Showing posts with label Words of the Week. Show all posts
Showing posts with label Words of the Week. Show all posts

Monday, 16 December 2013

Words of the Week #18 - Nelson Mandela

Mandiba
The struggle, determination and inspiration that has been Nelson Mandela's life is and will be known and admired by our generation and generations to come. While incarcerated on Robben Island Prison, Nelson Mandela would read the following poem to other inmates. I hope we are able to find inspiration in this and strive to emulate the strength and compassion that Nelson Mandela and other who have fought for the same goals in our own lives. This is "Invictus" by William Ernest Henley:


Invictus

Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.

In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.

Beyond this place of wrath and tears
Looms but the horror of the shade,
And yet the menace of the years
Finds and shall find me unafraid.

It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.
- William Ernest Henley (1849-1903)

Monday, 2 December 2013

Words of the Week #17

Helicon’s latest edition “Lost and Found” is taking shape as we speak and throughout the last previous weeks, in between the editor meeting and final choices for the front cover, this particular poem has been playing in the back of my mind.

Right now, when we are so close to publishing this year’s first copy of Helicon, it seems an apt moment to present “The Author to Her Book” by Anne Bradstreet for this” Words of the Week” post.

Make sure to pick up a copy of the latest Helicon Magazine in and around Bristol soon!!

The Author To Her Book

Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, exposed to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy Visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I washed thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobbling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst Vulgars mayst thou roam.
In Critics hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy Father asked, say, thou hadst none:
And for thy Mother, she alas is poor,
Which caused her thus to send thee out of door.


Anne Bradstreet (1612-1672)  

Monday, 25 November 2013

Words of the Week #16


Walt Whitman's (1819-1891) "Leaves of Grass" was controversial at the time
 as it talked about a range of themes including homo/heterosexuality
This classic 19th century American Poet is little known to us on this side of the pond. Forever immortalised by Dead Poet’s Society’s “O Captain! My Captain..” scene, Walt Whitman provides a refreshing realism away from the pomp and extravagance adopted by his British Romantic counterparts at the same time. Whitman was not afraid to address a variety of topics, some of which often classed as too risqué for the conservative American audience. If you want to get a full feel of his style, his epic “Song of Myself” provides a true zeitgeist feel to 19th century New York touching on love, equality and the idea of the American Dream -  and I highly recommend it! Meanwhile here are some of his shorter works which stand out:

Beat! Beat! Drums!

Beat! beat! drums!—blow! bugles! blow!
Through the windows—through doors—burst like a ruthless force,
Into the solemn church, and scatter the congregation,
Into the school where the scholar is studying,
Leave not the bridegroom quiet—no happiness must he have now with his bride,
Nor the peaceful farmer any peace, ploughing his field or gathering his grain,
So fierce you whirr and pound you drums—so shrill you bugles blow.

Beat! beat! drums!—blow! bugles! blow!
Over the traffic of cities—over the rumble of wheels in the streets;
Are beds prepared for sleepers at night in the houses? no sleepers must sleep in those beds,
No bargainers’ bargains by day—no brokers or speculators—would they continue?
Would the talkers be talking? would the singer attempt to sing?
Would the lawyer rise in the court to state his case before the judge?
Then rattle quicker, heavier drums—you bugles wilder blow.

Beat! beat! drums!—blow! bugles! blow!
Make no parley—stop for no expostulation,
Mind not the timid—mind not the weeper or prayer,
Mind not the old man beseeching the young man,
Let not the child’s voice be heard, nor the mother’s entreaties,
Make even the trestles to shake the dead where they lie awaiting the hearses,
So strong you thump O terrible drums—so loud you bugles blow

Walt Whitman

World Take Good Notice

World, take good notice, silver stars fading,        
Milky hue ript, weft of white detaching,               
Coals thirty-eight, baleful and burning, 
Scarlet, significant, hands off warning,  
Now and henceforth flaunt from these shores.


Walt Whitman    

Monday, 18 November 2013

Words of the Week #15


Look for the tired, well-thumbed ones -
They always have the best poetry 
Bring on the Blake! - because this week were doing a classic.

