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Terms to Know and Use:
Poetic Devices
FIGURATIVE LANGUAGE: Language using figures of speech and it cannot be taken literally.
IMAGERY: The representation through language of sense experience; language that appeals to the
senses.
FIGURE OF SPEECH: Any way of saying something other than in an ordinary way.
The following is a list of common figures of speech
SIMILE: A comparison between two unlike things using words such as: like, as, than, similar to,
resembles, etc. I.e. Quiet as a mouse
METAPHOR: An implied comparison between unlike things. I.e. He’s a house.
ALLUSION: A reference to something in history or literature. I.e. She had a Cinderella wedding.
ALLITERATION: The repetition of initial sounds. I.e. Seven steaks sizzled.
CONSONANCE: The repetition of end consonant (every letter that is not a vowel) sounds. I.e. first and
last, odds and ends, stroke of luck.
ASSONANCE: The repetition of vowel sounds. I.e. My words like silent raindrops fell.
PERSONIFICATION: Giving human characteristics to an animal, object, or idea. I.e. The hours crawled by
like years.
PARADOX: An apparent contradiction, which is nevertheless somehow true.
ONOMATOPOEIA: “Sound words”; Words whose sound suggests their meaning. I.e. buzz, click, snap,
chop.
OXYMORON: The setting together, for effect, two words of opposite meaning. I.e. burning cold,
screaming whisper.
OVERSTATEMENT (or hyperbole): An extreme exaggeration used for effect. I.e. I’ve told you a hundred
times…; I’m starving; The suspense is killing me.
SYMBOL: Roughly defined as something that means more than what it is. I.e. A wedding ring is a symbol
of commitment, love, honor, etc. It is not just a ring. It’s shape (a circle) is also symbolic; a circle never
ends and therefore the love is not supposed to.
TONE: The feelings the writer has toward the subject of the poem.
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MOOD: The feelings the reader has from reading the poem.
PUN: play on words.
POINT OF VIEW: What perspective is the poem told from (first-person, third-person/ limited omniscient
or omniscient.
SPEAKER: The persona the poet takes on; like the narrator in the story, the writer takes on a character to
present the words on the page.
UNDERSTATEMENT: Saying less than what is meant, for effect.
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Poetry Analysis Steps- How to write an analysis of a poem
1. What does the title mean?
Take a moment and reflect on what the title means.
2. Put the poem in your own words.
Read the poem two or three times. You will see something different each time you read the
poem. Write a brief summary of the poem in your own words. Highlight or list some of the words
(nouns, verbs, phrases) that are important to understanding the poem.
3. What do you think the poem means?
Now think about the meaning of the poem, not just the obvious meaning of each word, but what
they mean beyond the literal. Do these words mean something else? Ask the following questions:
 Who is the subject of the poem?
 What are they talking about?
 Why do you think the author wrote the poem?
 Where is the poem happening?
 What is the poet’s attitude?
 How does the poem shift from person to person or between different times or places?
Most poems tell us about a poet’s understanding of an experience so the beginning will be different
then the end. The change may be in feelings, language (slang to formal), or connotation (positive to
negative). Explain how these shifts convey the poem’s message.
4. Poetic Devices- Tools of the poet
Identify different poetic devices and how they convey the poem’s message. Refer to pages 1-2 of
this booklet.
5. Theme
Identify the theme (central idea) of the poem. How does the theme convey the poem’s message?
6. Look at the title again
Now look at the title again. Do you now have a different interpretation of the title?
7. Begin writing your analysis.
Start with the introductory paragraph. It should contain the title, the author, and an explanation
of the writer’s position as well as the significance of the title. Include a brief overall statement of
the meaning of the poem. This will lead you into the body of the analysis. In the body of the
analysis, discuss how the poem was written, which poetic devices were used, the tone, the poet’s
attitude, and the shift of the poem from the beginning to the poet’s ultimate understanding of
the experience in the end. Add your interpretation of the poem.
