Negotiations
When my mother does
the treadmill she
watches taped
Harvard lectures on
argumentation in
order to better deduct
and induct the five foot
eight frames of her
daughters to the power
of seventeen.
So as she jogs
farther away into
the heavens,
she is quantifying
and qualifying the
space between the
perfect parabola of
truth and her
running sneakers.
It is after a fight we
push parallels against
her bedroom door,
my mother
repeats what she's
learned from the tapes:
No, No, No, No, No
When a wolf wakes
my sister up in the
middle of the night
she syas it sounds
like a spirit cursing
the treadmill of eternity or, perhaps,
the fact that it can
no longer wear
running shoes.
The spirit of my
mother moored
to the door, needs
neither shoes nor argument--
get out, she says,
get out of this room
but I have never
been in.
Morgan Askeneizer studies at The Eastman School of Music.
Saturday, August 14, 2010
Friday, August 6, 2010
"What to Remember When Waking" by David Whyte
What to Remember When Waking
In that first
hardly noticed
moment
in which you wake,
coming back
to this life
from the other
more secret,
moveable
and frighteningly
honest
world
where everything
began,
there is a small
opening
into the new day
which closes
the moment
you begin
your plans.
What you can plan
is too small
for you to live.
What you can live
wholeheartedly
will make plans
enough
for the vitality
hidden in your sleep.
To be human
is to become visible
while carrying
what is hidden
as a gift to others.
To remember
the other world
in this world
is to live in your
true inheritance.
You are not
a troubled guest
on this earth,
you are not
an accident
amidst other accidents
you were invited
from another and greater
night
than the one
from which
you have just emerged.
Now, looking through
the slanting light
of the morning
window toward
the mountain
presence
of everything
that can be,
what urgency
calls you to your
one love? What shape
waits in the seed
of you to grow
and spread
its branches
against a future sky?
Is it waiting
in the fertile sea?
In the trees
beyond the house?
In the life
you can imagine
for yourself?
In the open
and lovely
white page
on the waiting desk?
David Whyte
In that first
hardly noticed
moment
in which you wake,
coming back
to this life
from the other
more secret,
moveable
and frighteningly
honest
world
where everything
began,
there is a small
opening
into the new day
which closes
the moment
you begin
your plans.
What you can plan
is too small
for you to live.
What you can live
wholeheartedly
will make plans
enough
for the vitality
hidden in your sleep.
To be human
is to become visible
while carrying
what is hidden
as a gift to others.
To remember
the other world
in this world
is to live in your
true inheritance.
You are not
a troubled guest
on this earth,
you are not
an accident
amidst other accidents
you were invited
from another and greater
night
than the one
from which
you have just emerged.
Now, looking through
the slanting light
of the morning
window toward
the mountain
presence
of everything
that can be,
what urgency
calls you to your
one love? What shape
waits in the seed
of you to grow
and spread
its branches
against a future sky?
Is it waiting
in the fertile sea?
In the trees
beyond the house?
In the life
you can imagine
for yourself?
In the open
and lovely
white page
on the waiting desk?
David Whyte
"The Sun" by Mary Oliver
The Sun
Have you ever seen
anything
in your life
more wonderful
than the way the sun,
every evening,
relaxed and easy,
floats toward the horizon
and into the clouds or the hills,
or the rumpled sea,
and is gone--
and how it slides again
out of the blackness,
every morning,
on the other side of the world,
like a red flower
streaming upward on its heavenly oils,
say, on a morning in early summer,
at its perfect imperial distance--
and have you ever felt for anything
such wild love--
do you think there is anywhere, in any language,
a word billowing enough
for the pleasure
that fills you,
as the sun
reaches out,
as it warms you
as you stand there,
empty-handed--
or have you too
turned from this world--
or have you too
gone crazy
for power,
for things?
Mary Oliver
Have you ever seen
anything
in your life
more wonderful
than the way the sun,
every evening,
relaxed and easy,
floats toward the horizon
and into the clouds or the hills,
or the rumpled sea,
and is gone--
and how it slides again
out of the blackness,
every morning,
on the other side of the world,
like a red flower
streaming upward on its heavenly oils,
say, on a morning in early summer,
at its perfect imperial distance--
and have you ever felt for anything
such wild love--
do you think there is anywhere, in any language,
a word billowing enough
for the pleasure
that fills you,
as the sun
reaches out,
as it warms you
as you stand there,
empty-handed--
or have you too
turned from this world--
or have you too
gone crazy
for power,
for things?
Mary Oliver
"At Blackwater Pond " by Mary Oliver
At Blackwater Pond
At Blackwater Pond
the tossed waters have settled
after a night of rain.
I dip my cupped hands. I drink
a long time. It tastes
like stone, leaves, fire. It falls cold
into my body, waking the bones.
I hear them
deep inside me, whispering
oh what is that beautiful thing
that just happened?
Mary Oliver
At Blackwater Pond
the tossed waters have settled
after a night of rain.
