Lying here quietly beside you,
My cheek against your firm, quiet thighs,
The calm music of Boccherini
Washing over us in the quiet,
As the sun leaves the housetops and goes
Out over the Pacific, quiet–
So quiet the sun moves beyond us,
So quiet as the sun always goes,
So quiet, our bodies, worn with the
Times and the penances of love, our
Brains curled, quiet in their shells, dormant,
Our hearts slow, quiet, reliable
In their interlocking rhythms, the pulse
In your thigh caressing my cheek. Quiet.
Constantly Risking Absurdity (#15)
by Lawrence Ferlinghetti
Constantly risking absurdity
whenever he performs
above the heads
of his audience
The poet like an acrobat
climbs on rime
to a high wire of his own making
and balancing on eyebeams
above a sea of faces
paces his way
to the other side of day
and sleight-of-foot tricks
and other high theatrics
and all without mistaking
for what it may not be
For he’s the super realist
who must perforce perceive
before the taking of each stance or step
in his supposed advance
toward that still higher perch
where Beauty stands and waits
to start her death-defying leap
a little charley chaplin man
who may or may not catch
her fair eternal form
spreadeagled in the empty air
Lawrence Ferlinghetti from A Coney Island of the Mind: Poems copyright 1958
IN Egypt’s sandy silence, all alone,
Stands a gigantic Leg, which far off throws
The only shadow that the Desart knows:—
“I am great OZYMANDIAS,” saith the stone,
“The King of Kings; this mighty City shows
“The wonders of my hand.”— The City’s gone,—
Nought but the Leg remaining to disclose
The site of this forgotten Babylon.
We wonder,—and some Hunter may express
Wonder like ours, when thro’ the wilderness
Where London stood, holding the Wolf in chace,
He meets some fragment huge, and stops to guess
What powerful but unrecorded race
Once dwelt in that annihilated place.
by Percy Bysshe Shelley (1792 – 1822)
I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”
Where does inspiration arise? In the case of Shelley’s famous poem, it came from a little gamesmenship between two friends, a modest wager of who could write the better poem after seeing a drawing of Ozymandias pictured above. Smith was a friend of Shelley’s and the two each wrote a sonnet after reading a portion of Diodorus Siculus’ Bibliotheca historica, a history of the known world in the last century BC, much of which survives.
It does not seem such an odd place for poetic inspiration. My parents invested in a complete Encyclopedia Britanica as a child, a very expensive addition to our library, and placed it on the lowest book shelf to give all of us easy access. It served two purposes as a child. It was the perfect building material for adding height and variation to hot wheel tracks, when hot wheels were only powered by gravity, and on rainy days, I would sit by the heater with the cats, and pull out a letter and browse through it, stumbling upon all kinds of interesting things I knew nothing about. In grade school the Encyclopedia was the first place you went to begin a book report or paper on any subject. Today, you see them out for free at yard sales, the owners hoping someone will cart them off.
I will never completely succumb to the lure of the simplicity of the digital era. I don’t want an algorithm dictating what I do and don’t see based on past searches. I want the freedom to stumble across something completely foreign and inviting. I still look at maps, instead of relying on GPS for the same reason. A map gives you context. A map can tell you things about your surroundings that you had no idea existed. A map can help you take the detour that turns out to be your real destination after all. And I still enjoy finding an encyclopedia and pulling out a letter and opening it up randomly to find out what cool thing in Volume W might contain.
The sun rises with no less dazzling sway, And yet, gardens sulk in muted eloquence. Nature’s splendor is colder ever since Quietus bore your gentle hand away. It’s your silence which weighs upon my days. Unexpected things will make me wince. For I miss your voice, your elegance All which hold me still amidst the fray.
You draped and shaped us with loving shears. Thin striplings pruned and fed to reach the sun You protected us from winter’s coldest years To bloom again despite what’s done is done. In mourning, I’ll manage through these low tears Ever blessed to be your beloved son.
“The profession of book writing makes horse racing look like a stable, solid business.”
Sonnet Xli – Having This Day My Horse
By Sir Philip Sidney
Having this day my horse, my hand, my lance Guided so well that I obtain’d the prize,
Both by the judgment of the English eyes
And of some sent from that sweet enemy France;
Horsemen my skill in horsemanship advance,
Town folks my strength; a daintier judge applies
His praise to sleight which from good use doth rise;
Some lucky wits impute it but to chance;
Others, because of both sides I do take
My blood from them who did excel in this,
Think Nature me a man of arms did make.
How far they shot awry! The true cause is,
Stella look’d on, and from her heav’nly face
Sent forth the beams which made so fair my race.
I have recently been schooled in the ways of horse betting by a friend for whom the horses are a passionate hobby. His approach is to use a combination of 25 years of watching horse racing at tracks all over the world, watching trainers, jockey’s and owners success and failure and combining it with a complete sense of folly in betting. It seems to work. His advice, always bet the black horse if wearing a one to win or bet the horse wearing the number of the race on that days card before the 5th, for instance the 4 horse in the 4th, particularly if he likes the jockey.
