This poem is for all you teachers out there, and yes, to you students as well. We ask a question, and know our students know the answer, but there is such a reluctance to share the knowledge, unless you are the student who always has the willingness. What about the others? This poem helps to unravel the mystery of the reluctant hand.
“Take a chance…” image: galleryhip.com
I Woke: —
Night, lingering, poured upon the world
Of drowsy hill and wood and lake
Her moon-song,
And the breeze accompanied with hushed fingers
On the birches.
Gently the dawn held out to me
A golden handful of bird’s-notes.
I hand out over 200 literary terms to my AP students to learn prior to their May exam. They manage to do so for the most part. Admittedly, some of the terms I keep having to remind myself of what they are, others stick in the brain and I delight when I recognize them. One such term is “polysyndenton” which is when the writer strings a series of words, usually nouns or verbs, together with a conjunction such as “and.” At first glance the reader might think, “combine that, if you please–a bit wordy and redundant, don’t you think?” Once understanding the use of polysyndenton, the reader gets that second understanding that there is a purpose to the stringing together of words. Why say you of Speyer’s writing of “hill and wood and lake”–is it superflous or meaningful?
Most of Poe is a favorite. I don’t care for the macabre aspect, the chop-him-up-cause-I-loved-him-so stuff. Makes me nervous walking across floorboards when he does that kind of writing. My students like Poe because they like the scary aspect of his writing, although they don’t always understand his diction, they get his intent of setting people offside with mixing real with horror. So, it is with surprise that I’ve come across a Poe poem that is actually upbeat. Which Poe are you most familiar with–the scary guy or the dreamer?
Eddie, do you need a hug?
image: Academy of American Poets
Because my mother loved pocketbooks
I come alive at the opening click or close of a metal clasp.
Victoria Redel renders a stunning tribute to her mother. It’s odd how certain objects breathe life into dormant memories. The days of women ensconced in their handbags, pocketbooks, purses is one I do not currently relate to, as I am no slave to fashion and its requirements. Yet, Redel’s poem nudges a few faded portraits of “going somewhere” because my mother had a “certain purse” draped on her arm. Outings had a sense of special due to the requirement apparel, such as a matching purse crooked upon the arm. I am still drawn to old handbags and their cousins whenever I browse thrift shops. I only hold a fondness, a remembrance; I have no desire to have one perch upon my arm. I am of the backbag age, the unique tote age, the “why-would-I-switch-everything-from-one-bag-to-another?” age. Still I do look, and still I do appreciate Redel’s own penchant and tribute.
All day for too long
everything I’ve thought to say
has been about umbrellas…
I own a passel of umbrellas. Some I have adopted, since they get left in my classroom. A few I inherited from my mother-in-law who actually had an impressive collection of them, ranging from the impressive wooden-handled proper British brelly to the cheapy insurance company giveaways. I have bought my own umbrellas when the mood strikes. I carry an extra one or two in the car. Once, I stopped and gave one to a child shivering in the rain while she waited for her school bus. In fact, I toy with the idea of becoming an umbrella aficionado and giving them away as I see fit. I will wait for white hair and the Social Security checks for that to transpire. A crazy old lady is considered harmless–at least I hope my umbrellaling will be considered benign, if not quaintly amusing.
image: Morguefile/garbofromhungary
There is that time of year when the snows have lingered much too long and spring is ready to arrive, yet winter stubbornly refuses its hold. Then comes that zephyr breeze, the Chinook, that warming wind that hints the good times of summer are ever nearer. The warm wind teases the remaining snowdrifts to melt and feed the hiding narcissus. Robert Frost knew exactly that moment when the warm winds bring the change oh so needed.
Come with rain, O loud Southwester!
Bring the singer, bring the nester;
Give the buried flower a dream;
Make the settled snowbank steam;
Find the brown beneath the white;
But whate’er you do tonight,
Bathe my window, make it flow,
Melt it as the ice will go;
Melt the glass and leave the sticks
Like a hermit’s crucifix;
Burst into my narrow stall;
Swing the picture on the wall;
Run the rattling pages o’er;
Scatter poems on the floor;
Turn the poet out of door.
A sweet disorder in the dresse
Kindles in cloathes a wantonnesse:
A Lawne about the shoulders thrown
Into a fine distraction:
An erring Lace, which here and there
Enthralls the Crimson Stomacher:
A Cuffe neglectfull, and thereby
Ribbands to flow confusedly:
A winning wave (deserving Note)
In the tempestuous petticote:
A careless shooe-string, in whose tye I see a wilde civility:
Doe more bewitch me, then when
Art Is too precise in every part.
This illustration of Robert Herrick promotes a rather conservative attitude, but if you really read the poem, I think you will read between the lines, that Mr. Herrick possessed a bit of naughtiness about him. He has a few other poems that hint at his true thoughts about women and his intentions. Poets of yesteryear didn’t always write about flowers and trees, eh, Bobby?
I Woke: —
Night, lingering, poured upon the world
Of drowsy hill and wood and lake
Her moon-song,
And the breeze accompanied with hushed fingers
On the birches.
Gently the dawn held out to me
A golden handful of bird’s-notes.
There are so many lovely images resounding throughout. I envision summer–standing on a hill overlooking a grassy meadow, the sun slowly cresting the horizon and in that crystalline moment a trill of robin song adds to the joy of another morning, another day of promise.
It is a willow when summer is over,
a willow by the river
from which no leaf has fallen nor
bitten by the sun
turned orange or crimson.
The leaves cling and grow paler,
swing and grow paler
over the swirling waters of the river
as if loath to let go,
they are so cool, so drunk with
the swirl of the wind and of the river—
oblivious to winter,
the last to let go and fall
into the water and on the ground.
I grew up with a willow tree in our backyard. I always seemed a sad tree to me, weeping its leaves into our fish pond. I hadn’t thought about that tree until coming across Williams’ poem. Odd. Those willow leaves, as I recall, didn’t succumb to the “kiss of the sun” and fade away into autumn and winter as our maple did so stoically.
a sad dipping into the water–is this what inspired Williams? image: MorgueFile/LoneAngel
The pine-trees bend to listen to the autumn wind as it mutters
Something which sets the black poplars ashake with hysterical laughter;
While slowly the house of day is closing its eastern shutters.
Further down the valley the clustered tombstones recede,
Winding about their dimness the mist’s grey cerements, after
The street lamps in the darkness have suddenly started to bleed.
The leaves fly over the window and utter a word as they pass
To the face that leans from the darkness, intent, with two dark-filled eyes
That watch for ever earnestly from behind the window glass.
I like how Lawrence personifies nature, how the trees and wind and leaves talk to each other with mutterings and laughter while inside, a person watches unaware. It’s lovely and a bit creepy all the same. It stirs my imagination to thinking of fairy tales.
Is the wind laughing outside these windows? image: Pintrest
A writer's journey as a reader
Pam Webb 