skirmishes against the author
raging along the borders of every page
in tiny black script.
If I could just get my hands on you,
Kierkegaard, or Conor Cruise O’Brien,
they seem to say,
I would bolt the door and beat some logic into your head.

Other comments are more offhand, dismissive -
“Nonsense.” “Please!” “HA!!” -
that kind of thing.
I remember once looking up from my reading,
my thumb as a bookmark,
trying to imagine what the person must look like
who wrote “Don’t be a ninny”
alongside a paragraph in The Life of Emily Dickinson.

Students are more modest
needing to leave only their splayed footprints
along the shore of the page.
One scrawls “Metaphor” next to a stanza of Eliot’s.
Another notes the presence of “Irony”
fifty times outside the paragraphs of A Modest Proposal.

Or they are fans who cheer from the empty bleachers,
Hands cupped around their mouths.
“Absolutely,” they shout
to Duns Scotus and James Baldwin.
“Yes.” “Bull’s-eye.” “My man!”
Check marks, asterisks, and exclamation points
rain down along the sidelines.

And if you have managed to graduate from college
without ever having written “Man vs. Nature”
in a margin, perhaps now
is the time to take one step forward.

We have all seized the white perimeter as our own
and reached for a pen if only to show
we did not just laze in an armchair turning pages;
we pressed a thought into the wayside,
planted an impression along the verge.

Even Irish monks in their cold scriptoria
jotted along the borders of the Gospels
brief asides about the pains of copying,
a bird signing near their window,
or the sunlight that illuminated their page-
anonymous men catching a ride into the future
on a vessel more lasting than themselves.

And you have not read Joshua Reynolds,
they say, until you have read him
enwreathed with Blake’s furious scribbling.

Yet the one I think of most often,
the one that dangles from me like a locket,
was written in the copy of Catcher in the Rye
I borrowed from the local library
one slow, hot summer.
I was just beginning high school then,
reading books on a davenport in my parents’ living room,
and I cannot tell you
how vastly my loneliness was deepened,
how poignant and amplified the world before me seemed,
when I found on one page

A few greasy looking smears
and next to them, written in soft pencil-
by a beautiful girl, I could tell,
whom I would never meet-
“Pardon the egg salad stains, but I’m in love.”

Available online via Poem Hunter

“Jogging” in Emanuel Leanza’s Flickr Stream.
Licensed via the Creative Commons.

Marathon
by E. Ethelbert Miller

it’s a strange time which finds me jogging
in early morning
the deadness of sleep alive in this world
the empty parks filled with unloved strangers
buildings grey with solitude
now near the end of another decade
i am witness to the loss of my twenties
a promise invisible
i run without purpose
far from the north star
i run with the sound of barking dogs closing in
i have lost count of the miles
i am older and nothing much matters
or has changed

Ethelbert Miller, “Marathon” from First Light: New and Selected Poems. Copyright © 1994 by Ethelbert Miller. Reprinted by permission of Black Classic Press. Available online via the Poetry Foundation.

A Glimpse
by Walt Whitman

A glimpse through an interstice caught,
Of a crowd of workmen and drivers in a bar-room around the stove late of a winter night, and I unremark’d seated in a corner,
Of a youth who loves me and whom I love, silently approaching and seating himself near, that he may hold me by the hand,
A long while amid the noises of coming and going, of drinking and oath and smutty jest,
There we two, content, happy in being together, speaking little, perhaps not a word.

Available online via the Poetry Foundation.

Happy Thanksgiving, friends.  It means so much to me that you stop by my (teeny, tiny) corner of the Internet.  Today, I’m revisiting a favorite poem– “Perhaps the World Ends Here” by Joy Harjo.  It’s such a beautiful summation of why we’re drawn to family gatherings (biological or made) around warm bread and good wine.

I hope your day is full of love, laughter, moist turkey, and a football victory (unless you’re a Cowboys fan (sorry)).

Perhaps the World Ends Here
by Joy Harjo

The world begins at a kitchen table. No matter what, we must eat to live.

The gifts of earth are brought and prepared, set on the table. So it has been since creation, and it will go on.

We chase chickens or dogs away from it. Babies teethe at the corners. They scrape their knees under it.

It is here that children are given instructions on what it means to be human. We make men at it, we make women.

At this table we gossip, recall enemies and the ghosts of lovers.

Our dreams drink coffee with us as they put their arms around our children. They laugh with us at our poor falling-down selves and as we put ourselves back together once again at the table.

This table has been a house in the rain, an umbrella in the sun.

Wars have begun and ended at this table. It is a place to hide in the shadow of terror. A place to celebrate the terrible victory.

We have given birth on this table, and have prepared our parents for burial here.

At this table we sing with joy, with sorrow. We pray of suffering and remorse. We give thanks.

Perhaps the world will end at the kitchen table, while we are laughing and crying, eating of the last sweet bite.

“Perhaps the World Ends Here” from The Woman Who Fell From the Sky by Joy Harjo. Copyright © 1994.
Available online via the Poetry Foundation.

“Theater Audience” in Timm Suess’ Flickr Stream.
Licensed via the Creative Commons.

