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Showing posts with label Jane Hirshfield. Show all posts
Showing posts with label Jane Hirshfield. Show all posts

Sunday, December 31, 2023

Four Poems at Poets for Science

 I have four poems up now at Jane Hirshfield's Poets for Science Global Gallery. Tons of science-related poems over there. Check them out.

Here are mine:

Radium Girls, first published in The Westchester Review

Darwin's Conjecture, first published in The Threepenny Review

Mendeleev's Mandala, the title poem of my second book

Lagrange's Problem, first published in Diagram, and included in my first book, The Insomniac's Weather Report

I'm hoping to have a few more, once I've checked on the rights, so if interested, stay tuned. 

Monday, June 22, 2015

Organization Organized!

Two great things today!

1) As I've been organizing my poems into a manuscript, I looked for articles and hints on organization and poem ordering. I've tried in the past to compile a list of such resources, but found that poet Nancy Chen Long has done a much better job than I ever did. So if you want resources for organizing a manuscript, head on over the Nancy Chen Long's blog, where she curates (there's no other word for what a wonderful job she's done) a comprehensive list of resources.

2) This poem of Jane Hirshfield really speaks to me these days. It's from her collection Given Sugar, Given Salt.

A Cedary Fragrance

Even now,
decades after,
I wash my face with cold water--

Not for discipline,
nor memory,
nor the icy, awakening slap,

but to practice
choosing
to make the unwanted wanted.

Monday, April 20, 2015

Neat on the Net for Spring

Two great things today.

1. Telephone (the game) for art. Beginning with a single prompt, three artists respond. Multiple artists respond to each of their works, and so forth, and we're off in a branching explosion of art. You can follow threads of responses, or see a map and choose nodes of interest. The best part is the interdisciplinary nature of the game: it includes poets, sculptors, photographer, prose writers, painters, collagists, dancers, filmmakers, embroiderers, etc. (Shout out to poet Pamela Hart, whose work is included.)

2. Upper Rubber Boat features on their blog a summary of Jane Hirshfield's lecture "Question to Ask While Revising a Poem." This is a a helpful checklist from a master.

Wednesday, August 20, 2014

Dust

The Body is the House, and                                     Kim Addonizio
according to the spiritual teacher,
you are the open space inside the house.
Also, you are already dead.
This is good news.

Being the space inside the house
is infinitely better than being the house;
this is definitely good news,
because the walls are collapsing, and the floors,

so it is definitely infinitely better.
The foundation is dissolving to concrete dust,
the roof is collapsing, but no matter;
there's the sturdy blue flame of you

as the concrete world dissolves to dust.
Don't you feel better now—I mean
the sturdy-blue-flame-you,
the you that is not a condemned home?


Don't you feel better than when you learned
that you were already dead
and condemned to be homeless,
according to the spiritual teacher. 

*****************************
The Storm                                                                                Jennifer Moss
Where one mind stops,
another begins.

Where cutlery shines on plates,
a voice lowers.

One length of forgiveness,
round and round like a child's game
in the dust.

Outside, the rain formalizing.

When we leave we are replaced.

Shaky clouds in lightning,
my shadow alive on the floor.

Then the small passage for sleep.

How green and spidery the sky.


In its net, the dead bees of memory. 

******************************

Saying It to Keep It from Happening                            John Ashbery

Some departure from the norm
Will occur as time grows more open about it.
The consensus gradually changed; nobody
Lies about it any more. Rust dark pouring
Over the body, changing it without decay—
People with too many things on their minds, but we live
In the interstices, between a vacant stare and the ceiling,
Our lives remind us. Finally this is consciousness
And the other livers of it get off at the same stop.
How careless. Yet in the end each of us
Is seen to have traveled the same distance—it’s time
That counts, and how deeply you have invested in it,
Crossing the street of any event, as though coming out of it were
The same as making it happen. You’re not sorry,
Of course, especially if this was the way it had to happen,
Yet would like an exacter share, something about time
That only a clock can tell you: how it feels, not what it means.
It is a long field, and we now only the far end of it,
Not the part we presumably had to go through to get here.
If it isn’t enough, take the idea
Inherent in the day, armloads of wheat and flowers
Lying around flat on handtrucks, if maybe it means more
In pertaining to you, yet what is is what happens in the end
As though you cared. The event combined with
Beams leading up to it for the look of force adapted to the wiser
Usages of age, but it’s both there
And not there, like washing or sawdust in the sunlight,

At the back of the mind, where we live now.