As part of the annual chain-yourself -to-the-library-desk-late-night-revision-cram that we all have experienced, I find myself always taking up the seats in the poetry section of the University's Arts and Social Sciences Library. As a Medical Student, I have quickly found that short term goals and self-gratifications is the only way to get through a mountain of work (I personally find strategically covering up parts of paragraphs with jelly beans highly effective!) It was during one of these moments around 2 am in a morning,  after a last ditch attempt at wrangling with the spinothalamic pathway of the brain, I decided on taking a peruse around the shelves. That's when I found this beauty!



On Thin, Delicate Pages - as if the words will
dissolve away if you press too hard 

From a dusty forgotten corner of the library, I found a copy of William Blakes poems which not only included the famous"The Tyger" but also earlier drafts and versions of "TheTyger." it was incredibly interesting to see how such a well known and rhythmic poem developed and how different it could of been!


The Tyger

Tyger! Tyger! burning bright 
In the forests of the night, 
What immortal hand or eye 
Could frame thy fearful symmetry?

In what distant deeps or skies 
Burnt the fire of thine eyes? 
On what wings dare he aspire? 
What the hand dare sieze the fire? 

And what shoulder, & what art. 
Could twist the sinews of thy heart? 
And when thy heart began to beat, 
What dread hand? & what dread feet? 

What the hammer? what the chain? 
In what furnace was thy brain? 
What the anvil? what dread grasp 
Dare its deadly terrors clasp? 

When the stars threw down their spears, 
And watered heaven with their tears, 
Did he smile his work to see? 
Did he who made the Lamb make thee? 

Tyger! Tyger! burning bright 
In the forests of the night, 
What immortal hand or eye 
Dare frame thy fearful symmetry?
- William Blake



Reference : BLAKE, W. & SAMPSON, J. 1913. The poetical works of William Blake : including the unpublished French Revolution, Oxford, Oxford University Press.




Monday, 4 November 2013

Words of the Week # 13

This week it’s a double whammy - “This is Just to Say” and “Reply” by Physician-turned –Poet and famous Imagist William Carlos Williams. 

During the early 20th century, Imagism was a growing precursor to modernism on the anglo-american poetry scene and which valued the use of crisp, clean, sharp imagery while rejecting the pomp that they believed surrounded Romantic and Victorian era poetry. They placed emphasis on the stripping away of all the jangly bits of their works and placed just the skeleton of their poem bare and raw giving a refreshing clear window into the subjects they are talking about.

William Carlos Williams is one of the worlds most famous Imagist and of my all time favourite poets because he writes not just about his own life in a very clean-cut approach but also about the people around him and his poetry often responds and interacts with them. Having a “Medical Badge” as Williams calls his profession, he says that it has let him follow his patients “into those gulfs and grottos..., to be present at deaths and births, at the tormented battles between daughter and diabolic mother" and it is in these moments that his inspiration to his poetry developed:  "it has fluttered before me for a moment, a phrase which I quickly write down on anything at hand, any piece of paper I can grab."  
  
it is this grasping nature of Williams to find inspiration in the daily running of his life is what I personally find so admirable.

One particular poem that has stood out for me is “This is Just to Say.” The story goes that this poem was left as a note to his wife – Florence Williams - as he was leaving for a night shift, about something very domestic and ordinary and simple (see below!); but it’s exactly this snapshot into a normal married life that makes the poem so much more profound and sweet. In fact, Williams later found Florence’s reply crumpled up and included it in a rare published version of his works (see below!!).

So next time you need to leave a message for someone special or even gently remind a house-mate that its their week for vacuuming - instead of texting or facebook-ing them - take out some paper and a pen and just start with: 
“This is just to say...”



This is Just to Say

I have eaten
the plums
that were in
the icebox

and which
you were probably
saving
for breakfast

Forgive me
they were delicious
so sweet
and so cold

-William Carlos Williams


Reply

(crumped on her desk)

Dear Bill: I've made a
couple of sandwiches for you.
In the ice-box you'll find
blue-berries--a cup of grapefruit
a glass of cold coffee.

