By Mary Karr

She bore no more than other women bore,
but in her belly’s globe that desert night the earth’s
full burden swayed.
Maybe she held it in her clasped hands as expecting women often do
or monks in prayer. Maybe at the womb’s first clutch
     she briefly felt that star shine

as a blade point, but uttered no curses.
Then in the stable she writhed and heard
beasts stomp in their stalls,
their tails sweeping side to side
and between contractions, her skin flinched
with the thousand animal itches that plague
     a standing beast’s sleep.

But in the muted womb-world with its glutinous liquid,
the child knew nothing
of its own fire. (No one ever does, though our names
are said to be writ down before
we come to be.) He came out a sticky grub, flailing
     the load of his own limbs

and was bound in cloth, his cheek brushed
with fingertip touch
so his lolling head lurched, and the sloppy mouth
found that first fullness — her milk
spilled along his throat, while his pure being
     flooded her. (Each

feeds the other.) Then he was
left in the grain bin. Some animal muzzle
against his swaddling perhaps breathed him warm
till sleep came pouring that first draught
of death, the one he’d wake from
     (as we all do) screaming.

Now all the doors and windows
are open, and we move so easily
through the rooms. Cats roll
on the sunny rugs, and a clumsy wasp
climbs the pane, pausing
to rub a leg over her head.

All around physical life reconvenes.
The molecules of our bodies must love
to exist: they whirl in circles
and seem to begrudge us nothing.
Heat, Horatio, heat makes them
put this antic disposition on!

This year’s brown spider
sways over the door as I come
and go. A single poppy shouts
from the far field, and the crow,
beyond alarm, goes right on
pulling up the corn.

Jane Kenyon

We stood on the rented patio
While the party went on inside.
You knew the groom from college.
I was a friend of the bride.

We hugged the brownstone wall behind us
To keep our dress clothes dry
And watched the sudden summer storm
Floodlit against the sky.

The rain was like a waterfall
Of brilliant beaded light,
Cool and silent as the stars
The storm hid from the night.

To my surprise, you took my arm–
A gesture you didn’t explain–
And we spoke in whispers, as if we two
Might imitate the rain.

Then suddenly the storm receded
As swiftly as it came.
The doors behind us opened up.
The hostess called your name.

I watched you merge into the group,
Aloof and yet polite.
We didn’t speak another word
Except to say goodnight.

Why does that evening’s memory
Return with this night’s storm–
A party twenty years ago,
Its disappointments warm?

There are so many might have beens,
What ifs that won’t stay buried,
Other cities, other jobs,
Strangers we might have married.

And memory insists on pining
For places it never went,
As if life would be happier
Just by being different.

Dana Gioia

The eyes open to a cry of pulleys,
And spirited from sleep, the astounded soul
Hangs for a moment bodiless and simple
As false dawn.
Outside the open window
The morning air is all awash with angels.

Some are in bed-sheets, some are in blouses,
Some are in smocks: but truly there they are.
Now they are rising together in calm swells
Of halcyon feeling, filling whatever they wear
With the deep joy of their impersonal breathing;

Now they are flying in place, conveying
The terrible speed of their omnipresence, moving
And staying like white water; and now of a sudden
They swoon down into so rapt a quiet
That nobody seems to be there.
The soul shrinks

From all that is about to remember,
From the punctual rape of every blessed day,
And cries,
“Oh, let there be nothing on earth but laundry,
Nothing but rosy hands in the rising steam
And clear dances done in the sight of heaven.”

Yet, as the sun acknowledges
With a warm look the world’s hunks and colors,
The soul descends once more in bitter love
To accept the waking body, saying now
In a changed voice as the man yawns and rises,

“Bring them down from their ruddy gallows;
Let there be clean linen for the backs of thieves;
Let lovers go fresh and sweet to be undone,
And the heaviest nuns walk in a pure floating
Of dark habits,
keeping their difficult balance.”

Richard Wilbur

The world does not need words. It articulates itself
in sunlight, leaves, and shadows. The stones on the path
are no less real for lying uncatalogued and uncounted.
The fluent leaves speak only the dialect of pure being.
The kiss is still fully itself though no words were spoken.

And one word transforms it into something less or other—
illicit, chaste, perfunctory, conjugal, covert.
Even calling it a kiss betrays the fluster of hands
glancing the skin or gripping a shoulder, the slow
arching of neck or knee, the silent touching of tongues.

Yet the stones remain less real to those who cannot
name them, or read the mute syllables graven in silica.
To see a red stone is less than seeing it as jasper—
metamorphic quartz, cousin to the flint the Kiowa
carved as arrowheads. To name is to know and remember.