***************************************

Sacrament of the Moths            Penelope Scambly Schott 
  
Dust from a moth's wing is lint from a prayer.
In a vault in the Vatican, they collect that lint.
The Vatical Vault of Sacred Moth Lint
opens second Tuesdays from three until six.
Lines of the pious spit-shine their coins
as they wait to kneel upon sanctified lint.
The tonsured Father who samples the lint
reports that it tastes of flute. He also tests
bicycles, beatitude by beatitude. This chain,
he intones, hath snagged another angel.
You've heard him: he pedals through dusk
as if it were moth gauze, dinging his final
crepuscular bell. 

***********************************
The Envoy      Jane Hirschfield

One day in that room, a small rat.
Two days later, a snake.

Who, seeing me enter,
whipped the long stripe of his
body under the bed,
then curled like a docile house-pet.

I don't know how either came or left.
Later, the flashlight found nothing.

For a year I watched
as something -- terror? happiness? grief? --
entered and then left my body.

No knowing how it came in.
Not knowing how it went out.

It hung where words could not reach it.
It slept where light could not go.
Its scent was neither snake nor rat,
neither sensualist nor ascetic.

There are openings in our lives
of which we know nothing.

Through them
the belled herds travel at will,
long-legged and thirsty, covered with foreign dust.

***************************
from 32 Statements about Writing Poetry by Marvin Bell

 19. You need nothing more to write poems than bits of string and thread and some dust from under the bed.

Sunday, June 29, 2014

Center

In Praise of Coldness                        Jane Hirshfield

“If you want to move your reader,”
Chekhov wrote, “you must write more coldly.”

Herakleitos recommended, “A dry soul is best.”

And so at the center of many great works
is found a preserving dispassion,
like the vanishing point of quattrocento perspective,
or the tiny packets of desiccant enclosed
in a box of new shoes or seeds.

But still the vanishing point
is not the painting,
the silica is not the blossoming plant.

Chekhov, dying, read the timetables of trains.
To what more earthly thing could he have been faithful?–
Scent of rocking distances,
smoke of blue trees out the window,
hampers of bread, pickled cabbage, boiled meat.

Scent of the knowable journey.

Neither a person entirely broken
nor one entirely whole can speak.

In sorrow, pretend to be fearless. In happiness, tremble.


*************************************


"Act so that there is no use in a center." Gertrude Stein


*************************************
Peach                                            Catie Rosemurgy


The head, the mouth, the fruit, the eating.
The pit, the teeth, the branch, the fall.
The wet, the swollen, the light, the seeing.
The picking, the washing, the cutting, the quartering.
The sweet, the having.

The juice. The holding it in your hands
beautiful and then ruined. The forms of devouring. The remaining empty.
What’s inside.

The excitement of the definite article. What’s inside
one thing is analogous to what’s inside another.
The ceremonial names

of what is done to them. What is unknown requires a new way of cutting.
What we’re left with.

How we make an object ours, make it disappear.
How we become the object and are food.
How we are delicious and dead at the center in so many ways.
How that is wrong and it is stillness, moon-like at the core.
How what we are is what reflects off it. How we are light produced earlier
by other things.

*************************************

Tempest                                                       Emma Howell

It's storming, pounding out there.
Rain breaks and falls like the mismatched
halves of haloes.
Luminescent drops arc above the wind's dips and joints.
This is the division of virtues through their centers.
Whole waters submit, are split and capped,
sectioned like tangerines into mouth-shaped crescents
and then auctioned into thunder.