On the stove is the tea-pot
with enough tea leaves
for you to make tea if you
prefer--Just light the gas--
boil the water and put it in the tea

Plenty of bread in the bread-box
and butter and eggs--
I didn't know just what to
make for you. Several people
called up about office hours--

See you later. Love. Floss.

Please switch off the telephone.


-Williams Carlos Williams (and Florence Williams) 

Monday, 28 October 2013

Words of the Week # 12

This week it's Anis Mojgani.

From the land where slam poetry developed and took off, Anis is a spoken word artist who has won back-to-back National Individual Poetry Slam in 2005 and 2006 and has also been the 2007 Individual World Poetry Slam Champion. His work, in particular "Come Closer", revolves around obvious themes such as love and unity but also he finds refreshing ways to describe the sanctity of of being a person both independently but also as a collective humanity away from our self-built differences and self-defeatist nature. .
So, tomorrow morning - make sure you ramp this up loud.




Come Closer

"....Come into this.
Come Closer.
There are birds, 
Beating their wings
 Beneath your breast plate,
Gentle sparrows who are aching to sing
From aching hearts...."

"....My heart was too big for my body
So I let it go.
And I have shaved off so many of my corners,
That I have felt at home only in a ball.... "

"....Walk through this with me.
Through this church of blood bone and muscle that is ours.
There is a door in front of us,
Put your hand on its knob and let it swing open,
Take a step forward....."

"....Walk through this with me.
Walk through this with me."
- Anis Morjgani

Thursday, 17 October 2013

Words of the Week # 11

It’s a new year for Helicon and in this first “Words of the Week” we thought we’d remember some of the poets that have left us.

Today it’s “Digging” by Seamus Heaney.

 I won’t say anymore.


Digging

Between my finger and my thumb  
The squat pen rests; snug as a gun.

Under my window, a clean rasping sound  
When the spade sinks into gravelly ground:  
My father, digging. I look down

Till his straining rump among the flowerbeds  
Bends low, comes up twenty years away  
Stooping in rhythm through potato drills  
Where he was digging.

The coarse boot nestled on the lug, the shaft  
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked,
Loving their cool hardness in our hands.

By God, the old man could handle a spade.  
Just like his old man.

My grandfather cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.

The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I’ve no spade to follow men like them.

Between my finger and my thumb
The squat pen rests.
I’ll dig with it.


-          Seamus Heaney (1939 - 2013)

Saturday, 13 April 2013

Words of the week #10



This week's 'words of the week' takes the form of performance poetry. Some of you may have seen Harry Baker performing his poetry at last year's Bestival. His poetry is often funny - see, for example, his take on Ed Sheeran's 'The A Team' - and always lyrically sharp. Here's one of our favourites, 'Paper People':





Tuesday, 2 April 2013

Words of the week #9


This year sees the 50th anniversary of Sylvia Plath's 'The Bell Jar'. In celebration of this, we're sharing with you one of our favourite Plath poems, 'Morning Song'. 




Morning Song 

Love set you going like a fat gold watch.
The midwife slapped your footsoles, and your bald cry
Took its place among the elements.

Our voices echo, magnifying your arrival.  New statue.
In a drafty museum, your nakedness
Shadows our safety.  We stand round blankly as walls.

I'm no more your mother 
Than the cloud that distills a mirror to reflect its own slow
Effacement at the wind's hand.

All night your moth-breath
Flickers among the flat pink roses.  I wake to listen:
A far sea moves in my ear.

One cry, and I stumble from bed, cow-heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat's.  The window square

Whitens and swallows its dull stars.  And now you try
Your handful of notes;
The clear vowels rise like balloons.