The sunlight needs no praise piercing the rainclouds,
painting the rocks and leaves with light, then dissolving
each lucent droplet back into the clouds that engendered it.
The daylight needs no praise, and so we praise it always—
greater than ourselves and all the airy words we summon.

Dana Gioia

From the far star points of his pinned extremities,
cold inched in—black ice and squid ink—
till the hung flesh was empty.
Lonely in that void even for pain,
he missed his splintered feet,
the human stare buried in his face.
He ached for two hands made of meat
he could reach to the end of.
In the corpse’s core, the stone fist
of his heart began to bang
on the stiff chest’s door, and breath spilled
back into that battered shape. Now

it’s your limbs he comes to fill, as warm water
shatters at birth, rivering every way.

– Mary Karr

Since everyone seems to be enjoying these so greatly: here is one of the poems we worked on in class today.

Nightclub
By Billy Collins

You are so beautiful and I am a fool
to be in love with you
is a theme that keeps coming up
in songs and poems.
There seems to be no room for variation.
I have never heard anyone sing
I am so beautiful
and you are a fool to be in love with me,
even though this notion has surely
crossed the minds of women and men alike.
You are so beautiful, too bad you are a fool
is another one you don’t hear.
Or, you are a fool to consider me beautiful.
That one you will never hear, guaranteed.

For no particular reason this afternoon
I am listening to Johnny Hartman
whose dark voice can curl around
the concepts of love, beauty, and foolishness
like no one else’s can.
It feels like smoke curling up from a cigarette
someone left burning on a baby grand piano
around three o’clock in the morning;
smoke that billows up into the bright lights
while out there in the darkness
some of the beautiful fools have gathered
around little tables to listen,
some with their eyes closed,
others leaning forward into the music
as if it were holding them up,
or twirling the loose ice in a glass,
slipping by degrees into a rhythmic dream.
Yes, there is all this foolish beauty,
borne beyond midnight,
that has no desire to go home,
especially now when everyone in the room
is watching the large man with the tenor sax
that hangs from his neck like a golden fish.
He movies forward to the edge of the stage
and hands the instrument down to me
and nods that I should play.
So I put the mouthpiece to my lips
and blow into it with all my living breath.
We are all so foolish,
my long bebop solo begins by saying,
so damn foolish
we have become beautiful without even knowing it.

. . . and this one, too. Which choked me up around the second-to-last stanza each time.

Litany

By Dana Gioia

This is a litany of lost things,
a canon of possessions dispossessed,
a photograph, an old address, a key.
It is a list of words to memorize
or to forget–of amo, amas, amat,
the conjugations of a dead tongue
in which the final sentence has been spoken.

This is the liturgy of rain,
falling on mountain, field, and ocean–
indifferent, anonymous, complete–
of water infinitesimally slow,
sifting through rock, pooling in darkness,
gathering in springs, then rising without our agency,
only to dissolve in mist or cloud or dew.

This is a prayer to unbelief,
to candles guttering and darkness undivided,
to incense drifting into emptiness.
It is the smile of a stone Madonna
and the silent fury of the consecrated wine,
a benediction on the death of a young god,
brave and beautiful, rotting on a tree.

This is a litany to earth and ashes,
to the dust of roads and vacant rooms,
to the fine silt circling in a shaft of sun,
settling indifferently on books and beds.
This is a prayer to praise what we become,
“Dust thou art, to dust thou shalt return.”
Savor its taste–the bitterness of earth and ashes.

This is a prayer, inchoate and unfinished,
for you, my love, my loss, my lesion,
a rosary of words to count out time’s
illusions, all the minutes, hours, days
the calendar compounds as if the past
existed somewhere–like an inheritance
still waiting to be claimed.

Until at last it is our litany, mon vieux,
my reader, my voyeur, as if the mist
steaming from the gorge, this pure paradox,
the shattered river rising as it falls–
splintering the light, swirling it skyward,
neither transparent nor opaque but luminous,
even as it vanishes–were not our life.

I assigned this poem, and we studied it in my classes the last two days.

From Cien Sonetos de amor

XVII

I don ’t love you as if you were a rose of salt, topaz,
or arrow of carnations that propagate fire:
I love you as one loves certain obscure things,
secretly, between the shadow and the soul.

I love you as the plant that doesn’t bloom but carries
the light of those flowers, hidden, within itself,
and thanks to your love the tight aroma that arose
from the earth lives dimly in my body.

I love you without knowing how, or when, or
from where
I love you directly without problems or pride:
I love you like this because I don’t know any other way
to love,

except in this form in which I am not nor are you,
so close that your hand upon my chest is mine,
so close that your eyes close with my dreams.
—Translated and © Mark Eisner 2004, from City Lights’ The Essential Neruda