The rain marks its weight in deep
forgiving streaks.
The storm is tight around all things
and in rope fingers of light
water cracks into marbled, complex structures,
less like a chandelier, hanging vows above our heads,
than like the mezuzah we kiss when we step outside.
It shelters a scrolled blessing against leaving God
at home.
We break Him into pieces and carry Him along.

*************************************


"To Forget Its Creator Is One of the Functions of a Creation"
—E. M. Forster

(Poem by Gilbert Allen)

So memory is the absent
center:
letting things slip
out of mind and sight
to make discovery
possible.

And God is no
story:
which is the why
of these strange, awful creatures
whose creator would envy
their lost footprints, if He could.

*************************************




Sunday, May 11, 2014

Mother

Zero Plus Anything Is A World
~Jane Hirshfield

Four less one is three.

Three less two is one.


One less three
is what, is who,
remains.

The first cell that learned to divide
learned to subtract.
Recipe:
add salt to hunger.

Recipe:
add time to trees.

Zero plus anything
is a world.

This one
and no other,
unhidden,
by each breath changed.

Recipe:
add death to life.

Recipe:
love without swerve what this will bring.

Sister, father, mother, husband, daughter.

Like a cello
forgiving one note as it goes,

then another.

**********

Getting Close

Because my mother loved pocketbooks
I come alive at the opening click or close of a metal clasp.

And sometimes, unexpectedly, a faux crocodile handle makes me
   weep.

Breathy clearing of throat, a smooth arm, heels on pavement, she
   lingers, sound tattoos.

I go to the thrift store to feel for bobby pins caught in the pocket
   seam
of a camel hair coat.

I hinge a satin handbag in the crease of my arm. I buy a little
   change purse with its curled and fitted snap.

My mother bought this for me. This was my mother's.

I buy and then I buy and then, another day, I buy something else.

In Paris she had a dog, Bijou, and when they fled Paris in 1942
   they left the dog behind.

When my mother died on February 9, 1983, she left me.

Now, thirty years later and I am exactly her age.

I tell my husband I will probably die by the end of today and all day he says, Are you getting close, Sweetheart? And late in the afternoon, he asks if he should buy enough filet of sole for two.

From a blue velvet clutch I take out a mirror and behold my lips in
   the small rectangle.

Put on something nice. Let him splurge and take you out for
   dinner, my mother whispers on the glass. 

**********
The Major Subjects           Lawrence Raab

Death is easier
than love. And true feeling, as someone said,
leaves no memory. Or else memory
replaces the past, which we know
never promised to be true.

Consider the sea cucumber:
when attacked it divides, sacrificing half
so that half
won't get eaten. Can the part left undevoured
figure out what to do?

The natural world is always instructive,
mysterious as well, but often
hard to praise. Love
is also difficult—the way it slides into
so many other subjects,

like murder, deceit,
and the moon. As my mother used to say
about anything
we couldn't find: If it had been
a snake it would have bitten you.

Fellow poets, we must
learn again to copy from nature,
see for ourselves
how steadfastly even its beauty
refuses to care or console. 

*********
'A woman knows when to be inside and when to be outside, her mother’s only useful lesson, and of course when to be neither.' Guy Davenport, from “A Field of Snow on the Slope of the Rosenberg” in Da Vinci’s Bicycle

*********

The Dome  by CHAD SWEENEY


I’ll give you that red one.
When we were the poorest,
mom paid my weekly allowance
in birds. That one is yours, she whispered

so as not to disturb it.
If you clean the oven

In a few months
I owned all the birds on the street,
blue jays, finches, a lame owl

cowled in the clock tower.
We had to walk farther each Saturday
to find a new fountain or thicket

 

so mother could pay me what she owed.
We stood on a bridge.
Our soldiers were marching away,

singing
and trying to sound brave.
Their numbers were staggering.