Saturday, 23 March 2013

Words of the week #8

David Foster Wallace 'This is water'

Adapted from the commencement speech the author gave to a graduating class at Kenyon College, Ohio 

There are these two young fish swimming along, and they happen to meet an older fish swimming the other way, who nods at them and says, "Morning, boys, how's the water?" And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes, "What the hell is water?"
If you're worried that I plan to present myself here as the wise old fish explaining what water is, please don't be. I am not the wise old fish. The immediate point of the fish story is that the most obvious, ubiquitous, important realities are often the ones that are the hardest to see and talk about. Stated as an English sentence, of course, this is just a banal platitude - but the fact is that, in the day-to-day trenches of adult existence, banal platitudes can have life-or-death importance. That may sound like hyperbole, or abstract nonsense. So let's get concrete ...
A huge percentage of the stuff that I tend to be automatically certain of is, it turns out, totally wrong and deluded. Here's one example of the utter wrongness of something I tend to be automatically sure of: everything in my own immediate experience supports my deep belief that I am the absolute centre of the universe, the realest, most vivid and important person in existence. We rarely talk about this sort of natural, basic self-centredness, because it's so socially repulsive, but it's pretty much the same for all of us, deep down. It is our default setting, hard-wired into our boards at birth. Think about it: there is no experience you've had that you were not at the absolute centre of. The world as you experience it is right there in front of you, or behind you, to the left or right of you, on your TV, or your monitor, or whatever. Other people's thoughts and feelings have to be communicated to you somehow, but your own are so immediate, urgent, real - you get the idea. But please don't worry that I'm getting ready to preach to you about compassion or other-directedness or the so-called "virtues". This is not a matter of virtue - it's a matter of my choosing to do the work of somehow altering or getting free of my natural, hard-wired default setting, which is to be deeply and literally self-centred, and to see and interpret everything through this lens of self.
By way of example, let's say it's an average day, and you get up in the morning, go to your challenging job, and you work hard for nine or ten hours, and at the end of the day you're tired, and you're stressed out, and all you want is to go home and have a good supper and maybe unwind for a couple of hours and then hit the rack early because you have to get up the next day and do it all again. But then you remember there's no food at home - you haven't had time to shop this week, because of your challenging job - and so now, after work, you have to get in your car and drive to the supermarket. It's the end of the workday, and the traffic's very bad, so getting to the store takes way longer than it should, and when you finally get there the supermarket is very crowded, because of course it's the time of day when all the other people with jobs also try to squeeze in some grocery shopping, and the store's hideously, fluorescently lit, and infused with soul-killing Muzak or corporate pop, and it's pretty much the last place you want to be, but you can't just get in and quickly out: you have to wander all over the huge, overlit store's crowded aisles to find the stuff you want, and you have to manoeuvre your junky cart through all these other tired, hurried people with carts, and of course there are also the glacially slow old people and the spacey people and the kids who all block the aisle and you have to grit your teeth and try to be polite as you ask them to let you by, and eventually, finally, you get all your supper supplies, except now it turns out there aren't enough checkout lanes open even though it's the end-of-the-day rush, so the checkout line is incredibly long, which is stupid and infuriating, but you can't take your fury out on the frantic lady working the register.
Anyway, you finally get to the checkout line's front, and pay for your food, and wait to get your cheque or card authenticated by a machine, and then get told to "Have a nice day" in a voice that is the absolute voice of death, and then you have to take your creepy flimsy plastic bags of groceries in your cart through the crowded, bumpy, littery parking lot, and try to load the bags in your car in such a way that everything doesn't fall out of the bags and roll around in the trunk on the way home, and then you have to drive all the way home through slow, heavy, SUV-intensive rush-hour traffic, etc, etc.
The point is that petty, frustrating crap like this is exactly where the work of choosing comes in. Because the traffic jams and crowded aisles and long checkout lines give me time to think, and if I don't make a conscious decision about how to think and what to pay attention to, I'm going to be pissed and miserable every time I have to food-shop, because my natural default setting is the certainty that situations like this are really all about me, about my hungriness and my fatigue and my desire to just get home, and it's going to seem, for all the world, like everybody else is just in my way, and who are all these people in my way? And look at how repulsive most of them are and how stupid and cow-like and dead-eyed and nonhuman they seem here in the checkout line, or at how annoying and rude it is that people are talking loudly on cell phones in the middle of the line, and look at how deeply unfair this is: I've worked really hard all day and I'm starved and tired and I can't even get home to eat and unwind because of all these stupid goddamn people.
Or if I'm in a more socially conscious form of my default setting, I can spend time in the end-of-the-day traffic jam being angry and disgusted at all the huge, stupid, lane-blocking SUVs and Hummers and V12 pickup trucks burning their wasteful, selfish, 40-gallon tanks of gas, and I can dwell on the fact that the patriotic or religious bumper stickers always seem to be on the biggest, most disgustingly selfish vehicles driven by the ugliest, most inconsiderate and aggressive drivers, who are usually talking on cell phones as they cut people off in order to get just 20 stupid feet ahead in a traffic jam, and I can think about how our children's children will despise us for wasting all the future's fuel and probably screwing up the climate, and how spoiled and stupid and disgusting we all are, and how it all just sucks ...