I dip my cupped hands. I drink
a long time. It tastes
like stone, leaves, fire. It falls cold
into my body, waking the bones.
I hear them
deep inside me, whispering
oh what is that beautiful thing
that just happened?
Mary Oliver
"V", from Given by Wendell Berry
V.
I know for a while again
the health of self-forgetfulness,
looking out at the sky through
a notch in the valley side,
the black woods wintry on
the hills, small clouds at sunset
passing across. And I know
that this is one of those thresholds
between Earth and Heaven,
from which even I may step
forth from my self and be free.
-Wendell Berry, from
Given: Poems, “Sabbaths 2000, V”
I know for a while again
the health of self-forgetfulness,
looking out at the sky through
a notch in the valley side,
the black woods wintry on
the hills, small clouds at sunset
passing across. And I know
that this is one of those thresholds
between Earth and Heaven,
from which even I may step
forth from my self and be free.
-Wendell Berry, from
Given: Poems, “Sabbaths 2000, V”
"Sometimes" by Sheenagh Pugh
Sometimes
Sometimes things don’t go, after all,
from bad to worse. Some years, muscadel
faces down frost; green thrives; the crops don’t fail,
sometimes a man aims high, and all goes well.
A people sometimes will step back from war,
elect an honest man; decide they care
enough, that they can’t leave some stranger poor.
Some men become what they were born for.
Sometimes our best intentions do not go
amiss; sometimes we do as we meant to.
The sun will sometimes melt a field of sorrow
that seemed hard frozen: may it happen for you.
– Sheenagh Pugh
Sometimes things don’t go, after all,
from bad to worse. Some years, muscadel
faces down frost; green thrives; the crops don’t fail,
sometimes a man aims high, and all goes well.
A people sometimes will step back from war,
elect an honest man; decide they care
enough, that they can’t leave some stranger poor.
Some men become what they were born for.
Sometimes our best intentions do not go
amiss; sometimes we do as we meant to.
The sun will sometimes melt a field of sorrow
that seemed hard frozen: may it happen for you.
– Sheenagh Pugh
Thursday, August 5, 2010
"Have You Prayed" by Li-Young Lee
Have You Prayed
When the wind
turns and asks, in my father’s voice,
Have you prayed?
I know three things. One:
I’m never finished answering to the dead.
Two: A man is four winds and three fires.
And the four winds are his father’s voice,
his mother’s voice . . .
Or maybe he’s seven winds and ten fires.
And the fires are seeing, hearing, touching,
dreaming, thinking . . .
Or is he the breath of God?
When the wind turns traveler
and asks, in my father’s voice, Have you prayed?
I remember three things.
One: A father’s love
is milk and sugar,
two-thirds worry, two-thirds grief, and what’s left over
is trimmed and leavened to make the bread
the dead and the living share.
And patience? That’s to endure
the terrible leavening and kneading.
And wisdom? That’s my father’s face in sleep.
When the wind
asks, Have you prayed?
I know it’s only me
reminding myself
a flower is one station between
earth’s wish and earth’s rapture, and blood
was fire, salt, and breath long before
it quickened any wand or branch, any limb
that woke speaking. It’s just me
in the gowns of the wind,
or my father through me, asking,
Have you found your refuge yet?
asking, Are you happy?
Strange. A troubled father. A happy son.
The wind with a voice. And me talking to no one.
“Have you Prayed,” from Behind My Eyes by Li-Young Lee. Copyright ©2008 by Li-Young Lee. Used by permission of W.W. Norton & Company, Inc.
Source: Behind My Eyes (W. W. Norton and Company, Inc., 2008)
- Posted using BlogPress from my iPhone
When the wind
turns and asks, in my father’s voice,
Have you prayed?
I know three things. One:
I’m never finished answering to the dead.
Two: A man is four winds and three fires.
And the four winds are his father’s voice,
his mother’s voice . . .
Or maybe he’s seven winds and ten fires.
And the fires are seeing, hearing, touching,
dreaming, thinking . . .
Or is he the breath of God?
When the wind turns traveler
and asks, in my father’s voice, Have you prayed?
I remember three things.
One: A father’s love
is milk and sugar,
two-thirds worry, two-thirds grief, and what’s left over
is trimmed and leavened to make the bread
the dead and the living share.
And patience? That’s to endure
the terrible leavening and kneading.
And wisdom? That’s my father’s face in sleep.
When the wind
asks, Have you prayed?
I know it’s only me
reminding myself
a flower is one station between
earth’s wish and earth’s rapture, and blood
was fire, salt, and breath long before
it quickened any wand or branch, any limb
that woke speaking. It’s just me
in the gowns of the wind,
or my father through me, asking,
Have you found your refuge yet?
asking, Are you happy?
Strange. A troubled father. A happy son.
The wind with a voice. And me talking to no one.
“Have you Prayed,” from Behind My Eyes by Li-Young Lee. Copyright ©2008 by Li-Young Lee. Used by permission of W.W. Norton & Company, Inc.