I invented a mathematics
to understand them.
I subtracted them from summer

and it was winter. Most of our houses
were gone, and the birds too.
The university had been bombed

with my father inside, attending a reading
by some Polish poets.
The poems were so sturdy, he said,

they held up the dome of the ceiling.


*********
Family Portrait                                James Allen Hall
If I could turn the photograph, bring my mother's face
to the bright eye of myth, my unflinching lens,
you'd see she's mouthing the words: Take the picture already.

You'd see my father's lust, his loathing
molding her body into some four-legged
photogenic thing, whipped and adored.

You'd see my mother emerging from the ghost world
limb by limb, carrying on her bowed shoulders
Eros and his sadomasochistic twin.

In the dim violated light, she's marked
by a man who can't let any part of her go.
In the light my father makes in the dark,
I was mothered into art. 

*********
To See My Mother                                                Sharon Olds

It was like witnessing the earth being formed,
to see my mother die, like seeing
the dry lands be separated
from the oceans, and all the mists bear up
on one side, and all the solids
be borne down, on the other, until
the body was all there, all bronze and
petrified redwood opal, and the soul all
gone. If she hadn't looked so exalted, so
beast-exalted and refreshed and suddenly
hopeful, more than hopeful—beyond
hope, relieved—if she had not been suffering so
much, since I had met her, I do not
know how I would have stood it, without
fighting someone, though no one was there
to fight, death was not there except
as her, my task was to hold her tiny
crown in one cupped hand, and her near
birdbone shoulder. Lakes, clouds,
nests. Winds, stems, tongues.
Embryo, zygote, blastocele, atom,
my mother's dying was like an end
of life on earth, some end of water
and moisture salt and sweet, and vapor,
till only that still, ocher moon
shone, in the room, mouth open, no song.
**********
Sleep Chains                 Anne Carson
Who can sleep when she —
hundreds of miles away I feel that vast breath
fan her restless decks.
Cicatrice by cicatrice
all the links
rattle once.
Here we go mother on the shipless ocean.
Pity us, pity the ocean, here we go.

*********

Lament for the Makers                                                     Frank Bidart

Not bird not badger not beaver not bee

Many creatures must
make, but only one must seek
within itself what to make

My father's ring was a B with a dart
through it, in diamonds against polished black stone.

I have it. What parents leave you
is their lives.

Until my mother died she struggled to make
a house that she did not loathe; paintings; poems; me.

Many creatures must

make, but only one must seek
within itself what to make

Not bird not badger not beaver not bee
                  •
Teach me, masters who by making were
remade, your art. 

Saturday, April 19, 2014

Empty II

Poetry isn’t a profession, it’s a way of life. It’s an empty basket; you put your life into it and make something out of that.

Mary Oliver

******

Love Song: The Reproduction of Mothering (1)

from The Making of the Mother: Portraits        Marcia Aldrich

This is a mother who still holds her daughter's hand when they're walking down the street. Her daughter is 18 years old. This is a mother who wants her daughter to look and act and be just like her. This is a daughter who does not resist what her mother wants. As the years pass this is a daughter who is becoming her mother. This is a mother who is always receding into the background. This is a mother who is always refilling platters, emptying trash, washing dishes. This is a daughter who with each passing year is receding into the background, watching her brother from the wings doing his tricks, clapping along with her mother and others. This is a mother who wears little Sunday school white gloves to bed to keep her hands innocent. This is a daughter who in time will too.


******

Peach                                            Catie Rosemurgy


The head, the mouth, the fruit, the eating.
The pit, the teeth, the branch, the fall.
The wet, the swollen, the light, the seeing.
The picking, the washing, the cutting, the quartering.
The sweet, the having.


The juice. The holding it in your hands
beautiful and then ruined. The forms of devouring. The remaining empty.
What’s inside.


