The Whole World Dreamed Of This

Mark Van Doren (1894 – 1972)

The art of teaching is the art of assisting discovery.

Mark Van Doren

After Long Drought

by Mark Van Doren

After long drought, commotion in the sky;
After dead silence, thunder. Then it comes,
The rain. It slashes leaves, and doubly drums
On tin and shingle; beats and bends awry
The flower heads; puddles dust, and with a sigh
Like love sinks into grasses, where it hums
As bees did once, among chrysanthemums
And asters when the summer thought to die.

The whole world dreamed of this, and has it now.
Nor was the waking easy. The dull root
Is jealous of its death; the sleepy brow
Smiles in its slumber; and a heart can fear
The very flood it longed for, roaring near.
The spirit best remembers being mute.


Dream Song 123

by John Berryman

Dapples my floor the eastern sun, my house faces north,
I have nothing to say except that it dapples my floor
and it would dapple me
if I lay on that floor, as-well-forthwith
I have done, trying well to mount a thought
not carelessly

in times forgotten, except by the New York Times
which can’t forget. There is always the morgue.
There are men in the morgue.
These men have access. Sleepless, in position,
they dream the past forever
Colossal in the dawn comes the second light

we do all die, in the floor, in the morgue
and we must die forever, c’est la mort
a heady brilliance
the ultimate gloire
post-mach, probably in underwear
as we met each other once.

It Likes Me Well

I used to be snow white, but I drifted.

Mae West

December (An Excerpt)

by Adeline Treadwell Lunt

It likes me well—December’s breath,
Although its kiss be cold,
Nor yet the year is sealed in death,
‘Tis only growing old.

Nor yet the brooks have ceased to run,
The rivers freely flow,
And over flowerless fields the sun
Still wreathes a roseate glow.

In stranded boats the children creep
To wait the coming tide,
And watch the foaming breakers leap
Upon the meadow’s side.

The year is dying, ay, is dead,
But yet December’s breath
A glory and a glow can shed
Irradiating death.

 


December

by Henry G. Hewlett

An old man’s life, dim, colorless and cold,
Is like the earth and sky December shows.
The barest joys of sense are all he knows:
Hope that erewhile made their fruition bold,
Now soars beyond. If one sun-glint of gold,
Rifts in the dense grey firmament disclose,
Earth has enough. ‘Mid purple mist up-throws
The birch her silver; the larch may hold
With fragile needles yet its amber cone,
Tho’ other trees be dark: the pine alone,
Like memory, lingers green, till over all,
Death-like, the snow doth cast its gentle pall.
Child-month and Mother-year in death are one:
The winds of midnight moan memorial.

The World Is As Wild As An Old Wives Tale

The House of Christmas 

by G. K. Chesterton

…This world is wild as an old wives’ tale,
And strange the plain things are,
The earth is enough and the air is enough
For our wonder and our war;
But our rest is as far as the fire-drake swings
And our peace is put in impossible things
Where clashed and thundered unthinkable wings
Round an incredible star.

To an open house in the evening
Home shall men come,
To an older place than Eden
And a taller town than Rome.
To the end of the way of the wandering star,
To the things that cannot be and that are,
To the place where God was homeless
And all men are at home.


The Burning Babe

By Robert Southwell

As I in hoary winter’s night stood shivering in the snow,
Surprised I was with sudden heat which made my heart to glow;
And lifting up a fearful eye to view what fire was near,
A pretty Babe all burning bright did in the air appear;
Who, scorched with excessive heat, such floods of tears did shed
As though his floods should quench his flames which with his tears were fed.
‘Alas!’ quoth he, ‘but newly born, in fiery heats I fry,
Yet none approach to warm their hearts or feel my fire but I.
My faultless breast the furnace is, the fuel wounding thorns,
Love is the fire, and sighs the smoke, the ashes shames and scorns;
The fuel Justice layeth on, and Mercy blows the coals,
The metal in this furnace wrought are men’s defiled souls,
For which, as now on fire I am to work them to their good,
So will I melt into a bath, to wash them in my blood.’
With this he vanished out of sight, and swiftly shrunk away,
And straight I called unto mind that it was Christmas day.

