Your Favorite Poems

[Soon]

But Listen, I Am Warning You

But listen, I am warning you
I'm living for the very last time.
Not as a swallow, nor a maple,
Not as a reed, nor as a star,
Not as spring water,
Nor as the toll of bells…
Will I return to trouble men
Nor will I vex their dreams again
With my insatiable moans.

Anna Akhmatova

[Soon]

Sex Without Love

How do they do it, the ones who make love
without love? Beautiful as dancers,
gliding over each other like ice-skaters
over the ice, fingers hooked
inside each other's bodies, faces
red as steak, wine, wet as the
children at birth whose mothers are going to
give them away. How do they come to the
come to the come to the God come to the
still waters, and not love
the one who came there with them, light
rising slowly as steam off their joined
skin? These are the true religious,
the purists, the pros, the ones who will not
accept a false Messiah, love the
priest instead of the God. They do not
mistake the lover for their own pleasure,
they are like great runners: they know they are alone
with the road surface, the cold, the wind,
the fit of their shoes, their over-all cardio-
vascular health--just factors, like the partner
in the bed, and not the truth, which is the
single body alone in the universe
against its own best time.

by Sharon Olds

[Soon]

Beneath My Hands

Beneath my hands
your small breasts
are the upturned bellies
of breathing fallen sparrows.
Wherever you move
I hear the sounds of closing wings
of falling wings.
I am speechless
because you have fallen beside me
because your eyelashes
are the spines of tiny fragile animals.
I dread the time
when your mouth
begins to call me hunter.
When you call me close
to tell me
your body is not beautiful
I want to summon
the eyes and hidden mouths
of stone and light and water
to testify against you.
I want them
to surrender before you
the trembling rhyme of your face
from their deep caskets.
When you call me close
to tell me
your body is not beautiful
I want my body and my hands
to be pools
for your looking and laughing.

--Leonard Cohen

[Kobi]

An Invisible Connection


What is this magical bond we share?
Amidst the constant circus like avalanche of words,
How did you know?
Once like you stable and secure,
He is older, yet betrothed to your dream,
Faithful to uncertainty,
A spirit yearning to be free.
His subtle words lodge in your thought.
Why did you pick this stranger
With a hunger that you can not see?

A young woman's hair kisses the breeze,
Her dignity conceals the distance in her gaze.
Is it possible that a simple innocent radiant smile,
Or a crazy serendipitous verse,
Could bring two people so diverse
To where we find ourselves today?
Strangers once to our own lives,
At ease with the depth of our own emptiness,
How unlikely it is that we are here

It's quiet tonight, light raindrops filter through the leaves
Washing away the dust, releasing fragrances
On which the gentle breeze sweetens
The kind of night you wish you were with the one you love
Nestled close to the open fire
Watching the moon duck in and out of the white cotton clouds
Caressing and holding each other gently
Breath silently quivering collect;

Once locked away behind iron clad doors,
Feelings and emotions stir,
Disguised by layers of pain and ruin
Two hearts awaken.
A gentle, loving, knowing kiss;
Bound together forever.

Jeff Demos

[femmeInterrupted]

Sick by Shel Silverstein


Sick "I cannot go to school today,"
Said little Peggy Ann McKay.
"I have the measles and the mumps,
A gash, a rash and purple bumps.
My mouth is wet, my throat is dry,
I'm going blind in my right eye.
My tonsils are as big as rocks,
I've counted sixteen chicken pox
And there's one more - that's seventeen,
And don't you think my face looks green?
My leg is cut, my eyes are blue -
It might be instamatic flu.
I cough and sneeze and gasp and choke,
I'm sure that my left leg is broke -
My hip hurts when I move my chin,
My belly button's caving in,
My back is wrenched, my ankle's sprained,
My 'pendix pains each time it rains.
My nose is cold, my toes are numb,
I have a sliver in my thumb.
My neck is stiff, my spine is weak,
I hardly whisper when I speak.
My tongue is filling up my mouth,
I think my hair is falling out.
My elbow's bent, my spine ain't straight,
My temperature is one-o-eight.
My brain is shrunk, I cannot hear,
There is a hole inside my ear.
I have a hangnail, and my heart is -
what? What's that? What's that you say?
You say today is ... Saturday?
G'bye, I'm going out to play!"