Source: Behind My Eyes (W. W. Norton and Company, Inc., 2008)
- Posted using BlogPress from my iPhone
Wednesday, August 4, 2010
"Dog's Death" by John Updike
Dog's Death
She must have been kicked unseen or brushed by a car.
Too young to know much, she was beginning to learn
To use the newspapers spread on the kitchen floor
And to win, wetting there, the words, “Good dog! Good dog!”
We thought her shy malaise was a shot reaction.
The autopsy disclosed a rupture in her liver.
As we teased her with play, blood was filling her skin
And her heart was learning to lie down forever.
Monday morning, as the children were noisily fed
And sent to school, she crawled beneath the youngest’s bed.
We found her twisted and limp but still alive.
In the car to the vet’s, on my lap, she tried
To bite my hand and died. I stroked her warm fur
And my wife called in a voice imperious with tears.
Though surrounded by love that would have upheld her,
Nevertheless she sank and, stiffening, disappeared.
Back home, we found that in the night her frame,
Drawing near to dissolution, had endured the shame
Of diarrhoea and had dragged across the floor
To a newspaper carelessly left there. Good dog.
John Updike, POETSPEAK In Their Work, About Their Work (A Selection by Paul B. Janeczko)
She must have been kicked unseen or brushed by a car.
Too young to know much, she was beginning to learn
To use the newspapers spread on the kitchen floor
And to win, wetting there, the words, “Good dog! Good dog!”
We thought her shy malaise was a shot reaction.
The autopsy disclosed a rupture in her liver.
As we teased her with play, blood was filling her skin
And her heart was learning to lie down forever.
Monday morning, as the children were noisily fed
And sent to school, she crawled beneath the youngest’s bed.
We found her twisted and limp but still alive.
In the car to the vet’s, on my lap, she tried
To bite my hand and died. I stroked her warm fur
And my wife called in a voice imperious with tears.
Though surrounded by love that would have upheld her,
Nevertheless she sank and, stiffening, disappeared.
Back home, we found that in the night her frame,
Drawing near to dissolution, had endured the shame
Of diarrhoea and had dragged across the floor
To a newspaper carelessly left there. Good dog.
John Updike, POETSPEAK In Their Work, About Their Work (A Selection by Paul B. Janeczko)
"Let Evening Come" by Jane Kenyon
Let Evening Come
Let the light of late afternoon
shine through chinks in the barn, moving
up the bales as the sun moves down.
Let the cricket take up chafing
as a woman takes up her needles
and her yarn. Let evening come.
Let dew collect on the hoe abandoned
in long grass. Let the stars appear
and the moon disclose her silver horn.
Let the fox go back to its sandy den.
Let the wind die down. Let the shed
go black inside. Let evening come.
To the bottle in the ditch, to the scoop
in the oats, to air in the lung
let evening come.
Let it come, as it will, and don't
be afraid. God does not leave us
comfortless, so let evening come."
Let the light of late afternoon
shine through chinks in the barn, moving
up the bales as the sun moves down.
Let the cricket take up chafing
as a woman takes up her needles
and her yarn. Let evening come.
Let dew collect on the hoe abandoned
in long grass. Let the stars appear
and the moon disclose her silver horn.
Let the fox go back to its sandy den.
Let the wind die down. Let the shed
go black inside. Let evening come.
To the bottle in the ditch, to the scoop
in the oats, to air in the lung
let evening come.
Let it come, as it will, and don't
be afraid. God does not leave us
comfortless, so let evening come."
Tuesday, August 3, 2010
"The Peace of Wild Things" by Wendell Berry
The Peace of Wild Things
When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children’s lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free.
Wendell Berry, "The Peace of Wild Things" from Collected Poems, 1957-1982 (Counterpoint Press, 1985)
- Posted using BlogPress from my iPhone
When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children’s lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free.
Wendell Berry, "The Peace of Wild Things" from Collected Poems, 1957-1982 (Counterpoint Press, 1985)
- Posted using BlogPress from my iPhone
Sunday, August 1, 2010
"In the Tabloid" by Moriah Askenaizer
In the Tabloid:
There’s a man in
who eats glass
Really, I mean
to say there’s a
story about
a man in
up and tucked into
the breast
pocket of my coat
because I like
to think it’s a
love letter
and sometimes
when I forget
I had put it there
and my fingers
surprise upon
its edges
it is.
In the background
of this poem, a TV
special is
running about the art
of origami. Did you know
when you fold
paper you change its
memory?
One day
I told my twin, who I won't
be seeing much of soon,
about the man
who eats glass.
Does he shit vases?
she asked.
I think about picking
blackberries
and keeping them in
big hollow vases
If I fold
this poem into an
origami of glass-eater,
love-letter because
I’m frustrated and scared
by how the blackberries,
choked in their big
hollow vases, are
glorious and awful
like a first kiss,
I change the way it
remembers
me.
Not as a
person-but
as a piece of
glass the man
in
to eat.
Moriah Askenaizer, arist and poet, lives in New York City. See some of her artwork at: http://cargocollective.com/moriahaskenaizer
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