Vampire of Rest

If I had asked people what they wanted, they would have said faster horses.

Henry Ford

Despotisms

by Louise Imogen Guiney
 
I: THE MOTOR: 1905
 
From hedgerows where aromas fain would be
    New volleyed odours execrably arise;
    The flocks, with hell-smoke in their patient eyes,
Into the ditch from bawling ruin flee:
Spindrift of one abominated sea
    Along all roads in wrecking fury flies
    Till on young strangled leaf, on bloom that dies,
In this far plot it writes a rune for me.
 
Vast intimate tyranny! Nature dispossessed
    Helplessly hates thee, whose symbolic flare
Lights up (with what reiterance unblest!)
    Entrails of horror in a world thought fair.
False God of pastime thou, vampire of rest,
    Augur of what pollution, what despair?
 
 

Guiney’s old English verse is as thick as the carbon black from exhaust of early automobiles on London’s cobble stone streets, yet it is remarkably clairvoyant of what will unfold with the consequences of fossil fuel consumption.  The internal combustion engine was invented in a series of breakthroughs beginning around 1870.  Ford’s Model T wasn’t rolled out until 1908. But Guiney’s poem of 1905 already is dreading the despotic hold that automobiles will have on the 20th century.   No single thing has caused more ecological destruction than the endless applications that internal combustion engines have caused, enabling humanity’s zeal to make money from natural resources.  Internal combustion engines made it possible for people to travel to places they could never have otherwise managed to travel and live in places they could never have managed to live.  The internal combustion engine has made resource extraction and exploitation possible at levels never imagined 100 years ago.
 
I particularly love her expression – vampire of rest.  It sums up the feeling I get driving to work with endless pressure from middle aged and older men in mostly pickups, aggressively riding my bumper, wanting to drive 20 miles over the speed limit, and acting like they, and only they have a right to the road.  I have coined a new phrase for them – Frustrated Older Republican Drivers – (though I am sure there are Democrats doing the same) driving mostly Ford F150s in which they are angrily ensconced.  What is driving this anger? I suspect it is a frustration stemming from a nagging realization that a lifestyle they have worked so hard to create is not sustainable in the future.   We have built cities and infrastructure designed for our past, not our future.  Ford is aggressively marketing an all electric replacement for the Ford F150 that is impractical, range limited, excessively expensive, dangerously heavy and bound to fail.  It is a marketing statement, not a transformational vehicle for the future. If America is going to get serious about climate change we are going to have to adapt and give up our obsession with large vehicles.   And we all are going to have to get comfortable with that change voluntarily or get carbon taxed into it.  Change makes most old men, even me, grumpy.     
 
 
 

 

Reserve

By Louise Imogen Guiney

You that are dear, O you above the rest!
Forgive him his evasive moods and cold;
The absence that belied him oft of old,
The war upon sad speech, the desperate jest,
And pity’s wildest gush but half-confessed,
Forgive him! Let your gentle memories hold
Some written word once tender and once bold,
Or service done shamefacedly at best,
Whereby to judge him. All his days he spent,
Like one who with an angel wrestled well,
O’ermastering Love with show of light disdain;
And whatso’er your spirits underwent,
He, wounded for you, worked no miracle
To make his heart’s allegiance wholly plain.

To Keep But Never Understand

At a certain point all writing is political, whether the writer realizes it or not, because it positions itself a certain angle. It stands, whether it likes it or not, in relation to its time.

Sean O’Brien

At the Solstice

by Sean O’Brien

We say Next time we’ll go away,
But then the winter happens, like a secret

We’ve to keep yet never understand
As daylight turns to cinema once more:

A lustrous darkness deep in ice-age cold,
And the print in need of restoration

Starting to consume itself
With snowfall where no snow is falling now.