The excitement of the definite article. What’s inside
one thing is analogous to what’s inside another.
The ceremonial names

of what is done to them. What is unknown requires a new way of cutting.
What we’re left with.

How we make an object ours, make it disappear.
How we become the object and are food.
How we are delicious and dead at the center in so many ways.
How that is wrong and it is stillness, moon-like at the core.
How what we are is what reflects off it. How we are light produced earlier
by other things.

******

A poem is an empty suitcase that you can never quit emptying. Kay Ryan
******
"For What Binds Us"                                  Jane Hirschfield

There are names for what binds us:
strong forces, weak forces.
Look around, you can see them:
the skin that forms in a half-empty cup,
nails rusting into the places they join,
joints dovetailed on their own weight.
The way things stay so solidly
wherever they've been set down --
and gravity, scientists say, is weak.

And see how the flesh grows back
across a wound, with a great vehemence,
more strong
than the simple, untested surface before.
There's a name for it on horses,
when it comes back darker and raised: proud flesh,

as all flesh,
is proud of its wounds, wears them
as honors given out after battle,
small triumphs pinned to the chest --

And when two people have loved each other
see how it is like a
scar between their bodies,
stronger, darker, and proud;
how the black cord makes of them a single fabric
that nothing can tear or mend.
******
The true contemplative is not the one who prepares his mind for a particular message that he wants or expects to hear, but who remains empty because he knows that he can never expect or anticipate the word that will transform his darkness into light. He does not even anticipate a special kind of transformation. He does not demand light instead of darkness. He waits on the Word of God in silence, and when is “answered,” it is not so much by a word that bursts into his silence. It is by his silence itself suddenly, inexplicably revealing itself to him as a word of great power, full of the voice of God.
Thomas Merton, Contemplative Prayer, p. 112-3

Tuesday, January 7, 2014

Hirshfield: Why Write Poetry?

Jane Hirshfield, one of my heroes, answers the question "Why write poetry?" for the Psychology Today blog. One of the astounding things she says is, "What we want from art is whatever is missing from the lives we are already living and making. Something is always missing, and so art-making is endless."

Check our the entire (brief) interview.

Saturday, April 6, 2013

Interview with Hirshfield

New Dimensions Radio and Media is offering a one-hour podcast interview with Jane Hirshfield, free until April 16th. After that you'll have to pay for the download, so don't put off enjoying the interview today.

Thanks to my friend Leah S. who alerted me to this opportunity.

(And those of you who don't write every day, add Jane Hirshfield to your number. She says she writes when she has something to say.)

Friday, November 2, 2012

The Difference Between Simile and Metaphor

"Similes make you think. Metaphors let you feel things."

That's one line from the short video, "The Art of the Metaphor" by Jane Hirshfield.

It's from TedEd, and I heard about it from Diane Lockward's montly newsletter, which I've touted many times in posts before. If you need to know how to sign up for it, put her name in my search bar, or leave a comment and I'll find the newsletter link for you.

Back to the video: it's is a wonderful teaching tool for the uninitiated, and a sweet reminder for the rest of us about the power of simile and metaphor.

Wednesday, December 21, 2011

The Belled Herds

I have early morning wakefulness, a kind of insomnia which wakes me in the middle of the night, often for an hour or two, and sometimes for the duration. It is during these hours that I lie awake and work on my poetry memorization project. This helps me accomplish my memorization goal, and keeps my mind from wandering into the panicky places that woke it in the first place.

Recently I've been working on memorizing my 10th poem, "The Envoy" by Jane Hirshfield, which I include below (and which you can hear the poet read here):

The Envoy by Jane Hirshfield

One day in that room, a small rat.
Two days later, a snake.

Who, seeing me enter,
whipped the long stripe of his
body under the bed,
then curled like a docile house-pet.

I don’t know how either came or left. 
Later, the flashlight found nothing.

For a year I watched
as something—terror? happiness? grief?— 
entered and then left my body.

Not knowing how it came in,
Not knowing how it went out.