If I choose to think this way, fine, lots of us do - except that thinking this way tends to be so easy and automatic it doesn't have to be a choice. Thinking this way is my natural default setting. It's the automatic, unconscious way that I experience the boring, frustrating, crowded parts of adult life when I'm operating on the automatic, unconscious belief that I am the centre of the world and that my immediate needs and feelings are what should determine the world's priorities. The thing is that there are obviously different ways to think about these kinds of situations. In this traffic, all these vehicles stuck and idling in my way: it's not impossible that some of these people in SUVs have been in horrible car accidents in the past and now find driving so traumatic that their therapist has all but ordered them to get a huge, heavy SUV so they can feel safe enough to drive; or that the Hummer that just cut me off is maybe being driven by a father whose little child is hurt or sick in the seat next to him, and he's trying to rush to the hospital, and he's in a much bigger, more legitimate hurry than I am - it is actually I who am in his way.
Again, please don't think that I'm giving you moral advice, or that I'm saying you're "supposed to" think this way, or that anyone expects you to just automatically do it, because it's hard, it takes will and mental effort, and if you're like me, some days you won't be able to do it, or you just flat-out won't want to. But most days, if you're aware enough to give yourself a choice, you can choose to look differently at this fat, dead-eyed, over-made-up lady who just screamed at her little child in the checkout line - maybe she's not usually like this; maybe she's been up three straight nights holding the hand of her husband who's dying of bone cancer, or maybe this very lady is the low-wage clerk at the Motor Vehicles Dept who just yesterday helped your spouse resolve a nightmarish red-tape problem through some small act of bureaucratic kindness. Of course, none of this is likely, but it's also not impossible - it just depends on what you want to consider. If you're automatically sure that you know what reality is and who and what is really important - if you want to operate on your default setting - then you, like me, will not consider possibilities that aren't pointless and annoying. But if you've really learned how to think, how to pay attention, then you will know you have other options. It will be within your power to experience a crowded, loud, slow, consumer-hell-type situation as not only meaningful but sacred, on fire with the same force that lit the stars - compassion, love, the sub-surface unity of all things. Not that that mystical stuff's necessarily true: the only thing that's capital-T True is that you get to decide how you're going to try to see it. You get to consciously decide what has meaning and what doesn't. You get to decide what to worship.
Because here's something else that's true. In the day-to-day trenches of adult life, there is no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And an outstanding reason for choosing some sort of god or spiritual-type thing to worship - be it JC or Allah, be it Yahweh or the Wiccan mother-goddess or the Four Noble Truths or some infrangible set of ethical principles - is that pretty much anything else you worship will eat you alive. If you worship money and things - if they are where you tap real meaning in life - then you will never have enough. Never feel you have enough. It's the truth. Worship your own body and beauty and sexual allure and you will always feel ugly, and when time and age start showing, you will die a million deaths before they finally plant you. On one level, we all know this stuff already - it's been codified as myths, proverbs, clichés, bromides, epigrams, parables: the skeleton of every great story. The trick is keeping the truth up front in daily consciousness. Worship power - you will feel weak and afraid, and you will need ever more power over others to keep the fear at bay. Worship your intellect, being seen as smart - you will end up feeling stupid, a fraud, always on the verge of being found out.
The insidious thing about these forms of worship is not that they're evil or sinful; it is that they are unconscious. They are default settings. They're the kind of worship you just gradually slip into, day after day, getting more and more selective about what you see and how you measure value without ever being fully aware that that's what you're doing. And the world will not discourage you from operating on your default settings, because the world of men and money and power hums along quite nicely on the fuel of fear and contempt and frustration and craving and the worship of self. Our own present culture has harnessed these forces in ways that have yielded extraordinary wealth and comfort and personal freedom. The freedom to be lords of our own tiny skull-sized kingdoms, alone at the centre of all creation. This kind of freedom has much to recommend it. But there are all different kinds of freedom, and the kind that is most precious you will not hear much talked about in the great outside world of winning and achieving and displaying. The really important kind of freedom involves attention, and awareness, and discipline, and effort, and being able truly to care about other people and to sacrifice for them, over and over, in myriad petty little unsexy ways, every day. That is real freedom. The alternative is unconsciousness, the default setting, the "rat race" - the constant gnawing sense of having had and lost some infinite thing.
I know that this stuff probably doesn't sound fun and breezy or grandly inspirational. What it is, so far as I can see, is the truth with a whole lot of rhetorical bullshit pared away. Obviously, you can think of it whatever you wish. But please don't dismiss it as some finger-wagging Dr Laura sermon. None of this is about morality, or religion, or dogma, or big fancy questions of life after death. The capital-T Truth is about life before death. It is about making it to 30, or maybe 50, without wanting to shoot yourself in the head. It is about simple awareness - awareness of what is so real and essential, so hidden in plain sight all around us, that we have to keep reminding ourselves, over and over: "This is water, this is water."