Or could it be a cloud of sparrows, dancing
In the bare hedge that this gale of light

Is seeking to uproot? Let it be sparrows, then,
Still dancing in the blazing hedge,

Their tender fury and their fall,
Because it snows, because it burns.


For the past couple of years I am in a race with the start of winter and the on-set of cold weather, a rush to see how many outdoor projects I can finish.   This year I discovered, late in the fall, the solution for a problem that had been vexing me all summer, just as the number of days above freezing were dwindling.   I had ordered screens for the windows I had installed a year ago back in May, and the brand name company who made them apparently has decided to stop making screens, because my order was never completed.  Then in late November, I realized there were stock storm windows available at my local building supply store that would fit my windows, with just a minor clever tweak at instillation. After buying one to prove my theory correct, we bought three more and got them in last weekend.  Now I am tempted to try and get two more on the second story of the north side of the house, where the wind blows, this coming Sunday, but it means making many trips up and down a ladder in the cold.  The question I ponder – is it worth it? 

Increasingly, that seems to be a question I ask myself about a lot of things that pull at me lately, wanting my attention and time?  Is it worth it?  I think the answer is yes, but it’s going to be miserable, or at best uncomfortable, like many of the other things I contemplate that very same question.   Life is not made up of a series of tasks that are pleasant.   Someone has to muck out the stalls, clean the cat pan, suffer through another boring TEAMs meeting on the very same topic as the previous week by the inept project lead who can’t seem to take notes or make decisions.  Life is a slog these days more often than not.   How does one wax the sleds so that life pulls a little easier or even glides ever so slightly downhill once again?  

One of the blessings of Fourteen Lines, is that I have come to appreciate poets that I had glossed over years before.  Robert Frost is one such poet.   The deeper I read Frost the more I enjoy his perspective.  Maybe I am finally catching up to him.  I have read this poem a few winters, considering it.  But it wasn’t until this week that several lines jumped off the page and grabbed me.  I appreciate Frost extending a literary hand and pulling me closer.  For those of us that experience an actual winter, it can become a time, to come in out of the cold and ponder the stores in our cellar. 

A light he was to no one but himself
Where now he sat, concerned with he knew what,
A quiet light, and then not even that.


An Old Man’s Winter Night

by Robert Frost

All out of doors looked darkly in at him
Through the thin frost, almost in separate stars,
That gathers on the pane in empty rooms.
What kept his eyes from giving back the gaze
Was the lamp tilted near them in his hand.
What kept him from remembering what it was
That brought him to that creaking room was age.
He stood with barrels round him—at a loss.
And having scared the cellar under him
In clomping there, he scared it once again
In clomping off;—and scared the outer night,
Which has its sounds, familiar, like the roar
Of trees and crack of branches, common things,
But nothing so like beating on a box.
A light he was to no one but himself
Where now he sat, concerned with he knew what,
A quiet light, and then not even that.
He consigned to the moon,—such as she was,
So late-arising,—to the broken moon
As better than the sun in any case
For such a charge, his snow upon the roof,
His icicles along the wall to keep;
And slept. The log that shifted with a jolt
Once in the stove, disturbed him and he shifted,
And eased his heavy breathing, but still slept.
One aged man—one man—can’t fill a house,
A farm, a countryside, or if he can,
It’s thus he does it of a winter night.

O The Mind, Mind Has Mountains

God, though this life is but a wraith, Although we know not what we use, Although we grope with little faith, Give me the heart to fight and lose.

