POETRY IS LIKE TAKING A DEEP BREATH

Tuesday, 28 August 2012

THINGS




There are worse things than having behaved foolishly in public.
There are worse things than these miniature betrayals,
committed or endured or suspected; there are worse things
than not being able to sleep for thinking about them.
It is 5 a.m. All the worse things come stalking in
and stand icily about the bed looking worse and worse and worse.



Fleur Adcock
born 1934 in NZ, of English/N. Irish origin



Friday, 13 July 2012

SUMMER from THE LIFE OF LOVE

Gibran's painting of his sister Mariana



Let us go into the fields, my beloved, for the
Time of harvest approaches, and the sun's eyes
Are ripening the grain.
Let us tend the fruit of the earth, as the
Spirit nourishes the grains of joy from the
Seeds of love, sowed deep in our hearts.
Let us fill our bins with the products of
Nature, as life fills so abundantly the
Domain of our hearts with her endless bounty.
Let us make the flowers our bed, and the
Sky our blanket, and rest our heads together
Upon pillows of soft hay.
Let us relax after the day's toil, and listen
To the provoking murmur of the brook.


Khalil Gibran
18883-1931

Sunday, 8 July 2012

QUIETNESS




Inside this new love, die.
Your way begins on the other side.
Become the sky,
Take an axe to the prison wall.
Escape.
Walk out like somebody suddenly born into colour.
Do it now.
You're covered with thick cloud.
Slide out the side. Die,
and be quiet. Quietness is the surest sign
that you've died.
Your old life was a frantic running
from silence.

The speechless full moon
comes out now.



Rumi
1207-1273

translated from the Persian by Coleman Barks with John Moyne




Thursday, 5 July 2012

KEEPING QUIET




Now we will count to twelve
and we will all keep still.

For once on the face of the earth
let's not speak in any language,
let's stop for one second,
and not move our arms so much.

It would be an exotic moment
without rush, without engines,
we would all be together
in sudden strangeness.

Fisherman in the cold sea
would not harm whales
and the man gathering salt
would look at his hurt hands.

Those wo prepare green wars,
wars with gas, wars with fire,
victory with no survivors,
would put on clean clothes
and walk about with their brothers
in the shade, doing nothing.

What I want should not be confused
with total inactivity.
Life is what it is about;
I want no truck with death.

If we were not so single-minded
about keeping our lives moving,
and for once could no nothing,
perhaps a huge silence
might interrupt this sadness
of never understanding ourselves
and of threatening ourselves with death.
Perhaps the earth can teach us
as when everything seems dead
and later proves to be alive.

Now I'll count up to twelve
and you keep quiet and I will go.



Pablo Neruda
1904-1973


translated from the Spanish by Alastair Reid

Saturday, 30 June 2012

THE HUMAN SPECIES





The human species has given me
the right to be mortal
the duty to be civilised
a conscience
2 eyes that don't always function very well
a nose in the middle of my face
2 feet 2 hands
speech

the human species has given me
my father and mother
some brothers maybe who knows
a whole mess of cousins
and some great-grandfathers
the human species has given me
its 3 faculties
feeling intellect and will
each in moderation
32 teeth 10 fingers a liver
a heart and some other viscera
the human species has given me
what I'm supposed to be satisfied with



Raymond Queneau
1903-1976


Wednesday, 27 June 2012

HAPPINESS



My hair is happy
and my skin is happy.
My skin quivers with happiness.

I breathe happiness instead of air,
slowly and deeply,
as a man who avoided a mortal danger.

Tears roll down my face,
I do not know it.
I forget I still have a face.
My skin is singing,
I shiver.

I feel time's duration
as it felt in the hour of death.
As if my sense of time alone were grasping the world,
as if existence were time only.
Immersed in terrifying
magnificence
I feel every second of happiness, as it arrives,
fills up, bursts into flower
according to its own natural way,
unhurried as a fruit,
astounding as a deity.

Now
I begin to scream.
I am screaming. I leave my body.
I do not now whether I am human anymore,
how could anyone know that, screaming with happiness.
Yet one dies from such screaming,
thus I am dying from happiness.
On my face there are probably no more tears,
my skin probably does not sing by now.
I don't know whether I still have a skin,
from me to my skin
is too far to know.

Soon I will go.
I do not shiver any longer,
I do not breathe any longer.
I don't know whether I still have
something to breathe with.

I feel time's duration,
how perfectly I feel time's duration.

I sink
I sink into time.


Anna Swir (Swirszcynska)
1909-1984






Monday, 18 June 2012

MIDSUMMER




On nights like this we used to swim in the quarry,  
the boys making up games requiring them to tear off  the girls’ clothes  
and the girls cooperating, because they had new bodies since last summer
and they wanted to exhibit them, the brave ones  
leaping off  the high rocks — bodies crowding the water.

The nights were humid, still. The stone was cool and wet,
marble for  graveyards, for buildings that we never saw,  
buildings in cities far away.

On cloudy nights, you were blind. Those nights the rocks were dangerous,  
but in another way it was all dangerous, that was what we were after.  
The summer started. Then the boys and girls began to pair off  
but always there were a few left at the end — sometimes they’d keep watch,
sometimes they’d pretend to go off  with each other like the rest,
but what could they do there, in the woods? No one wanted to be them.  
But they’d show up anyway, as though some night their luck would change,  
fate would be a different fate.

At the beginning and at the end, though, we were all together.
After the evening chores, after the smaller children were in bed,  
then we were free. Nobody said anything, but we knew the nights we’d meet  
and the nights we wouldn’t. Once or twice, at the end of summer,  
we could see a baby was going to come out of all that kissing.

And for those two, it was terrible, as terrible as being alone.  
The game was over. We’d sit on the rocks smoking cigarettes,  
worrying about the ones who weren’t there.

And then finally walk home through the fields,  
because there was always work the next day.  
And the next day, we were kids again, sitting on the front steps in the morning,  
eating a peach.  Just that, but it seemed an honor to have a mouth.  
And then going to work, which meant helping out in the fields.  
One boy worked for an old lady, building shelves.  
The house was very old, maybe built when the mountain was built.

And then the day faded. We were dreaming, waiting for night.  
Standing at the front door at twilight, watching the shadows lengthen.  
And a voice in the kitchen was always complaining about the heat,
wanting the heat to break.

Then the heat broke, the night was clear.  
And you thought of  the boy or girl you’d be meeting later.  
And you thought of  walking into the woods and lying down,  
practicing all those things you were learning in the water.  
And though sometimes you couldn’t see the person you were with,
there was no substitute for that person.

The summer night glowed; in the field, fireflies were glinting.
And for those who understood such things, the stars were sending messages:  
You will leave the village where you were born  
and in another country you’ll become very rich, very powerful,
but always you will mourn something you left behind, even though  
you can’t say what it was,
and eventually you will return to seek it.


Louise Glück
1943