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Posts Tagged ‘poem’

I have decided that if Ireland ever names people as national treasures, it should include James J. Hackett of Moate.

Last night at the Kellys’ party, James clinked the glasses at the table and called everyone to attention. Then he recited Yeats’s poem “The Ballad of Father Gilligan,” preceding it with a little history and acting out all the parts.

The grandson of a man who taught Latin and Greek in a hedgerow school back in the dark days when the English forbade sending Irish children to school, James has taken it upon himself to preserve the culture. His ordinary conversation is a living history, and he is frequently dropping into poetry.

James’s book Days Gone By is written in the way he speaks when talking to friends or taking people on a tour of some ruin. Consider this sample.

“It was long past the witching hour when the poteen revellers came upon Kate resting on the puchann and in a most distressful state.* They took her along to the wake, where she related all her adventures. Great was the wonder and fear that was expressed at hearing this story, and needless to say, many a post mortem was held upon Kate Brambles’s account of the witches’ dance at the half way house in Ballylurkin Bog on the Hallow’een night that Tubbs Lanigan was waked.”

Recent chronicler of Ireland lore and customs Turtle Bunbury discovered James in Moate and has included him in one of his Vanishing Ireland books. Bunbury also features James on a Facebook page, which I hope to access as soon as Turtle accepts my friend request.

[Update: Turtle has just put my post on his page, here.]

You may recall that I blogged about James once before, here, at another time that he was visiting his Rhode Island cousin.

(*James says a “puchann” is a little hill in a bog.)

Photo: Suzanne’s Mom
James J. Hackett in New Shoreham. He made his own shillelagh of blackthorn. He also made one for John and mailed it to him with instructions on how to cure the wood.

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Jose-Olivarez-MBTA-poem

 

 

 

 

 

 

 

 

 

 

I was always impressed when I saw a poem in the place of an ad in the New York City subway. Now Boston has caught on.

Martine Powers wrote recently at the Boston Globe, “Finally, Bostonians will have the chance to experience the pleasures of poetry on the MBTA.

“Mass Poetry [is] bringing poems to advertisement spaces on subway cars. The initiative, dubbed PoeTry, is part of the organization’s Poetry in Public Spaces initiative, which began last year, said Mass Poetry program director Laurin Macios…

“ ‘Contemporary poetry is barely taught in schools, and often when it is, it is taught in a very scholastic sense instead of an artistic one,’ Macios said. “People often grow up without ever realizing there is poetry out there that can speak to them, or that they can speak back to. …

“Each appearance of a poem includes a tearsheet on the corner of the sign, allowing passengers to take a copy of the poem with them if the spirit strikes them.”

One poem in the series, says Powers, “What Travels,” by Joseph O. Legaspi, takes place on a subway car. “What travels beneath their secret faces? What is train but transport to other lives?” More at the Globe.

See also http://masspoetry.org.

Photo: Suzanne’s Mom
Poem: “Bulls vs. Suns, 1993,” by Jos
é Olivarez

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An Imperial Elegy
by Wilfred Owen

Not one corner of a foreign field
But a span as wide as Europe;
An appearance of a titan’s grave,
And the length thereof a thousand miles,
It crossed all Europe like a mystic road,
Or as the Spirits’ Pathway lieth on the night.
And I heard a voice crying
This is the Path of Glory.

@-> @-> @->
Born in Shropshire, England, poet Wilfred Owen is best known for telling the truth of what he saw in World War I, a war joined too lightheartedly by many of his countrymen 100 years ago. He  died at the Sambre-Oise Canal a week before the Armistice was signed.

Read more about Owen here.

Photo: Suzanne’s Mom
Azalea moving to the next phase

azalea-moving-to-next-stage

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Today KM added three short poems to my recent blog post “Do you feel a poem coming on?”

Because of KM and the fact that everyone on twitter seems to be writing Valentine rhymes today, I thought I would point out an Andrew Sullivan post on the connection between poetry and childhood games.