Louis Untermeyer

No Worst, There is None

by Gerard Manley Hopkins
 
No worst, there is none. Pitched past pitch of grief,
More pangs will, schooled at forepangs, wilder wring.
Comforter, where, where is your comforting?
Mary, mother of us, where is your relief?
My cries heave, herds-long; huddle in a main, a chief
Woe, wórld-sorrow; on an áge-old anvil wince and sing —
Then lull, then leave off. Fury had shrieked ‘No ling-
ering! Let me be fell: force I must be brief.”‘
 
    O the mind, mind has mountains; cliffs of fall
Frightful, sheer, no-man-fathomed. Hold them cheap
May who ne’er hung there. Nor does long our small
Durance deal with that steep or deep. Here! creep,
Wretch, under a comfort serves in a whirlwind: all
Life death does end and each day dies with sleep.
 

 

One could argue, quite successfully, that pairing Hopkin with Untermeyer is in poor taste, rather like pairing champagne with collard greens.   Each has it own merit, but better to drink beer with one and eat strawberries with the other.  However, just because it isn’t done, doesn’t mean the clash can’t be illuminating.  

Untermeyer was a clever chap, he ran in elite literary circles, not so much as a writer but more so as an editor and anthologist.  His academic background helped to wrangle a spot as one of the original judges on What’s My Line? in the early days of television. He was booted off the show after a year because there was a whiff of Marxism floating around in his closet from many years prior. The producers used it as an excuse to remove what was a decideldy dull personality from its show.  Untermeyer’s blacklisting was more like a grey listing, as the evidence really didn’t stand up.  In fact at the very time that Untermeyer was under suspicion, he was waging a rather nasty rhetorical battle against Ezra Pound, who was in prison for treason.   Many other writers had come to Pound’s defense, but not Untermeyer.  With a level of wit completely non-existent from his television career, he was quoted as saying, ““I do not believe he (Pound) should be shot. I would favor merely life imprisonment in a cell surrounded by books—all of them copies of the works of Edgar A. Guest.” 

Untermeyer fared far better than others who were blacklisted for less.  He was appointed to the position of poetry consultant to the Library of Congress, the position that was the predecessor to our national poet laureate.  Untermeyer is best known for his translation work and his many anthologies for readers of all ages. Untermeyer traveled extensively late in life giving lectures on poetry around the world, his welcome little sullied by his political leanings. 

On The Birth Of A Child

by Louis Untermeyer

LO, to the battle-ground of Life,
Child, you have come, like a conquering shout,
Out of a struggle—into strife;
Out of a darkness—into doubt.

Girt with the fragile armor of youth,
Child, you must ride into endless wars,
With the sword of protest, the buckler of truth,
And a banner of love to sweep the stars.

About you the world’s despair will surge;
Into defeat you must plunge and grope.
Be to the faltering an urge;
Be to the hopeless years a hope!

Be to the darkened world a flame;
Be to its unconcern a blow—
For out of its pain and tumult you came,
And into its tumult and pain you go

We Belong Near To Each Other

A recipe has no soul, soul food comes from the heart.

Anonymous

New York Sonnets

by Stacie Cassarino

ii.
The months have not left us, living apart
from city to treeline, how do we speak
tenderly or not speak at all, the heart
has many winters, the earth cannot keep
us still. In my dreams I touched you every-
where with my lips, and lost my feet in snow
fields, and told you a story of safety
on Snake Mountain. Now, you seem far, you know
where words fail to sound, you know we choose wrong,
sometimes, and look away. The mind paces
in its beautiful error. We belong
near to each other, like this, our faces
assigned to see again. My love, the air
grows around us, the body wakes, come here


I enjoy my kitchen.   It is impractical, generally cold, no work space to speak of and by most cooks standards uninviting.   It’s not about what it isn’t, its about what it is.  It is painted a sparkling bright tangerine, a color I most appreciate at 5:30 am throughout the winter when it is dark for the hour I sip my coffee while reading and writing.  It is like my own personal sunrise.  I have hung a vintage chandelier that is my favorite light fixture in the history of lighting over the small antique round oak table.  It is truly one of a kind, a work of art, from the earliest onset of electric lighting when it still was something magical and to be constructed with elegance.  It has a peacock theme in brass in its simple infrastructure, but I pretend they are blue herons, which in summer I can see from my kitchen window some mornings. 

