Some light lunchtime reading. #bronx #nyc #poetry (at Bronx County Hall Of Justice)
My father said I could not do it, but all night I picked the peaches. The orchard was still, the canals ran steadily. I was a girl then, my chest its own walled garden. How many ladders to gather an orchard? I had only one and a long patience with lit hands and the looking of the stars which moved right through me the way the water moved through the canals with a voice that seemed to speak of this moonless gathering and those who had gathered before me. I put the peaches in the pond's cold water, all night up the ladder and down, all night my hands twisting fruit as if I were entering a thousand doors, all night my back a straight road to the sky. And then out of its own goodness, out of the far fields of the stars, the morning came, and inside me was the stillness a bell possesses just after it has been rung, before the metal begins to long again for the clapper's stroke. The light came over the orchard. The canals were silver and then were not. and the pond was--I could see as I laid the last peach in the water--full of fish and eyes.
in time of daffodils(who know
the goal of living is to grow)
forgetting why,remember how
in time of lilacs who proclaim
the aim of waking is to dream,
remember so(forgetting seem)
in time of roses(who amaze
our now and here with paradise)
forgetting if,remember yes
in time of all sweet things beyond
whatever mind may comprehend,
remember seek(forgetting find)
and in a mystery to be
(when time from time shall set us free)
forgetting me,remember me
Here’s to first drafts of shitty poetry. #poetry #nyc #brooklyn #literature #firstdraft (at Starbucks)
Mary Oliver (via rarararambles)
“He remembered the books of poetry upon his shelves at home. He had bought them in his bachelor days and many an evening as he sat in the little room off the hall, he had been tempted to take one down from the bookshelf and read out something to his wife. But shyness had always held him back; and so the books had remained on their shelves. At times he repeated lines to himself and this consoled him.”
—James Joyce, from “Little Cloud” in Dubliners (Grant Richards, Ltd., 1914)
Sonnets to Orpheus, Part Two, XXIX
Quiet friend who has come so far,
feel how your breathing makes more space around you.
Let this darkness be a bell tower
and you the bell. As you ring,
what batters you becomes your strength.
Move back and forth into the change.
What is it like, such intensity of pain?
If the drink is bitter, turn yourself to wine.
In this uncontainable night,
be the mystery at the crossroads of your senses,
the meaning discovered there.
And if the world has ceased to hear you,
say to the silent earth: I flow.
To the rushing water, speak: I am.
~ Rainer Maria Rilke ~
by Louise Glück
When Hades decided he loved this girl
he built for her a duplicate of earth,
everything the same, down to the meadow,
but with a bed added.
Everything the same, including sunlight,
because it would be hard on a young girl
to go so quickly from bright light to utter darkness
Gradually, he thought, he’d introduce the night,
first as the shadows of fluttering leaves.
Then moon, then stars. Then no moon, no stars.
Let Persephone get used to it slowly.
In the end, he thought, she’d find it comforting.
A replica of earth
except there was love here.
Doesn’t everyone want love?
He waited many years,
building a world, watching
Persephone in the meadow.
Persephone, a smeller, a taster.
If you have one appetite, he thought,
you have them all.
Doesn’t everyone want to feel in the night
the beloved body, compass, polestar,
to hear the quiet breathing that says
I am alive, that means also
you are alive, because you hear me,
you are here with me. And when one turns,
the other turns—
That’s what he felt, the lord of darkness,
looking at the world he had
constructed for Persephone. It never crossed his mind
that there’d be no more smelling here,
certainly no more eating.
Guilt? Terror? The fear of love?
These things he couldn’t imagine;
no lover ever imagines them.
He dreams, he wonders what to call this place.
First he thinks: The New Hell. Then: The Garden.
In the end, he decides to name it
A soft light rising above the level meadow,
behind the bed. He takes her in his arms.
He wants to say I love you, nothing can hurt you
but he thinks
this is a lie, so he says in the end
you’re dead, nothing can hurt you
which seems to him
a more promising beginning, more true.
Rainer Maria Rilke, “Love Song” (trans. Stephen Mitchell)
Frank O’Hara (via freins)