The only time horse racing even comes into my consciousness is the month during the triple crown, when I follow peripherally the story lines that emerge around long shots, favorites, beautiful thoroughbreds coming up lame, jockeys career’s made or lost in a seconds on a muddy track and the beauty of what a race horse can do in the hands of amazing athletes. It is a beauty to behold.
If you had a team helping you everyday, exercising with you, carefully watching your nutrition, bathing you, encouraging you, asking you to do your best, what race could you run with elegance? What triple crown are you racing in your life and who is your team supporting you, helping you to win, share the journey or consoling you in defeat? Remember, regardless of where you place, stay in the race and feel the pleasure of blood beating in your veins.
by Carl Sandburg
FIRST I would like to write for you a poem to be shouted in the teeth of a strong wind.
Next I would like to write one for you to sit on a hill and read down the river valley on a late summer afternoon, reading it in less than a whisper to Jack on his soft wire legs learning to stand up and preach, Jack-in-the-pulpit.
As many poems as I have written to the moon and the streaming of the moon spinners of light, so many of the summer moon and the winter moon I would like to shoot along to your ears for nothing, for a laugh, a song,
for nothing at all,
for one look from you,
for your face turned away
and your voice in one clutch
half way between a tree wind moan
and a night-bird sob.
Believe nothing of it all, pay me nothing, open your window for the other singers and keep it shut for me.
The road I am on is a long road and I can go hungry again like I have gone hungry before.
What else have I done nearly all my life than go hungry and go on singing?
Leave me with the hoot owl.
I have slept in a blanket listening.
He learned it, he must have learned it
From two moons, the summer moon,
And the winter moon
And the streaming of the moon spinners of light.
When you are old and grey and full of sleep, And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.
These two poems may appear at first to sit at two ends of love’s spectrum, but look more closely, as it takes more than a minor tempest of the heart to create “wreckage gathered in the gales.” I have been reading a book about a man’s journey in China to the site of ancient poet’s reputed refuge from the world. Part poetry, part myth, part travel log, the book is a reminder that even mystic hermits had dear friends that visited them in their caves. People are not people without other people. The same may be true of elephants, but it doesn’t make it any less true about homo sapiens. And, poetry isn’t poetry unless someone else is there to read the scratching’s on the trees and write it down so that their friends can enjoy their wonderful discovery.
Do you ever find a poem, you can’t wait to share with someone else? Who is that someone? What is the poem? Here’s a gentle reminder to send it off right away….
Pity Me Not Because The Light of Day
by Edna St. Vincent Millay (1892 -1950)
Pity me not because the light of day
At close of day no longer walks the sky;
Pity me not for beauties passed away
From field and thicket as the year goes by;
Pity me not the waning of the moon,
Nor the ebbing tide goes out to sea,
Nor that a man desire is hushed so soon,
And you no longer look with love on me.
This have I known always; Love is no more
Than the wide blossom on which the wind assails,
Than the great tide that treads the shifting shore,
Strewing fresh wreckage gathered in the gales:
Pity me that the heart is slow to learn
What the swift mind beholds at every turn.
The forward violet thus did I chide:
Sweet thief, whence didst thou steal thy sweet that smells,
If not from my love’s breath? The purple pride
Which on thy soft cheek for complexion dwells
In my love’s veins thou hast too grossly dyed.
The lily I condemned for thy hand,
And buds of marjoram had stol’n thy hair:
The roses fearfully on thorns did stand,
One blushing shame, another white despair;
A third, nor red nor white, had stol’n of both
And to his robbery had annex’d thy breath;
But, for his theft, in pride of all his growth
A vengeful canker eat him up to death.
More flowers I noted, yet I none could see
But sweet or colour it had stol’n from thee.
I think Shakespeare is using violets as a metaphor and not in a literal sense, but violets are the scent thieves of the flowering kingdom. The smell of violets comes from terpenes and a ketone chemical compound called ionone. Violets have a sweet scent but it’s not overpowering. This is because of a curious chemical property that creates their ethereal quality. Violets smell binds to our scent receptors after stimulating them, temporarily rendering them numb. It’s why the smell of violets can only be smelled for a few moments. However, if you take a few breaths, the smell will return because the receptors register the stimulus again.
I planted violets in my garden over the weekend because they bring early spring cheery colors and are nearly impossible to freeze out in May. Given that there was a few snowflakes overnight it was a good call to not plant to many annuals yet and to wait another couple of weeks to get the geraniums in the ground.
by Alice Dunbar-Nelson (1875 – 1935)
I had no thought of violets of late,
The wild, shy kind that spring beneath your feet
In wistful April days, when lovers mate
And wander through the fields in raptures sweet.
The thought of violets meant florists’ shops,
And bows and pins, and perfumed papers fine;
And garish lights, and mincing little fops
And cabarets and songs, and deadening wine.
So far from sweet real things my thoughts had strayed,
I had forgot wide fields, and clear brown streams;
The perfect loveliness that God has made,—
Wild violets shy and Heaven-mounting dreams.
And now—unwittingly, you’ve made me dream
Of violets, and my soul’s forgotten gleam.