[Hollylane]

The Underworld

by Sharon Bryan

When I lived in the foothills
birds flocked to the feeder:

house finches, goldfinches,
skyblue lazuli buntings,

impeccably dressed chickadees,
sparrows in work clothes, even

hummingbirds fastforwarding
through the trees. Some of them

disappeared after a week, headed
north, I thought, with the sun.

But the first cool day
they were back, then gone,

then back, more reliable
than weathermen, and I realized

they hadn't gone north at all,
but up the mountain, as invisible

to me as if they had flown
a thousand miles, yet in reality

just out of sight, out of reach—
maybe at the end of our lives

the world lifts that slightly
away from us, and returns once

or twice to see if we've refilled
the feeder, if we still remember it,

or if we've taken leave
of our senses altogether.

[Hollylane]

[Virago]

Sadness causes the most wonderful growth:

There is a curious paradox that no one can explain:
who understands the secrets of the reaping of the grain?
Who understands why spring is born out of winter's laboring pain,
or why we all must die a bit before we grow again?

El Gallo from the play The Fantasticks

[Virago]

“In youth, it was a way I had,
To do my best to please.
And change, with every passing lad
To suit his theories.

But now I know the things I know
And do the things I do,
And if you do not like me so,
To hell, my love, with you.”

― Dorothy Parker, The Complete Poems of Dorothy Parker

[femmeInterrupted]

Another e.e. cummings into the mix: One of my all time fave's:



she being Brand

-new;and you
know consequently a
little stiff i was
careful of her and(having

thoroughly oiled the universal
joint tested my gas felt of
her radiator made sure her springs were O.

K.)i went right to it flooded-the-carburetor cranked her

up,slipped the
clutch(and then somehow got into reverse she
kicked what
the hell)next
minute i was back in neutral tried and

again slo-wly;bare,ly nudg. ing(my

lev-er Right-
oh and her gears being in
A 1 shape passed
from low through
second-in-to-high like
greasedlightning)just as we turned the corner of Divinity

avenue i touched the accelerator and give

her the juice,good

(it

was the first ride and believe i we was
happy to see how nice she acted right up to
the last minute coming back down by the Public
Gardens i slammed on

the
internalexpanding
&
externalcontracting
brakes Bothatonce and

brought allofher tremB
-ling
to a:dead.

stand-
;Still)

-e.e. cummings

[Hollylane]

The Woodstove

by Jennifer Grotz

The woodstove is banked to last the night,
its slim legs, like an elegant dog's, stand obediently
on the tile floor while in its belly a muffled tumult
cries like wind keening through the hemlocks.

Human nature to sleep by fire, and human nature
to be sleepless by it too. I get up to watch
the blue flames finger soft chambers in the wood
while the coals swell with scintillating breaths.

What made Rousseau once observe that dogs will not
build fires? (And further, that in the pleasing warmth
of a fire already started, they will not add wood?)
What is it to be human? To forge connection,

to make interpretations of fire and contain them
in a little iron stove? And what is it to be fire?
To burn with indifference, to consume
the skin of the arm as easily as the bark of a log.

Sleepy warmth begins to fill the room in which
life wants to live and fire wants to burn,
the room which in the morning
will hold a fire changed to cooling ash.

Outside, smoke escapes and for an instant
mirrors nature too, the way falling snow
reveals the wind's mind, and change of mind,
before world and mind grow inscrutable again.

[Hollylane]

Odessa
by Patricia Kirkpatrick

I drove through Sacred Heart and Montevideo,
over the Chippewa River, all the way to Madison.
When I stopped, walked into grass—
bluestem, wild rose, a monarch—
I was afraid at first. Birds I couldn't identify
might have been bobolinks,
non-breeding plumage.
I am always afraid of what might show up, suddenly.
What might hide.
At dusk I saw the start of low plateaus, plains
really, even when planted. Almost to the Dakota border
I was struck by the isolation and abiding loneliness
yet somehow thrilled. Alone. Hardly another car on the road
and in town, just a few teenagers
wearing high school sweatshirts, walking and laughing, on the edge
of a world they don't know.
Darkness started as heaviness in the colors
of fields, a tractor, cornstalks, stone.
I turned back just before the Prairie Wildlife Refuge
at Odessa, the place I came to see. Closed.
Empty. The moon rose. Full.
I was driving Highway 7, the "Sioux Trail:"
I could feel the past the way I could in Mexico,
Mayan tombs in the jungle at Palenque,
men tearing papers from our hands.
Three hours still to drive home.

