Tag: poetry ABC’s

Allen Ginsberg, “The Bricklayer’s Lunch Hour”

poetry

Two bricklayers are setting the walls
of a cellar in a new dug out patch
of dirt behind an old house of wood
with brown gables grown over with ivy
on a shady street in Denver. It is noon
and one of them wanders off. The young
subordinate bricklayer sits idly for
a few minutes after eating a sandwich
and throwing away the paper bag. He
has on dungarees and is bare above
the waist; he has yellow hair and wears
a smudged but still bright red cap
on his head. He sits idly on top
of the wall on a ladder that is leaned
up between his spread thighs, his head
bent down, gazing uninterestedly at
the paper bag on the grass. He draws
his hand across his breast, and then
slowly rubs his knuckles across the
side of his chin, and rocks to and fro
on the wall. A small cat walks to him
along the top of the wall. He picks
it up, takes off his cap, and puts it
over the kitten’s body for a moment.
Meanwhile it is darkening as if to rain
and the wind on top of the trees in the
street comes through almost harshly.

Denver, Summer 1947

~ ~ ~

Now, the last Ginsberg post is not to say that his early stuff is not great. It is of course great, monumental and beautiful. It goes without saying. Just look at this. This scene he creates, and the way he dissolves it at the end with almost equal beauty.

Allen Ginsberg, “Returning to the Country for a Brief Visit”

poetry

Annotations to Amitendranath Tagore’s Sung Poetry

“In later days, remembering this I shall certainly go mad.”

Reading Sung poems, I think of my poems to Neal
dead a few years now, Jack underground
invisible – their faces rise in my mind.
Did I write truthfully of them? In later times
I saw them little, not much difference they’re dead.
The live in books and memory, strong as on earth.

“I do not know who is hoarding all this rare work.”

Old One the dog stretches stiff legged,
soon he’ll be underground. Spring’s first fat bee
buzzes yellow over the new grass and dead leaves.

What’s this little brown insect walking zigzag
across the sunny white page of Su Tung-p’o’s poem?
Fly away, tiny mite, even your life is tender –
I lift the book and blow you into the dazzling void.

“You live apart on rivers and seas…”

You live in apartments by rivers and seas
Spring comes, waters flow murky the salt wave’s covered with oily dung
Sun rises, smokestacks cover the roofs with black mist
winds blow, city skies are clear blue all afternoon
but at night the full moon hesitates behind brick.
How will all these millions of people worship the Great Mother?
When all these millions of people die, will they recognize the Great Father?

Cherry Valley, April 20, 1973

~ ~ ~

This is absolutely one of my favorite Ginsberg poems. People tend to focus on his work of the 40s and 50s as his most vital, and it’s easy to forget that when Jack and Neal died – when many people thought beat itself was dead – men like Ginsberg, Gary Snyder, and Lawrence Ferlinghetti (and so many more) carried on with the Zen beat message and poetry for generations. Ginsberg is gone now too, a tiny mite blown into the void, but even today Snyder and Ferlinghetti and others are as vital today as they ever were, perhaps more so. It would be a sad mistake for poetry and beat fans to focus only on the Six Gallery days and forget the beautiful lifetimes that followed.

Robert Herrick, “Delight in Disorder”

poetry

A sweet disorder in the dress
Kindles in clothes a wantonness;
A lawn about the shoulders thrown
Into a fine distraction;
An erring lace, which here and there
Enthrals the crimson stomacher;
A cuff neglectful, and thereby
Ribands to flow confusedly;
A winning wave, deserving note,
In the tempestuous petticoat;
A careless shoe-string, in whose tie
I see a wild civility:
Do more bewitch me, than when art
Is too precise in every part.

~ ~ ~

This one’s from 1648. Yeah, look at the cool guy with his 362-year-old poetry. Seriously though, I really like this little poem and I’ll tell you why. To me this poem perfectly describes poetry itself. Poetry is an ancient thing, originally born from earth and pure emotion, out of the wild. It is humanity’s oldest way to explore and think about the natural world, our place in it, and the mysterious forces that we feel govern it. But poetry is also an art of kings and scholars; and this duality is shown here. “Sweet disorder,” “fine distraction,” and of course – so beautifully said – “wild civility.” Wild civility. If that is not poetry’s true identity I don’t know what is.

And Herrick was right to choose the word “bewitch” when he describes what this wild civility does to him, because poetry, as I said before, is about the mysterious forces – about magic. And I don’t mean magic in the cheesy, is this your card way – I mean magic in the old school way. It’s hard to say what I mean…like Tom Robbins said, “using words to describe magic is like using a screwdriver to cut roast beef.” But I think you understand just the same. Poetry is essentially a catalog of the world’s mysteries.

Seamus Heaney, “The Schoolbag”

poetry

My handsewn leather schoolbag. Forty years.
Poet, you were nel mezzo del cammin
When I shouldtered it, half-full of blue-lined jotters,
And saw the classroom charts, the displayed bean,

The wallmap with its spray of shipping lanes
Describing arcs across the blue North Channel…
And in the middle of the road to school,
Ox-eye daisies and wild dandelions.

Learning’s easy carried! The bag is light,
Scuffed and supple and unemptiable
As an itinerant school conjuror’s hat.
So take it, for a word-hoard and a handsel,

As you step out trig and look back all at once
Like a child on his first morning leaving parents.

~ ~ ~

I really have a thing for Heaney’s poetry these days. As a reader he is constantly rewarding; I could flip to any page in any of his books and be perfectly satisfied, and more likely blown away, by the poem I found there. He’s a magician, an alchemist. I look at his poems and think, these are just words. These are simple words I know and use. And yet he shapes them into magic, over and over again. This is true poetry here friends, I hope you’re seeing it.

(from his book Seeing Things)

Seamus Heaney, “From the Frontier of Writing”

poetry

The tightness and the nilness round that space
when the car stops in the road, the troops inspect
its make and number and, as one bends his face

towards your window, you catch sight of more
on a hill beyond, eyeing with intent
down cradled guns that hold you under cover,

and everything is pure interrogation
until a rifle motions and you move
with guarded unconcerned acceleration –

a little emptier, a little spent
as always by the quiver in the self,
subjugated, yes, and obedient.

So you drive on to the frontier of writing
where it happens again. The guns on tripods;
the sergeant with his on-off mike repeating

data about you, waiting for the squawk
of clearance; the marksman training down
out of the sun upon you like a hawk.

And suddenly you’re through, arraigned yet freed,
as if you’d passed from behind a waterfall
on the black current of a tarmac road

past armour-plated vehicles, out between
the posted soldiers flowing and receding
like tree shadows into the polished windscreen.

~ ~ ~

A beautiful and frightened thought on writing and war. The entire feeling of the work is summed up in a word in the first line of Heaney’s own making: nilness. Nilness. What a perfectly absent, hollow word. Hollow and haunted, filled with this blank blackness that permeates the rest of the poem.

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