source: http://www.guardian.co.uk/books/2008/sep/20/fiction

Monday, 4 March 2013

Words of the week #7


Walking West

BY WILLIAM E. STAFFORD
Anyone with quiet pace who
walks a grey road in the West
may hear a badger underground where   
in deep flint another time is

Caught by flint and held forever,   
the quiet pace of God stopped still.   
Anyone who listens walks on   
time that dogs him single file,

To mountains that are far from people,   
the face of the land gone grey like flint.   
Badgers dig their little lives there,   
quiet-paced the land lies gaunt,

The railroad dies by a yellow depot,   
town falls away toward a muddy creek.   
Badger-grey the sod goes under
a river of wind, a hawk on a stick.



Monday, 25 February 2013

Words of the week #6

Daffodils

Remember how we picked the daffodils?
Nobody else remembers, but I remember.
Your daughter came with her armfuls, eager and happy,
Helping the harvest. She has forgotten.
She cannot even remember you. And we sold them.
It sounds like sacrilege, but we sold them.
Were we so poor? Old Stoneman, the grocer,
Boss-eyed, his blood-pressure purpling to beetroot
(It was his last chance,
He would die in the same great freeze as you) ,
He persuaded us. Every Spring
He always bought them, sevenpence a dozen,
'A custom of the house'.

Besides, we still weren't sure we wanted to own
Anything. Mainly we were hungry
To convert everything to profit.
Still nomads-still strangers
To our whole possession. The daffodils
Were incidental gilding of the deeds,
Treasure trove. They simply came,
And they kept on coming.
As if not from the sod but falling from heaven.
Our lives were still a raid on our own good luck.
We knew we'd live forever. We had not learned
What a fleeting glance of the everlasting
Daffodils are. Never identified
The nuptial flight of the rarest epherma-
Our own days!
We thought they were a windfall.
Never guessed they were a last blessing.
So we sold them. We worked at selling them
As if employed on somebody else's
Flower-farm. You bent at it
In the rain of that April-your last April.
We bent there together, among the soft shrieks
Of their jostled stems, the wet shocks shaken
Of their girlish dance-frocks-
Fresh-opened dragonflies, wet and flimsy,
Opened too early.

We piled their frailty lights on a carpenter's bench,
Distributed leaves among the dozens-
Buckling blade-leaves, limber, groping for air, zinc-silvered-
Propped their raw butts in bucket water,
Their oval, meaty butts,
And sold them, sevenpence a bunch-

Wind-wounds, spasms from the dark earth,
With their odourless metals,
A flamy purification of the deep grave's stony cold
As if ice had a breath-

We sold them, to wither.
The crop thickened faster than we could thin it.
Finally, we were overwhelmed
And we lost our wedding-present scissors.