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Broadcaster's Poem
I used to broadcast at night
alone in a radio station
but I was never good at it
partly because my voice wasn't right
but mostly because my peculiar
metaphysical stupidity
made it impossible
for me to keep believing
there was somebody listening
when it seemed I was talking
only to myself in a room no bigger
than an ordinary bathroom
I could believe it for a while
and then I'd get somewhat
the same feeling as when you
start to suspect you're the victim
of a practical joke
So one part of me
was afraid another part
might blurt out something
about myself so terrible
that even I had never until
that moment suspected it
This was like the fear
of bridges and other
high places: Will I take off my glasses
and throw them
into the water, although I'm
half blind without them?
Will I sneak up behind
myself and push?
Another thing:
As a reporter
I covered an accident in which a train
ran into a car, killing
three young men, one of whom
was beheaded. The bodies looked
boneless, as such bodies do
More like mounds of rags
and inside the wreckage
where nobody could get at it
the car radio
was still playing
I thought about places
the disc jockey's voice goes
and the things that happen there
and of how impossible it would be for him
to continue if he really knew.
Alden Nowlan
5
Spelling
My daughter plays on the floor
with plastic letters,
red, blue & hard yellow,
learning how to spell,
spelling,
how to make spells.
I wonder how many women
denied themselves daughters,
closed themselves in rooms,
drew the curtains
so they could mainline words.
A child is not a poem,
a poem is not a child.
there is no either/or.
However.
I return to the story
of the woman caught in the war
& in labour, her thighs tied
together by the enemy
so she could not give birth.
Ancestress: the burning witch,
her mouth covered by leather
to strangle words.
A word after a word
after a word is power.
At the point where language falls away
from the hot bones, at the point
where the rock breaks open and darkness
flows out of it like blood, at
the melting point of granite
when the bones know
they are hollow and the word
splits and doubles and speaks
the truth and the body
itself becomes a mouth.
This is a metaphor.
How do you learn to spell?
Blood, sky and the sun,
your own name first,
your first naming, your first name,
your first word.
Margaret Atwood
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Goblin Market
Morning and evening
Maids heard the goblins cry:
"Come buy our orchard fruits,
Come buy, come buy:
Apples and quinces,
Lemons and oranges,
Plump unpecked cherriesMelons and raspberries,
Bloom-down-cheeked peaches,
Swart-headed mulberries,
Wild free-born cranberries,
Crab-apples, dewberries,
Pine-apples, blackberries,
Apricots, strawberries-All ripe together
In summer weather-Morns that pass by,
Fair eves that fly;
Come buy, come buy;
Our grapes fresh from the vine,
Pomegranates full and fine,
Dates and sharp bullaces,
Rare pears and greengages,
Damsons and bilberries,
Taste them and try:
Currants and gooseberries,
Bright-fire-like barberries,
Figs to fill your mouth,
Citrons from the South,
Sweet to tongue and sound to eye,
Come buy, come buy."
Evening by evening
Among the brookside rushes,
Laura bowed her head to hear,
Lizzie veiled her blushes:
Crouching close together
In the cooling weather,
With clasping arms and cautioning lips,
With tingling cheeks and finger-tips.
"Lie close," Laura said,
Pricking up her golden head:
We must not look at goblin men,
We must not buy their fruits:
Who knows upon what soil they fed
Their hungry thirsty roots?"
"Come buy," call the goblins
Hobbling down the glen.
"O! cried Lizzie, Laura, Laura,
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You should not peep at goblin men."
Lizzie covered up her eyes
Covered close lest they should look;
Laura reared her glossy head,
And whispered like the restless brook:
"Look, Lizzie, look, Lizzie,
Down the glen tramp little men.
One hauls a basket,
One bears a plate,
One lugs a golden dish
Of many pounds' weight.
How fair the vine must grow
Whose grapes are so luscious;
How warm the wind must blow
Through those fruit bushes."
"No," said Lizzie, "no, no, no;
Their offers should not charm us,
Their evil gifts would harm us."
She thrust a dimpled finger
In each ear, shut eyes and ran:
Curious Laura chose to linger
Wondering at each merchant man.
One had a cat's face,
One whisked a tail,
One tramped at a rat's pace,
One crawled like a snail,
One like a wombat prowled obtuse and furry,
One like a ratel tumbled hurry-scurry.
Lizzie heard a voice like voice of doves
Cooing all together:
They sounded kind and full of loves
In the pleasant weather.