It hung where words could not reach it.
It slept where light could not go.
Its scent was neither snake nor rat,
neither sensualist nor ascetic.

There are openings in our lives
of which we know nothing.

Through them
the belled herds travel at will,
long-legged and thirsty, covered with foreign dust.


This poem has stayed with me for years because of the stunning combination of recognition and foreigness I felt the first time I read the words "the belled herds." Immediately my mind conjured up images of Tibetans and nomadic Mongolians herding yaks, which I'd seen on TV documentaries. Although bells are used as a tool for managing herds of sheep and cows in my home country as well, I sensed immediately the strange feelings evoked by the situation this was a metaphor for, which were confirmed by the words "foreign dust" in the next line.


Still, there was a recognition, both of the sensation described and of the exotic metaphor used to describe it. The word "belled" so clearly lets the reader understand that these herds must be moved from place to place, either by migration or by nomadic owners or by grazing needs. Whatever the case, we immediately understand that bells have to be used on herds that are not fully enclosed by fencing, or not enclosed by fencing at all. If there were a complete and secure fence, no bell would be needed. We understand all of this without Hirshfield even having to mention fences and all the tangled feelings they create in us. So succinct a way to say so much.

And so I felt a complete understanding and yet a foreigness when I first read the words "belled herds," which of course is an echo of the feelings described in the poem. Brilliant.


Memorizing this poem also gave me the added benefit of noticing that it, like the Li-Young Lee poem "One Heart" that I memorized lasst month, use the word "opening" or "open" where I would have used "gap" or "gape" or "gaping hole." The comfort of seeing two of my favorite wise writers use these more mysteriously hopeful words to describe what I usually put a negative connotation to was a gift to me, one I wouldn't have noticed without my memorization project (or my sleeplessness, my opening into the night.)

Wednesday, October 12, 2011

Why I Write: Jane Hirshfield

The National Writing Project asks poet and practicing Buddhist Jane Hirshfield, a perennial favorite due to the clarity and poignancy of her work, about why she writes. Here is her response:

**********

Why do I write?

I write because to write a new sentence, let alone a new poem, is to cross the threshold into both a larger existence and a profound mystery. A thought was not there, then it is. An image, a story, an idea about what it is to be human, did not exist, then it does. With every new poem, an emotion new to the heart, to the world, speaks itself into being. Any new metaphor is a telescope, a canoe in rapids, an MRI machine. And like that MRI machine, sometimes its looking is accompanied by an awful banging. To write can be frightening as well as magnetic. You don't know what will happen when you throw open your windows and doors.

Why write? You might as well ask a fish, why swim, ask an apple tree, why make apples? The eye wants to look, the ear wants to hear, the heart wants to feel more than it thought it could bear...

The writer, when she or he cannot write, is a person outside the gates of her own being. Not long ago, I stood like that for months, disbarred from myself. Then, one sentence arrived; another. And I? I was a woman in love. For that also is what writing is. Every sentence that comes for a writer when actually writing—however imperfect, however inadequate—every sentence is a love poem to this world and to our good luck at being here, alive, in it.

**********

To read responses from other writers to this same query, including Timothy Ferris (science writer), Pam Houston (novelist), Joan Didion (essayist), Terry Tempest Williams (nature writer), and Reginald Shepherd (poet) among many others, go to this link and scroll midway down the page.

And yes, I do realize I am probably preaching to the choir here.

Saturday, June 25, 2011

Hirshfield on Rembrandt

This poem is from Jane Hirshfield's book After (Harper Perennial, 2006).


Late Self-Portrait by Rembrandt


The dog, dead for years, keeps coming back in the dream.
We look at each other there with the old joy.
It was always her gift to bring me into the present—

Which sleeps, changes, awakens, dresses, leaves.

Happiness and unhappiness
differ as a bucket hammered from gold differs from one of pressed tin,
this painting proposes.

Each carries the same water, it says.



Listen to the poet read it herself here at Slate.