Andrew quoted poet Sandra Simonds, who writes in the Boston Review, “The first thing is that sound itself intoxicates and that we connect sound, rhythm, and rhyme to form very early on, probably from infancy.

“The music of language forms our understanding of the world and that is why it seems so fundamental, in poems, to follow the music and sounds over sense, and to trust that your ear will take you where you want to go.

“We also learn that language is deeply connected to play — riddles, jokes, nonsense, and, for lack of a better word, fun. But it is also wedded to tragic losses, lost time, lost childhood, the loss of the child itself and the body of the child. … As poets, we take [a feeling of childhood] smallness with us into adulthood and turn it into poetry.” More here.

I need to think about that.

And while I’m thinking, I’ll share a rhyme that goes with jumping rope — and also perhaps with Valentine’s Day.

“Cinderella dressed in yella
“Went downtown to see her fella.
“How many kisses did she get?
“One, two, three, four, five, six, seven, eight …”

You are limited only by your jumping ability.

Photo: Luna & Stella, the birthstone jewelry company

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The Telegraph notes how advertisers have been turning to classic poets to sell products.

Charlotte Runcie gives this example: “The new ad for the iPad Air features a voiceover from Robin Williams in his Whitman-toting Dead Poets Society incarnation. The Whitman extract in question is from Leaves of Grass:

“O me! O life!… of the questions of these recurring;
“Of the endless trains of the faithless—of cities fill’d with the foolish

“… Answer.
“That you are here—that life exists and identity,
“That the powerful play goes on, and you may contribute a verse.”

Here’s another: “Levi’s chose an extract from A Midsummer Night’s Dream to reboot their advertising campaign for 501 jeans in 2005.

“The magical fairy forest became downtown LA, with Bottom – played by Joshua Alba – getting grabbed by a member of a nearby gang, who exclaims: ‘Oh Bottom, thou art changed! What do I see on thee?’ At this point in the play, Bottom has grown donkey ears. In the advert, he has bought new jeans.

“Then fairy queen Titania arrives, and says:

“Mine ear is much enamoured of thy note;
“So is mine eye enthralled to thy shape…
More.

All good fun. But I think companies should reach out to contemporary poets the way Ford once reached out to poet Marianne Moore. It would be a good way for poets to earn a little money doing what they love. Then again, companies may prefer the “free” aspect of dead poets.

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How delightful! Suzanne told me that Georgia’s childhood friend Jules calls his Rhode Island oyster business Walrus and Carpenter.

Lewis Carroll’s poem “The Walrus and the Carpenter” was the first poem I memorized in school. I was 11. It was a long poem but not too hard after memorizing the script of Alice in Wonderland at 10 (I was Alice’s understudy).

Here’s where oysters come in:

“O Oysters, come and walk with us!”
The Walrus did beseech.
“A pleasant walk, a pleasant talk,
Along the briny beach:
We cannot do with more than four,
To give a hand to each.”

The oldest oyster is wary and has no intention of leaving his oyster bed. But a slew of young oysters jump up, ready for a pleasant walk and talk. After many verses:

“O Oysters,” said the Carpenter,
“You’ve had a pleasant run!
Shall we be trotting home again?’
But answer came there none–
And this was scarcely odd, because
They’d eaten every one.

Read the whole poem, here.

And if you are in Rhode Island, please check out Walrus and Carpenter Oysters. On their website, you will find bios about the oyster cultivators on the team and information on where to show up for their current dinner series.

Suzanne particularly recommends reading some of the links on the company’s press page, especially the one to the New Yorker article (here) about how a dismantled bamboo art installation from the roof of the Metropolitan Museum of Art called Big Bambú ended up making oysters happy in Rhode Island.