[femmeInterrupted]

A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.

(The Waste Land)

[Jean_TX]

Simple and sweet:

Remember me with smiles and laughter,
For that's the way I will remember you all.
If you can only remember me with tears,
Then don't remember me at all.


(Michael Landon, in an episode from Little House On The Prairie)

[Hollylane]

Originally Posted by femmeInterrupted

A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.

(The Waste Land)

I can't help it, this whole poem reminds me of how I felt living in Arizona. I apparently was born in the wrong state, and needed to be somewhere that moisture exists in abundance.

[Hollylane]

Breakfast

by Joyce Sutphen

My father taught me how to eat breakfast
those mornings when it was my turn to help
him milk the cows. I loved rising up from

the darkness and coming quietly down
the stairs while the others were still sleeping.
I'd take a bowl from the cupboard, a spoon

from the drawer, and slip into the pantry
where he was already eating spoonfuls
of cornflakes covered with mashed strawberries

from our own strawberry fields forever.
Didn't talk much—except to mention how
good the strawberries tasted or the way

those clouds hung over the hay barn roof.
Simple—that's how we started up the day.

[Hollylane]

In the Late Season

by Tom Hennen

At the soft place in the snowbank
Warmed to dripping by the sun
There is the smell of water.
On the western wind the hint of glacier.
A cottonwood tree warmed by the same sun
On the same day,
My back against its rough bark
Same west wind mild in my face.
A piece of spring
Pierced me with love for this empty place
Where a prairie creek runs
Under its cover of clear ice
And the sound it makes,
Mysterious as a heartbeat,
New as a lamb.

[Hollylane]

Trombone Lesson

by Paul Hostovsky

The twenty minutes from half past nine
to ten of ten is actually slightly longer
than the twenty minutes from ten of ten
to ten past ten, which is half downhill
as anyone who's ever stared at the hillocky
face of a clock in the 5th grade will tell you.
My trombone lesson with Mr. Leister
was out the classroom door and down
the tessellating hallway to the band room
which was full of empty chairs and music stands
from ten past ten to ten-forty, which is half
an hour and was actually slightly shorter
than the twenty minutes that came before or after
which as anyone who's ever played trombone
will tell you, had to do with the length of the slide
and the smell of the brass and also the mechanism
of the spit-valve and the way that Mr. Leister
accompanied me on his silver trumpet making
the music sound so elegantly and eminently
better than when I practiced it at home
for hours and hours which were all much shorter
than an hour actually, as anyone who's ever
practiced the art of deception with a musical
instrument will tell you, if he's honest and has any
inkling of the spluttering, sliding, flaring,
slippery nature of time, youth and trombones.

[femmeInterrupted]

(not in its entirety...just the bits I love most)


LET us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question….
Oh, do not ask, “What is it?”
Let us go and make our visit.

I should have been a pair of ragged claws
Scuttling across the floors of silent seas.

I grow old … I grow old …
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind?
Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

[Hollylane]

String Quartet

by Carl Dennis

Art and life, I wouldn't want to confuse them.
But it's hard to hear this quartet
Without comparing it to a conversation
Of the quiet kind, where no one tries to outtalk
The other participants, where each is eager instead
To share in the task of moving the theme along
From the opening statement to the final bar.

A conversation that isn't likely to flourish
When sales technicians come trolling for customers,
Office-holders for votes, preachers for converts.
Many good people among such talkers,
But none engaged like the voices of the quartet
In resisting the plots time hatches to make them unequal,
To set them at odds, to pull them asunder.

I love the movement where the cello is occupied
With repeating a single phrase while the others
Strike out on their own, three separate journeys
That seem to suggest each prefers, after all,
The pain and pleasure of playing solo. But no.
Each near the end swerves back to the path
Their friend has been plodding, and he receives them
As if he never once suspected their loyalty.

Would I be moved if I thought the music
Belonged to a world remote from this one,
If it didn't seem instead to be making the point
That conversation like this is available
At moments sufficiently free and self-forgetful?

And at other moments, maybe there's still a chance
To participate in the silence of listeners
Who are glad for what they manage to bring to the music
And for what they manage to take away.