I was poking around on the internet the other day, and I ran across this article from the October 2014 issue of The Atlantic magazine:
The Joy of the Memorized Poem
It's a bit long, and I don't know who among you will take the time to read it, but I am hoping that Yorkshire Pudding will, and All Consuming, and Elizabeth Stanforth-Sharpe too, read it all the way to the end.
Anyone who loves "The Lake Isle of Innisfree" by William Butler Yeats will enjoy it.
And even if you never heard of him or his poem, I hope you will still read the article.
It's that good.
Showing posts with label Billy Collins. Show all posts
Showing posts with label Billy Collins. Show all posts
Thursday, March 8, 2018
Wednesday, February 28, 2018
We grow too soon old and too late smart and it's all downhill from there
I am four days older than the man who wrote the following poem. In about three weeks (Lord willing and the creeks/Creeks don't rise) we both will be observing our 77th birthdays. He became poet laureate of these United States; I have achieved little of consequence. I don't know how old he was when he looked back in time and wrote this particular poem, but it is a good one:
On Turning Ten
by Billy Collins
The whole idea of it makes me feel
like I'm coming down with something,
something worse than any stomach ache
or the headaches I get from reading in bad light--
a kind of measles of the spirit,
a mumps of the psyche,
a disfiguring chicken pox of the soul.
You tell me it is too early to be looking back,
but that is because you have forgotten
the perfect simplicity of being one
and the beautiful complexity introduced by two.
But I can lie on my bed and remember every digit.
At four I was an Arabian wizard.
I could make myself invisible
by drinking a glass of milk a certain way.
At seven I was a soldier, at nine a prince.
But now I am mostly at the window
watching the late afternoon light.
Back then it never fell so solemnly
against the side of my tree house,
and my bicycle never leaned against the garage
as it does today,
all the dark blue speed drained out of it.
This is the beginning of sadness, I say to myself,
as I walk through the universe in my sneakers.
It is time to say good-bye to my imaginary friends,
time to turn the first big number.
It seems only yesterday I used to believe
there was nothing under my skin but light.
If you cut me I could shine.
But now when I fall upon the sidewalks of life,
I skin my knees. I bleed.
P.S. -- This blog turned ten last September 28th. If I had known about the poem then I would have included it in my blogaversary post.
On Turning Ten
by Billy Collins
The whole idea of it makes me feel
like I'm coming down with something,
something worse than any stomach ache
or the headaches I get from reading in bad light--
a kind of measles of the spirit,
a mumps of the psyche,
a disfiguring chicken pox of the soul.
You tell me it is too early to be looking back,
but that is because you have forgotten
the perfect simplicity of being one
and the beautiful complexity introduced by two.
But I can lie on my bed and remember every digit.
At four I was an Arabian wizard.
I could make myself invisible
by drinking a glass of milk a certain way.
At seven I was a soldier, at nine a prince.
But now I am mostly at the window
watching the late afternoon light.
Back then it never fell so solemnly
against the side of my tree house,
and my bicycle never leaned against the garage
as it does today,
all the dark blue speed drained out of it.
This is the beginning of sadness, I say to myself,
as I walk through the universe in my sneakers.
It is time to say good-bye to my imaginary friends,
time to turn the first big number.
It seems only yesterday I used to believe
there was nothing under my skin but light.
If you cut me I could shine.
But now when I fall upon the sidewalks of life,
I skin my knees. I bleed.
P.S. -- This blog turned ten last September 28th. If I had known about the poem then I would have included it in my blogaversary post.
Friday, August 12, 2016
A Tale of Two Billys
If there is anything people are less interested in than poetry, it's probably poetry about poetry. (The alliteration in the previous sentence is -- wait for it -- palpable.) Nevertheless, this post contains five poems about poetry by two poets, both named Billy, who were born four days apart 75 years ago. One is famous and one is not famous at all except in a very small circle of bloggers. At the end of the post their identities will be revealed.
1. The Trouble with Poetry
The trouble with poetry, I realized
as I walked along a beach one night --
cold Florida sand under my bare feet,
a show of stars in the sky --
the trouble with poetry is
that it encourages the writing of more poetry,
more guppies crowding the fish tank,
more baby rabbits
hopping out of their mothers into the dewy grass.