Every March since they have lifted again
Out of the same bulbs, the same
Baby-cries from the thaw,
Ballerinas too early for music, shiverers
In the draughty wings of the year.
On that same groundswell of memory, fluttering
They return to forget you stooping there
Behind the rainy curtains of a dark April,
Snipping their stems.

But somewhere your scissors remember. Wherever they are.
Here somewhere, blades wide open,
April by April
Sinking deeper
Through the sod-an anchor, a cross of rust.


Ted Hughes.




Sunday, 6 January 2013

Words of the week #5


Hummingbird




I can imagine, in some otherworld
Primeval-dumb, far back
In that most awful stillness, that only gasped and hummed,
Humming-birds raced down the avenues.
Before anything had a soul,
While life was a heave of Matter, half inanimate,
This little bit chipped off in brilliance
And went whizzing through the slow, vast, succulent stems.
I believe there were no flowers, then,
In the world where the humming-bird flashed ahead of creation.
I believe he pierced the slow vegetable veins with his long beak.
Probably he was big
As mosses, and little lizards, they say were once big.
Probably he was a jabbing, terrifying monster.
We look at him through the wrong end of the long telescope of Time,
Luckily for us.





by D.H. Lawrence




Thursday, 20 December 2012

Words of the week #4



I like my body when it is with your body


I like my body when it is with your
body. It is so quite new a thing.
muscles  better and nerves more.
I like your body. I like what it does,
I like its hows. I like to feel the spine
of your body and its bones, and the trembling
-firm-smoothness and which I will
again and again and again
kiss, I like kissing this and that of you,
I like, slowly stroking the, shocking fuzz
of your electric fur, and what-is-it comes
over parting flesh … And eyes big love-crumbs,

and possibly I like the thrill
of under me you so quite new.

~ E.E. Cummings


Monday, 10 December 2012

Words(worth) of the week #3


An extract from William Wordsworth's 'The Two-Part Prelude of 1799':



She was an elfin pinnace; twenty times
I dipped my oars into the silent lake,
And as I rose upon the stroke my boat
Went heaving through the water like a swan -
When, from behind that rocky steep (till then
The bound of the horizon) a huge cliff,
As if with voluntary power instinct,
Upreared its head. I struck, and struck again,
And, growing still in stature, the huge cliff
Rose up between me and the stars, and still,
With measured motion, like a living thing
Strode after me. With trembling hands I turned
And through the silent water stole my way
Back to the cavern of the willow-tree.
There in her mooring-place I left my bark,
And through the meadows homeward went with grave
And serious thoughts; and after I had seen
That spectacle, for many days my brain
Worked with a dim and undetermined sense
Of unknown modes of being. In my thoughts
There was a darkness - call it solitude,
Or blank desertion. No familiar shapes
Of hourly objects, images of trees,
Of sea or sky, no colours of green fields,
But huge and mighty forms that do not live
Like living men moved slowly through my mind
By day, and were the trouble of my dreams.













Monday, 3 December 2012

Words of the week #2


Digging


Between my finger and my thumb
The squat pen rests; snug as a gun.

Under my window, a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down

Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.

The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked,
Loving their cool hardness in our hands.

By God, the old man could handle a spade.
Just like his old man.

My grandfather cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.

The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I’ve no spade to follow men like them.

Between my finger and my thumb
The squat pen rests.
I’ll dig with it.


-Seamus Heaney




Tuesday, 27 November 2012

Words of the week


Call yourself alive? Look, I promise you

that for the first time you’ll feel your pores opening

like fish mouths, and you’ll actually be able to hear

your blood surging through all those lanes,

and you’ll feel light gliding across the cornea

like the train of a dress. For the first time

you’ll be aware of gravity

like a thorn in your heel,

and your shoulder blades will ache for want of wings.

Call yourself alive? I promise you

you’ll be deafened by dust falling on the furniture,

you’ll feel your eyebrows turning to two gashes,

and every memory you have—will begin

at Genesis.



— “Temptation,” Nina Cassian (translated from Romanian by Brenda Walker & Andrea Deletant