Photo of the original John Tenniel art: wikimedia.org

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Yesterday I was thinking about how Lewis Carroll’s wry humor was a kind of code targeted directly at kids. No kid could miss that Alice is the only sensible person among a nutty bunch of adults in Wonderland — Caterpillars, Mad Queens, March Hares, and Mad Hatters — who can’t seem to follow the rules of social behavior they always lecture children to follow.

I was thinking particularly of Carroll’s spoof on the moralizing poem about the little busy bee — familiar to children of that day — and how he entertained with verses about a completely irresponsible and self-indulgent reptile.

Instead of admonishing children to be industrious with “How doth the little busy bee improve each shining hour,” he writes, “How doth the little crocodile improve his shining tail.” (Click there and watch the delicious Disney version on YouTube. Note how confused Alice looks at hearing the wrong words and how polite she is anyway.)

I realized I could write a post on spoofs of poems after my husband pointed out a second item this morning. It seems that the tree Joyce Kilmer praised in his best-known poem turns out to have been close to where I grew up.

And I can never hear these words by Kilmer — “I think that I shall never see/A poem as lovely as a tree” — without immediately hearing Ogden Nash spoofing Kilmer with “I think that I shall never see/A billboard lovely as a tree/And that unless the billboards fall,/ I’ll never see a tree at all.”

Please help me think of more examples. I’m sure there must be more.

Beacon-Hill-tree

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I love this poem.

For me, the poet is saying that darkness can never completely win; focus on what it can’t touch.

Try to Praise the Mutilated World
Adam Zagajewski

Try to praise the mutilated world.
Remember June’s long days,
and wild strawberries, drops of wine, the dew.
The nettles that methodically overgrow
the abandoned homesteads of exiles.
You must praise the mutilated world.
You watched the stylish yachts and ships;
one of them had a long trip ahead of it,
while salty oblivion awaited others.
You’ve seen the refugees heading nowhere,
you’ve heard the executioners sing joyfully.
You should praise the mutilated world.
Remember the moments when we were together
in a white room and the curtain fluttered.
Return in thought to the concert where music flared.
You gathered acorns in the park in autumn
and leaves eddied over the earth’s scars.
Praise the mutilated world
and the gray feather a thrush lost,
and the gentle light that strays and vanishes
and returns.

cloud-study

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Photo of Patricia McCarthy: Agenda

The editor of a small poetry journal in England was desperate for money to keep the magazine going, so she entered a poem of her own in a contest — and won.

The poem came straight from her mother’s memories of World War I. WW I poems — mostly written by young men in service who never came home — are some of the saddest ever composed.

At the Guardian, Alison Flood has the story on Agenda editor Patricia McCarthy’s win.

“McCarthy, who has published several poetry collections of her own, beat 13,040 other entries to win the anonymously-judged prize. Her winning poem, ‘Clothes that escaped the Great War,’ tells of the plodding carthorse who would take boys away to war, and then return, later, with just their clothes. ‘These were the most scary, my mother recalled: clothes / piled high on the wobbly cart, their wearers gone,’ writes McCarthy. …

“McCarthy said winning the £5,000 prize was ‘just extraordinary.’ “I’ve never even won a raffle. I don’t go in for competitions – the only other time I did was decades back, when I got runner-up,’ she said. ‘But I’m really down on my finances – I edit Agenda, and was really struggling, and thought this was probably better than a gamble on the horses.’ ”

More.

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Nancy Greenaway, owl poet, is passing along the website of the Block Island Poetry Project and details of this year’s gathering.

From the website: “The Block Island Poetry Project is turning 10, and we are so excited about it that we are outdoing ourselves with a 4-day celebration featuring the usual fun and extraordinary work which has become our hallmark. In addition, we are honoring our decade together with an anthology of poems written during, or as a result of, Poetry Project workshops.”

The website continues, “Unpretentious, textured, authentic, practical, frisky… that’s who we are at the Block Island Poetry Project, and that’s why our series is like no other.”

The 2013 featured poets are Li-Young Lee  and Coleman Barks.