And how will it ever end?
unless the day finally arrives
when we have compared everything in the world
to everything else in the world,
and there is nothing left to do
but quietly close our notebooks
and sit with our hands folded on our desks.
Poetry fills me with joy
and I rise like a feather in the wind.
Poetry fills me with sorrow
and I sink like a chain flung from a bridge.
But mostly poetry fills me
with the urge to write poetry,
to sit in the dark and wait for a little flame
to appear at the tip of my pencil.
And along with that, the longing to steal,
to break into the poems of others
with a flashlight and a ski mask.
And what an unmerry band of thieves we are,
cut-purses, common shoplifters,
I thought to myself
as a cold wave swirled around my feet
and the lighthouse moved its megaphone over the sea,
which is an image I stole directly
from Lawrence Ferlinghetti --
to be perfectly honest for a moment --
the bicycling poet of San Francisco
whose little amusement park of a book
I carried in a side pocket of my uniform
up and down the treacherous halls of high school.
2. Introduction to Poetry
I ask them to take a poem
and hold it up to the light
like a color slide
or press an ear against its hive.
I say drop a mouse into a poem
and watch him probe his way out,
or walk inside the poem's room
and feel the walls for a light switch.
I want them to waterski
across the surface of a poem
waving at the author's name on the shore.
But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.
They begin beating it with a hose
to find out what it really means.
3. The Thing About His Poetry Is
The thing about his poetry is
it just lies there, flat as the proverbial
pancake, it doesn’t lift off the page
like a rocket bound for some distant
world, it doesn’t make your brain want to
soar into the blue. The herons are
never flying in his poetry and no stars
are ever mentioned; he wouldn’t recognize
a constellation if one hit him square
in the face. Your heart with rapture
never fills, there are no fields of
daffodils with which it can dance, in fact
dancing itself is pretty much
frowned upon in his economy,
it’s all business with him, cut and dried.
If his poetry were the financial section
of the newspaper there would always be
a bear market without the slightest hint
of hope, and in spite of all this
the public can’t get enough of him,
his books are all best sellers and
he’s making money hand over fist
even though the thing about his poetry is
it just lies there, flat as the proverbial
pancake.
4. Poem, Untitled
The page is blank, like my life.
All sorts of subjects flit through my mind
On the way to somewhere else
But not one settles down, makes itself
Comfortable, takes root, or starts to grow
Upward toward the light that arches
High above, beckoning all things to
Itself, not a single one.
The page is empty, like my brain.
I want to write a poem
But nothing comes to mind,
Only a formless maelstrom,
Swirling like one of the
Hundred million galaxies
Out there in the cosmos,
Moving toward the light.
..................................5. The Writer
....................With words alone, he paints
....................from the palette of his mind,
.........................mixing,
.........................blending,
.........................combining
.........................hues and tints
....................until he sees the exact shade
....................he wants.
....................With words alone, she chips away
....................rough edges of meaning,
.........................chiseling,
.........................hewing,
.........................gouging
..............................the solid rock
....................until the long-sought shape
....................emerges.
....................With words alone, she pins and drapes
....................original ideas
....................over the naked manikin page,
.........................tucking in a bit of material
.....................................................................................here,
....................snipping off
....................a dangling thread
there,
....................dropping thoughts
....................as easily as hemlines.
....................With words alone, he composes
....................irresistible music,
.........................charming,
.........................seducing the ear,
.........................searching for a particular chord,
....................the one right sound his words must make
....................for echoes
.........................to linger.
Notes:
(1) Billy Collins*, from The Trouble with Poetry and Other Poems, Random House, 2007.
(2) Billy Collins*, from The Apple that Astonished Paris, University of Arkansas Press, 1996.
(3) Billy Ray Barnwell**, from Chapter 33 of Billy Ray Barnwell Here blog.
(4) Billy Ray Barnwell**, from Chapter 33 of Billy Ray Barnwell Here blog.
(5) Billy Ray Barnwell**, from Chapter 33 of Billy Ray Barnwell Here blog.