Laura stretched her gleaming neck
Like a rush-imbedded swan,
Like a lily from the beck,
Like a moonlit poplar branch,
Like a vessel at the launch
When its last restraint is gone.
Backwards up the mossy glen
Turned and trooped the goblin men,
With their shrill repeated cry,
"Come buy, come buy."
When they reached where Laura was
They stood stock still upon the moss,
Leering at each other,
Brother with queer brother;
Signalling each other,
Brother with sly brother.
One set his basket down,
One reared his plate;
One began to weave a crown
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Of tendrils, leaves, and rough nuts brown
(Men sell not such in any town);
One heaved the golden weight
Of dish and fruit to offer her:
"Come buy, come buy," was still their cry.
Laura stared but did not stir,
Longed but had no money:
The whisk-tailed merchant bade her taste
In tones as smooth as honey,
The cat-faced purr'd,
The rat-paced spoke a word
Of welcome, and the snail-paced even was heard;
One parrot-voiced and jolly
Cried "Pretty Goblin" still for "Pretty Polly";
One whistled like a bird.
But sweet-tooth Laura spoke in haste:
"Good folk, I have no coin;
To take were to purloin:
I have no copper in my purse,
I have no silver either,
And all my gold is on the furze
That shakes in windy weather
Above the rusty heather."
"You have much gold upon your head,"
They answered altogether:
"Buy from us with a golden curl."
She clipped a precious golden lock,
She dropped a tear more rare than pearl,
Then sucked their fruit globes fair or red:
Sweeter than honey from the rock,
Stronger than man-rejoicing wine,
Clearer than water flowed that juice;
She never tasted such before,
How should it cloy with length of use?
She sucked and sucked and sucked the more
Fruits which that unknown orchard bore,
She sucked until her lips were sore;
Then flung the emptied rinds away,
But gathered up one kernel stone,
And knew not was it night or day
As she turned home alone.
Lizzie met her at the gate
Full of wise upbraidings:
"Dear, you should not stay so late,
Twilight is not good for maidens;
Should not loiter in the glen
In the haunts of goblin men.
Do you not remember Jeanie,
How she met them in the moonlight,
Took their gifts both choice and many,
Ate their fruits and wore their flowers
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Plucked from bowers
Where summer ripens at all hours?
But ever in the moonlight
She pined and pined away;
Sought them by night and day,
Found them no more, but dwindled and grew gray;
Then fell with the first snow,
While to this day no grass will grow
Where she lies low:
I planted daisies there a year ago
That never blow.
You should not loiter so."
"Nay hush," said Laura.
"Nay hush, my sister:
I ate and ate my fill,
Yet my mouth waters still;
To-morrow night I will
Buy more," and kissed her.
"Have done with sorrow;
I'll bring you plums to-morrow
Fresh on their mother twigs,
Cherries worth getting;
You cannot think what figs
My teeth have met in,
What melons, icy-cold
Piled on a dish of gold
Too huge for me to hold,
What peaches with a velvet nap,
Pellucid grapes without one seed:
Odorous indeed must be the mead
Whereon they grow, and pure the wave they drink,
With lilies at the brink,
And sugar-sweet their sap."
Golden head by golden head,
Like two pigeons in one nest
Folded in each other's wings,
They lay down, in their curtained bed:
Like two blossoms on one stem,
Like two flakes of new-fallen snow,
Like two wands of ivory
Tipped with gold for awful kings.
Moon and stars beamed in at them,
Wind sang to them lullaby,
Lumbering owls forbore to fly,
Not a bat flapped to and fro
Round their rest:
Cheek to cheek and breast to breast
Locked together in one nest.
Early in the morning
When the first cock crowed his warning,
Neat like bees, as sweet and busy,
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Laura rose with Lizzie:
Fetched in honey, milked the cows,
Aired and set to rights the house,
Kneaded cakes of whitest wheat,
Cakes for dainty mouths to eat,
Next churned butter, whipped up cream,
Fed their poultry, sat and sewed;
Talked as modest maidens should
Lizzie with an open heart,
Laura in an absent dream,
One content, one sick in part;
One warbling for the mere bright day's delight,
One longing for the night.