I am never alone in the kitchen.  There is always at least one of the two dogs or the cat keeping me company, demanding my attention after their breakfasts are served.  They each have their own way of not taking no for an answer.  A nudge from a nose on my elbow timed perfectly to make me loose my train of thought, one of them leaning into my leg while I type, a slow stroll across my keyboard or a sly soft claw in my thigh, all of these done with genuine humor and a smile upon on their furry faces.  They don’t approve of my poetry addiction and consider it impolite that I insist on my indulgence most mornings until each has had sufficient pets.

I wonder if we could measure in the history of poetry, what percentage of poems have been written in the kitchen?   At least what percentage of good poems or great poems have been written in the kitchen?  I am guessing it tops the list of all places one can possibly imagine to write. The kitchen is where most of creation has been created.  Food has always been an important way lovers connect, the courting process can begin with something as simple as a bowl of soup or a cup of tea. A man or woman knows the earliest onset of intimacy often begins by being invited into the others kitchen, particularly a messy kitchen.   Sex is messy.  So is cooking.  So are relationships.   If one can’t deal with a bit of a mess and clean up afterwards, then you are likely going to wind up eating that bowl of soup alone. 

In the Kitchen

By Stacie Cassarino
 
It’s right before you drive away:
our limbs still warm with sleep,
coffee sputtering out, the north
wind, your hips pressing me
hard against the table. I like it hard
because I need to remember this.
I want to say harder. How we must
look to the road that’s gone,
to the splayed morning of cold
butter and inveterate greed.
Light comes and goes in the field.
Oranges in a bowl, garlic, radio.
In the story of us, no one wins.
Isolation is a new theme
someone says. By now
I’ve invented you. Most people
don’t like to touch dead things.
That’s what my friend tells me
when I find my fish on the floor.
It must have wanted an out.
Sometimes my desire scares me.
Sometimes I watch football
and think: four chances
is enough to get there. But
we don’t have helmets.
I want to say harder,
I can take it, but
there’s no proof I can.
 

Snow Comes and Goes

This looks like a December day, it looks like we’ve come to the end of the way.

Willie Nelson

 

A Calendar of Sonnets – December

by Helen Hunt Jackson

The lakes of ice gleam bluer than the lakes
Of water ‘neath the summer sunshine gleamed:
Far fairer than when placidly it streamed,
The brook its frozen architecture makes,
And under bridges white its swift way takes.
Snow comes and goes as messenger who dreamed
Might linger on the road; or one who deemed
His message hostile gently for their sakes
Who listened might reveal it by degrees.
We gird against the cold of winter wind
Our loins now with mighty bands of sleep,
In longest, darkest nights take rest and ease,
And every shortening day, as shadows creep
O’er the brief noontide, fresh surprises find.

 

Here it is, December already.  We mutually survived a month of war poetry,  easier to stomach than the real news coming out of  Ukraine.   Let’s pray the madness ends soon and freedom and autonomy return to Ukraine and we can go back to loathing American democracies two year run up to the next presidential election….

I am beginning my annual process of beginning to create gifts for Christmas. It takes me about a month of weekends to keep the projects moving forward. I am keeping it simple this year; a smaller number of hand bound poetry chap books, an electronic playlist of  my favorite new songs for the year and peanut brittle for the unfortunate.  Peanut brittle has become in my mind my very own version of Santa putting coal in your stocking, with in my case dental jeopardy your holiday wish.  Just writing it gives me the willies.  I think 2022 is the year to put a fork in the holiday tradition of peanut brittle and transition to caramel corn instead.    Or better yet, a mixture of toffee pop-corn dyed bright red and caramel corn dyed a muddy green.     