*William James Collins, born March 22, 1941, poet laureate of the United States, 2001-2003.
**nom de plume of blogger Robert Henry Brague, born March 18, 1941. These three poems were not written in the style of Billy Collins. At the time I composed them, several years ago, I had never read anything by him.
I suppose a case could be made that by juxtaposing three of my poems with two by Mr. Collins I have reached new heights in insolence, impudence, and arrogance, not to mention downright chutzpah.
1. The Trouble with Poetry
The trouble with poetry, I realized
as I walked along a beach one night --
cold Florida sand under my bare feet,
a show of stars in the sky --
the trouble with poetry is
that it encourages the writing of more poetry,
more guppies crowding the fish tank,
more baby rabbits
hopping out of their mothers into the dewy grass.
And how will it ever end?
unless the day finally arrives
when we have compared everything in the world
to everything else in the world,
and there is nothing left to do
but quietly close our notebooks
and sit with our hands folded on our desks.
Poetry fills me with joy
and I rise like a feather in the wind.
Poetry fills me with sorrow
and I sink like a chain flung from a bridge.
But mostly poetry fills me
with the urge to write poetry,
to sit in the dark and wait for a little flame
to appear at the tip of my pencil.
And along with that, the longing to steal,
to break into the poems of others
with a flashlight and a ski mask.
And what an unmerry band of thieves we are,
cut-purses, common shoplifters,
I thought to myself
as a cold wave swirled around my feet
and the lighthouse moved its megaphone over the sea,
which is an image I stole directly
from Lawrence Ferlinghetti --
to be perfectly honest for a moment --
the bicycling poet of San Francisco
whose little amusement park of a book
I carried in a side pocket of my uniform
up and down the treacherous halls of high school.
2. Introduction to Poetry
I ask them to take a poem
and hold it up to the light
like a color slide
or press an ear against its hive.
I say drop a mouse into a poem
and watch him probe his way out,
or walk inside the poem's room
and feel the walls for a light switch.
I want them to waterski
across the surface of a poem
waving at the author's name on the shore.
But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.
They begin beating it with a hose
to find out what it really means.
3. The Thing About His Poetry Is
The thing about his poetry is
it just lies there, flat as the proverbial
pancake, it doesn’t lift off the page
like a rocket bound for some distant
world, it doesn’t make your brain want to
soar into the blue. The herons are
never flying in his poetry and no stars
are ever mentioned; he wouldn’t recognize
a constellation if one hit him square
in the face. Your heart with rapture
never fills, there are no fields of
daffodils with which it can dance, in fact
dancing itself is pretty much
frowned upon in his economy,
it’s all business with him, cut and dried.
If his poetry were the financial section
of the newspaper there would always be
a bear market without the slightest hint
of hope, and in spite of all this
the public can’t get enough of him,
his books are all best sellers and
he’s making money hand over fist
even though the thing about his poetry is
it just lies there, flat as the proverbial
pancake.
4. Poem, Untitled
The page is blank, like my life.
All sorts of subjects flit through my mind
On the way to somewhere else
But not one settles down, makes itself
Comfortable, takes root, or starts to grow
Upward toward the light that arches
High above, beckoning all things to
Itself, not a single one.
The page is empty, like my brain.
I want to write a poem
But nothing comes to mind,
Only a formless maelstrom,
Swirling like one of the
Hundred million galaxies
Out there in the cosmos,
Moving toward the light.
..................................5. The Writer
....................With words alone, he paints
....................from the palette of his mind,
.........................mixing,
.........................blending,
.........................combining
.........................hues and tints
....................until he sees the exact shade
....................he wants.
....................With words alone, she chips away
....................rough edges of meaning,
.........................chiseling,
.........................hewing,
.........................gouging
..............................the solid rock
....................until the long-sought shape
....................emerges.
....................With words alone, she pins and drapes
....................original ideas
....................over the naked manikin page,
.........................tucking in a bit of material
.....................................................................................here,
....................snipping off
....................a dangling thread
there,
....................dropping thoughts
....................as easily as hemlines.