According to poets.org, Lee was “born in 1957 in Jakarta, Indonesia, to Chinese parents. His father had been a personal physician to Mao Zedong while in China, and relocated the family to Indonesia, where he helped found Gamaliel University. …  ‘What characterizes [Lee’s] poetry is a certain humility …  a willingness to let the sublime enter his field of concentration and take over, a devotion to language, a belief in its holiness.’ ” More on Lee, here.

The Coleman Barks website says that he is “the author of numerous Rumi translations and has been a student of Sufism since 1977. His work with Rumi was the subject of an hour-long segment in Bill Moyers’s Language of Life series on PBS.” More on Barks, here.

The featured poets will be joined by a range of other poets, teachers, editors, and publishers. Rhode Island’s new poet laureate, Rick Benjamin, will also stop by.

(Perhaps one of my favorite Rhode Island poets, Kate Colby, will get to this workshop some year.)

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When grandmas recite poetry before you are three, the look on your face probably translates as, “What the heck?”

Here we are testing out Edward Lear’s “The Owl and the Pussycat.”

A week or so ago, Ogden Nash’s “Custard the Dragon” held a certain fascination, but there was ambivalence about the “big, sharp teeth.”

In the spontaneous-story department, we have been working on variations of “The Three Bears” and are edging up on “The Pig Won’t Jump over the Stile.” Stay tuned.

listening to Edw Lear poem

what kind of story is this?

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Erik’s mother saw yesterday’s post on poetry slams and sent this.

“I do not know if you are aware of a competition held in England in April for young people 14-18 years old who recite poems by heart. You can read about it on www.poetrybyheart.org.uk. I found out about it when I read a Swedish newspaper where they suggested it would be good if they had this type of competition in Swedish schools too.”

When I was in school, we were obliged to memorize both poetry and Bible verses. I still remember poems and verses going back decades, even some lines in French. The trend away from any sort of “rote learning” has an unfortunate side.

Having beautiful words and cadences in your head can help you so much with your writing. (It also helps when you are standing in a long line with nothing interesting to think about.) Educators threw out the baby with the bathwater when they decided kids should understand, not just memorize, historical facts, science, and math. Understanding is good, and sometimes it comes from memorization.

I’m going to reuse a funny little poetry recitation that I posted once before. Jim Clark, Poetry Reincarnations, copyrighted the animation and explains it on YouTube.

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I think I first heard about poetry slams from Patricia Smith when she was a columnist at the Boston Globe. I went with Kristina to hear her slam some poetry at Cambridge Adult Ed once. It was fun.

Patricia Smith had too much imagination to be a Globe columnist, but I still remember one of her stories that, if it wasn’t real in the usual sense was real on a level that has meaning for me. She has developed her poetry side since then and has won the awards she deserves.

Today my husband pointed me to an article on another poetry slam guru, Jack McCarthy.

Bryan Marquard writes in an obit in the Globe, “At some 200 lines, Jack ­McCarthy’s first published ­poem appeared in the Boston Sunday Globe in October 1976. Filling a page, ‘South Boston Sunday’ describes a family stroll through the neighborhood of his youth

“He thought the poem would launch his writing career, but that didn’t happen until another October, in 1993, when Mr. McCarthy took his youngest daughter to a poetry slam at the Cantab Lounge in Cambridge. He got up to read and the positive response brought an epiphany: The poet’s voice and the audience’s ears were inseparable.

“ ‘For me, the live audience is really the only audience I ever think about,’ he said by phone when he knew his death was near. “When I put something down on paper and publish it, my highest hope is that someone somewhere will pick it up and read it to a third party. My sense of audience does not stop with the person who reads the poem. I hope the poem goes on to another life.’ …

“ ‘The only ambition he seems to have is to tell the truth as best he can in poems,’ the poet Thomas Lux once wrote of Mr. McCarthy.”

