April is Global Poetry Writing Month, in case you didn't know. I didn't. Well, it's National Poetry Writing Month, but someone has realised that there is a world beyond the United States (a rant for another day), so a new acroynym has popped up. And I'm going with it.
Here's a bit of information about its inspiration and conception, but the basic idea is to inspire poets to write a poem a day for the month of April. And to read and share poetry.
I can't write a novel in a month as in NaNoWriMo, just as I know I can't write a poem a day, I just don't have the time or energy to even start to sketch one out daily. I used to join in and promote National Poetry Day when I was involved in the writing scene in Scotland and I do like the idea behind promoting poetry writing for a month, so I thought I could share a few favourtie poems on my blog today, just to get into the spirit. Poems that I have loved, been inspired by or wish I had written.
This first poem by Wallace Stevens was introduced to me by a lecturer back in my undergraduate studies. I think it was the first poem that I had ever dissected to see beyond the first reading and it opened new levels of writing for me.
Idea of Order at Key West
She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.
The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard,
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.
For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this? we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.
If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end
And sound alone. But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.
It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world
In which she sang. And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker. Then we,
As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.
Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As the night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.
Oh! Blessed rage for order, pale Ramon,
The maker’s rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.
I often use this poem by Pablo Neruda in my writing classes to illustrate how anything can be the inspiration for a poem.
Ode to my Socks
Mara Mori brought me
a pair of socks
which she knitted herself
with her sheepherder's hands,
two socks as soft as rabbits.
I slipped my feet into them
as if they were two cases
knitted with threads of twilight and goatskin,
my feet were two fish made of wool,
two long sharks
sea blue, shot through
by one golden thread,
two immense blackbirds,
my feet were honored in this way
by these heavenly socks.
They were so handsome for the first time
my feet seemed to me unacceptable
like two decrepit firemen,
firemen unworthy of that woven fire,
of those glowing socks.
Nevertheless, I resisted the sharp temptation
to save them somewhere as schoolboys
as learned men collect
I resisted the mad impulse to put them
in a golden cage and each day give them
birdseed and pieces of pink melon.
Like explorers in the jungle
who hand over the very rare green deer
to the spit and eat it with remorse,
I stretched out my feet and pulled on
the magnificent socks and then my shoes.
The moral of my ode is this:
beauty is twice beauty
and what is good is doubly good
when it is a matter of two socks
made of wool in winter.
And finally Elizabeth Bishop, the first poet whose works I wholly got into, not just dipping into a poem here or there, but soaking up as much of her as I could find.
The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster,
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.
- Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.
I found these poems on poemhunter.com which seems to have a good collection mix of poems if you're looking for established poets.
I hope I will be able to come back this month and offer up a few more poems. Try to spend a little time with poetry this month, writing or reading it.