....................With words alone, he composes
....................irresistible music,
.........................charming,
.........................seducing the ear,
.........................searching for a particular chord,
....................the one right sound his words must make
....................for echoes
.........................to linger.
Notes:
(1) Billy Collins*, from The Trouble with Poetry and Other Poems, Random House, 2007.
(2) Billy Collins*, from The Apple that Astonished Paris, University of Arkansas Press, 1996.
(3) Billy Ray Barnwell**, from Chapter 33 of Billy Ray Barnwell Here blog.
(4) Billy Ray Barnwell**, from Chapter 33 of Billy Ray Barnwell Here blog.
(5) Billy Ray Barnwell**, from Chapter 33 of Billy Ray Barnwell Here blog.
*William James Collins, born March 22, 1941, poet laureate of the United States, 2001-2003.
**nom de plume of blogger Robert Henry Brague, born March 18, 1941. These three poems were not written in the style of Billy Collins. At the time I composed them, several years ago, I had never read anything by him.
I suppose a case could be made that by juxtaposing three of my poems with two by Mr. Collins I have reached new heights in insolence, impudence, and arrogance, not to mention downright chutzpah.
Friday, July 26, 2013
My new favorite poet
...is Billy Collins, who was Poet Laureate of the United States from 2001 until 2003. He knows whereof he speaks, at least in the poem below. Reading it became all the more touching poignant frustrating when I discovered that Mr. Collins is exactly four days younger than moi, having been born on March 22, 1941.
Forgetfulness
by Billy Collins The name of the author is the first to go
followed obediently by the title, the plot,
the heartbreaking conclusion, the entire novel
which suddenly becomes one you have never read,
never even heard of,
as if, one by one, the memories you used to harbor
decided to retire to the southern hemisphere of the brain,
to a little fishing village where there are no phones.
Long ago you kissed the names of the nine Muses goodbye
and watched the quadratic equation pack its bag,
and even now as you memorize the order of the planets,
something else is slipping away, a state flower perhaps,
the address of an uncle, the capital of Paraguay.
Whatever it is you are struggling to remember,
it is not poised on the tip of your tongue,
not even lurking in some obscure corner of your spleen.
It has floated away down a dark mythological river
whose name begins with an L as far as you can recall,
well on your own way to oblivion where you will join those
who have even forgotten how to swim and how to ride a bicycle.
No wonder you rise in the middle of the night
to look up the date of a famous battle in a book on war.
No wonder the moon in the window seems to have drifted
out of a love poem that you used to know by heart.
(end of poem)
On some days, I could have written that poem myself, except for one thing. Make that two things. I will never, ever, forget how to swim or how to ride a bicycle. Want to know why? It’s because I never learned how to swim or how to ride a bicycle in the first place.
There is absolutely nothing as refreshing as confessional journalism.
Forgetfulness
by Billy Collins The name of the author is the first to go
followed obediently by the title, the plot,
the heartbreaking conclusion, the entire novel
which suddenly becomes one you have never read,
never even heard of,
as if, one by one, the memories you used to harbor
decided to retire to the southern hemisphere of the brain,
to a little fishing village where there are no phones.
Long ago you kissed the names of the nine Muses goodbye
and watched the quadratic equation pack its bag,
and even now as you memorize the order of the planets,
something else is slipping away, a state flower perhaps,
the address of an uncle, the capital of Paraguay.
Whatever it is you are struggling to remember,
it is not poised on the tip of your tongue,
not even lurking in some obscure corner of your spleen.
It has floated away down a dark mythological river
whose name begins with an L as far as you can recall,
well on your own way to oblivion where you will join those
who have even forgotten how to swim and how to ride a bicycle.
No wonder you rise in the middle of the night
to look up the date of a famous battle in a book on war.
No wonder the moon in the window seems to have drifted
out of a love poem that you used to know by heart.
(end of poem)
On some days, I could have written that poem myself, except for one thing. Make that two things. I will never, ever, forget how to swim or how to ride a bicycle. Want to know why? It’s because I never learned how to swim or how to ride a bicycle in the first place.
There is absolutely nothing as refreshing as confessional journalism.
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