Stephen Dobyns, a respected poet and one of my favorite mystery writers, called him “one of the wonders of contemporary poetry. He writes — and often performs — dazzling narratives full of wit and humor, sadness and hard thinking. He should be cloned.”

Read more about McCarthy here, about Patricia Smith here, about poetry slams here.

Photograph: Peter Vicinanza/file 2007/Boston Globe
Mr. McCarthy became well known after he in the 1998 documentary “SlamNation.”

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Last year around Christmas my husband visited Southeast Asia on business and came back with descriptions of Christmas trees decorated from head to toe with written words on strips of paper.

That got me thinking about a new stealth project, one I hinted at here.

I printed out the quotes below and covered the paper with sticky plastic. I will put one set of quotation strips on our Christmas tree, but the first strips are now posted here and there around town. We’ll see what happens to them.

Feel free to use the lines here for a stealth project of your own, with or without sticky plastic. Or send some other quotes that I can use. If you are really ambitious, you might put strips of poems at the bottom of a poster headed something like “Help Yourself to Poetry” so people will be encouraged to take one.

“The roses had the look of flowers that are looked at.” T.S. Eliot

“The endlessly changing qualities of natural light, in which a room is a different room every second of the day.” Louis Kahn

“God inhabits the praise of his people.”

“Flowers have their agendas.” Mark Jarman

“I’d like to have a hand in things, what’s going on behind the screen.”  Kate Colby

“I don’t know where I’m going but I’m on the way.” Carl Sandburg

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Maybe one of my Egyptian relatives will know about this poet. I enjoyed what Abdalla F. Hassan had to say about him in the NY Times, but I wish there had been examples of his poems to share with you. (Sorry, Poets!)

“Along a narrow, leafy road just past a small domed mosque is an electric pole with a handwritten sign showing the path to the country home of the poet Abdel-rahman Elabnoudy. The sign reads Aya and Nour, the names of his daughters.

“Sequestered from the big city, Mr. Elabnoudy, a songwriter, dramatist, social critic and man of verse, lives in a whitewashed home on small plot of land planted with mangoes and date palms in a village in Ismailia Province, along the Suez Canal. A couple of decades ago, he tilled and sowed the earth, and designed a home modeled on the traditional architecture of Abnoud, the Upper Egyptian village of his birth.

“ ‘I am from a village where everyone sings, except the shop owners, who reap the output of the singing at the end of the day,’ said Mr. Elabnoudy, 74, one of the Arab world’s best-known vernacular poets. ‘People work and sing, and with their earnings they would buy simple things like cigarettes and tea.’

“Books and awards line the shelves of his sunny study and reception room. On one wall, below a black-and-white portrait of his father, Mahmoud Elabnoudy, is a photograph of a beaming Abdel-rahman embraced by his mother, Fatma Qandil.

“ ‘It was an exaggerated love,’ he said of his mother. ‘She is present a lot in my poetry, but my father isn’t. She is my true educator.’ …

“Mr. Elabnoudy wrote the songs and the dialogue for the landmark 1969 film ‘Touch of Fear,’ which tells the story of a tyrannical village chief and his demise. The film narrowly passed the censorship authorities and was screened only after Mr. Nasser had seen it and given his approval. …

“Its theme — a mass uprising against tyranny ignited by a senseless death — was what unfolded four decades later to topple a system of authoritarianism established by the military coup-turned-revolution of Nasser and the Free Officers in 1952. Mr. Elabnoudy’s only poem in homage to a leader was written to Nasser 40 years after his death in 1970 and weeks before the 2011 revolution, praising his incorruptibility.

“Mr. Elabnoudy’s ascendancy has endured through six decades. His poem ‘The Square’ … captured the dreams and hopes of a nation during the height of the 18-day revolution. ‘A ruler should never think he understands Egypt,’ he said.”

More.


Photograph of vernacular poet Abdel-rahman Elabnoudy is by Abdalla Hassan

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