Love (I)

By George Herbert
 
Immortal Love, author of this great frame,
Sprung from that beauty which can never fade,
How hath man parcel’d out Thy glorious name,
And thrown it on that dust which Thou hast made,
While mortal love doth all the title gain!
Which siding with Invention, they together
Bear all the sway, possessing heart and brain,
(Thy workmanship) and give Thee share in neither.
Wit fancies beauty, beauty raiseth wit;
The world is theirs, they two play out the game,
Thou standing by: and though Thy glorious name
Wrought our deliverance from th’ infernal pit,
Who sings Thy praise? Only a scarf or glove
Doth warm our hands, and make them write of love.
 

What Like A Bullet Can Deceive

 
 
Abraham Lincoln
his hand and pen
he will be good but
god knows When
 
Abraham Lincoln
 

Sonnet C

by George Henry Boker

For life and death to me are so akin,
So aptly one suggests the other’s being;
So quickly treads behind existence fleeing
The dark pursuer, sure at last to win;
That when life’s frolics o’er the world begin,
In the stern presence of my darker seeing,
There moves a shadow, every way agreeing
With each gay motion that he revels in.
Even the sweet wonder of thy slender shape
A graceful shade is haunting hour by hour;
And in the future there begin to lower
The signs that make the stricken household drape
Their tearful faces o’er with sullen crape–
Why should I trust in life’s unstable power?


Shiloh:  A Requiem

by Herman Melville

Skimming lightly, wheeling still,
The swallows fly low
Over the field in clouded days,
The forest-field of Shiloh—
Over the field where April rain
Solaced the parched ones stretched in pain
through the pause of night
That followed the Sunday fight A
round the church of Shiloh—
The church so lone, the log-built one,
That echoed to many a parting groan
And natural prayer Of dying foemen mingled there—
Foemen at morn, but friends at eve—
Fame or country least their care:
(What like a bullet can undeceive!)
But now they lie low,
While over them the swallows skim,
And all is hushed at Shiloh.

Heroic Happy Dead

A Ukrainian Territorial Defense Forces.

War is what happens when language fails.

Margaret Atwood

pity this busy monster, manunkind

by e. e. cummings

pity this busy monster, manunkind,

not. Progress is a comfortable disease:
your victim (death and life safely beyond)

plays with the bigness of his littleness
—electrons deify one razorblade
into a mountainrange; lenses extend

unwish through curving wherewhen till unwish
returns on its unself.
A world of made
is not a world of born—pity poor flesh

and trees, poor stars and stones, but never this
fine specimen of hypermagical

ultraomnipotence. We doctors know

a hopeless case if—listen: there’s a hell
of a good universe next door; let’s go.


Do wars ever come to an end?  One side runs out of ammunition or conscripts or volunteers, or civilians are pummeled into subjugation, to the point they can no longer support the war effort, but is there really ever a victor?   The current war sow’s the seeds for the next war and so on and so on.  Veteran’s day is to honor those that served, but it’s also a reminder on how war is handed down generation after generation.   One’s family’s liberation is another’s subjugation.  One’s person’s defeat is another’s lifelong PTSD for the incalculable cruelty of victory.  We survive them, outlast them and unfortunately repeat them.

The narrative of war is driven by the propaganda used to justify the expense in human lives and human capitol.    Why do we fail to invest in diplomacy, honor carefully crafted accords, when it is more effective and less costly than conflict? Cummings catch-22 clunky use of language fits the inherent contradictions of war.  War rarely make ssense but we all understand its consequence.  Cummings lack of clarity in his word-hash feels like clarity, in the context of the longing left behind by the heroic happy dead….

 


next to of course god america

by e. e. cummings

“next to of course god america i
love you land of the pilgrims’ and so forth oh
say can you see by the dawn’s early my
country ’tis of centuries come and go
and are no more what of it we should worry
in every language even deafanddumb
thy sons acclaim your glorious name by gorry
by jingo by gee by gosh by gum
why talk of beauty what could be more beaut-
iful than these heroic happy dead
who rushed like lions to the roaring slaughter
they did not stop to think they died instead
then shall the voice of liberty be mute?”

He spoke. And drank rapidly a glass of water.