Wish me luck on the GREs this weekend…

Quiz
by Linh Dinh

Invaders invariably call themselves:

a) berserkers
b) marauders
c) frankincense
d) liberators

Our enemies hate us because:

a) we’re sadists
b) we’re hypocrites
c) we shafted them
d) we value freedom

Our friends hate us because:

a) we’re bullies
b) we hate them
c) we’re hypocrites
d) we value freedom

Pushed to the ground and kicked by a gang of soldiers, about to be shot, you can save your life by brandishing:

a) an uzi
b) a crucifix
c) the Constitution
d) a poem

A poem can:

a) start a war
b) stanch a wound
c) titillate the masses
d) shame a nation

Poets are:

a) clowns
b) parasites
c) legislators
d) terrorists

A nation’s standing in the world is determined by:

a) its buying power
b) its military might
c) its cultural heritage
d) God

A country is rich because of:

a) its enlightened population
b) its political system
c) its small stick
d) its geography

A country is poor because of:

a) its ignorant population
b) its political system
c) its small stick
d) its geography

A man’s dignity is determined by:

a) his appearance (skin color, height, etc)
b) his willingness to use violence
c) his command of English
d) his blue passport

Those willing to die for their beliefs are:

a) idealists
b) terrorists
c) suckers
d) insane

Those willing to die for nothing are:

a) principled
b) patriotic
c) insane
d) cowards

Terrorists:

a) abuse language
b) hit and run
c) shock and awe
d) rely on ingenuity

Smart weapons:

a) render hopeless and dormant kinetic objects
b) kill softly
c) save lives
d) slaughter by science

Pain is:

a) payback for evil-doers
b) a common misfortune
c) compelling drama
d) suck it up!

Humiliation is:

a) the ultimate thrill for bored perverts
b) inevitable in an unequal relationship
c) a fear factor
d) sexy and cathartic

The media’s job is:

a) to seduce
b) to spread
c) to sell
d) to drug

The Internet:

a) allows us to be pure minds
b) connects us to distant bodies
c) disconnects us from the nearest minds and bodies
d) improves illiteracy

Pornography is:

a) a lie that exposes the truth
b) a needed breather from civilization
c) class warfare
d) nostalgia for the garden of Eden

Correct answers: c,d,d,b,b,a,b,a,a,c,b,b,b,c,b,d,b,d,c.
—If you scored 14-19, you’re a well adjusted person, a home-owner, with and income of at least $50,000 a year.
—If you scored 8-13, you either rent or live with your parents, never exercise, and consume at least a 6-pack a day.
—if you scored 7 or less, you’re in trouble with the FBI and/or the IRS, cut your own hair, and use public transit as your primary mode of transportation.

Linh Dinh, “Quiz” from Borderless Bodies. Copyright © 2005 by Linh Dinh. Reprinted by permission of Factory School. Available online via The Poetry Foundation.

“Balloon String” in Micah A. Ponce’s Flickr stream.
Licensed via the Creative Commons.

A Theory of Everything
by Mary Crockett Hill

It has something to do with invisible string
rippling out across a universal sunset,
wrapping us up like the perfect brown corded package.

Something to do with the vibration of stars—
how they flicker in tune with each other, humming cosmically.
And though I’ve never seen this reported anywhere

I also believe it has something to do with dogs.
For who else has such capacity to forgive
an entirely other species? Well, yes, God

but I don’t mess around with God.
So in my theory, the wet nose of a dog
fits in the space where our heart has been cut out.

And after dogs, the pure yellow of lemons,
the affection small children hold for Band-aids, the urge
to touch a stranger’s bald head.

It all has a place in the Theory.
Name it and I will hang it on the clothesline.
Name it, I will chop it up for soup.

What’s not to believe, anyway, in a theory
that has room enough for all other theories,
even those that say this Theory is shit?

Sure, the vibration of strings we cannot measure.
And yes, the strings are so fine we haven’t seen them yet.
One might surmise that this is not about strings, but our desire for strings.

You too are welcome at this Party of Everything.
Come to my house, into my house. We will speak
of aqueducts and whiskers, we will eat

brown bread and touch our feet under the table.
You can tell me we are not connected,
that there is nothing out there holding us together.

I will tug your ear and peck you softly on the lips.

“A Theory of Everything” appeared in Rhino 2007, and A Theory of Everything (Autumn House Press, 2009).  Available online via From the Fishouse.

I Am the People, the Mob
Carl Sandburg

I am the people—the mob—the crowd—the mass.
Do you know that all the great work of the world is done through me?
I am the workingman, the inventor, the maker of the world’s food and clothes.
I am the audience that witnesses history. The Napoleons come from me and the Lincolns. They die. And then I send forth more Napoleons and Lincolns.
I am the seed ground. I am a prairie that will stand for much plowing. Terrible storms pass over me. I forget. The best of me is sucked out and wasted. I forget. Everything but Death comes to me and makes me work and give up what I have. And I forget.
Sometimes I growl, shake myself and spatter a few red drops for history to remember. Then—I forget.
When I, the People, learn to remember, when I, the People, use the lessons of yesterday and no longer forget who robbed me last year, who played me for a fool—then there will be no speaker in all the world say the name: “The People,” with any fleck of a sneer in his voice or any far-off smile of derision.
The mob—the crowd—the mass—will arrive then.

Available online via the Poetry Foundation.