At length slow evening came-They went with pitchers to the reedy brook;
Lizzie most placid in her look,
Laura most like a leaping flame.
They drew the gurgling water from its deep
Lizzie plucked purple and rich golden flags,
Then turning homeward said: "The sunset flushes
Those furthest loftiest crags;
Come, Laura, not another maiden lags,
No wilful squirrel wags,
The beasts and birds are fast asleep."
But Laura loitered still among the rushes
And said the bank was steep.
And said the hour was early still,
The dew not fallen, the wind not chill:
Listening ever, but not catching
The customary cry,
"Come buy, come buy,"
With its iterated jingle
Of sugar-baited words:
Not for all her watching
Once discerning even one goblin
Racing, whisking, tumbling, hobbling;
Let alone the herds
That used to tramp along the glen,
In groups or single,
Of brisk fruit-merchant men.
Till Lizzie urged, "O Laura, come,
I hear the fruit-call, but I dare not look:
You should not loiter longer at this brook:
Come with me home.
The stars rise, the moon bends her arc,
Each glow-worm winks her spark,
Let us get home before the night grows dark;
For clouds may gather even
Though this is summer weather,
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Put out the lights and drench us through;
Then if we lost our way what should we do?"
Laura turned cold as stone
To find her sister heard that cry alone,
That goblin cry,
"Come buy our fruits, come buy."
Must she then buy no more such dainty fruit?
Must she no more such succous pasture find,
Gone deaf and blind?
Her tree of life drooped from the root:
She said not one word in her heart's sore ache;
But peering thro' the dimness, naught discerning,
Trudged home, her pitcher dripping all the way;
So crept to bed, and lay
Silent 'til Lizzie slept;
Then sat up in a passionate yearning,
And gnashed her teeth for balked desire, and wept
As if her heart would break.
Day after day, night after night,
Laura kept watch in vain,
In sullen silence of exceeding pain.
She never caught again the goblin cry:
"Come buy, come buy,"
She never spied the goblin men
Hawking their fruits along the glen:
But when the noon waxed bright
Her hair grew thin and gray;
She dwindled, as the fair full moon doth turn
To swift decay, and burn
Her fire away.
One day remembering her kernel-stone
She set it by a wall that faced the south;
Dewed it with tears, hoped for a root,
Watched for a waxing shoot,
But there came none;
It never saw the sun,
It never felt the trickling moisture run:
While with sunk eyes and faded mouth
She dreamed of melons, as a traveller sees
False waves in desert drouth
With shade of leaf-crowned trees,
And burns the thirstier in the sandful breeze.
She no more swept the house,
Tended the fowls or cows,
Fetched honey, kneaded cakes of wheat,
Brought water from the brook:
But sat down listless in the chimney-nook
And would not eat.
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Tender Lizzie could not bear
To watch her sister's cankerous care,
Yet not to share.
She night and morning
Caught the goblins' cry:
"Come buy our orchard fruits,
Come buy, come buy."
Beside the brook, along the glen
She heard the tramp of goblin men,
The voice and stir
Poor Laura could not hear;
Longed to buy fruit to comfort her,
But feared to pay too dear,
She thought of Jeanie in her grave,
Who should have been a bride;
But who for joys brides hope to have
Fell sick and died
In her gay prime,
In earliest winter-time,
With the first glazing rime,
With the first snow-fall of crisp winter-time.
Till Laura, dwindling,
Seemed knocking at Death's door:
Then Lizzie weighed no more
Better and worse,
But put a silver penny in her purse,
Kissed Laura, crossed the heath with clumps of furze
At twilight, halted by the brook,
And for the first time in her life
Began to listen and look.
Laughed every goblin
When they spied her peeping:
Came towards her hobbling,
Flying, running, leaping,
Puffing and blowing,
Chuckling, clapping, crowing,
Clucking and gobbling,
Mopping and mowing,
Full of airs and graces,
Pulling wry faces,
Demure grimaces,
Cat-like and rat-like,
Ratel and wombat-like,
Snail-paced in a hurry,
Parrot-voiced and whistler,
Helter-skelter, hurry-skurry,
Chattering like magpies,
Fluttering like pigeons,
Gliding like fishes, -Hugged her and kissed her;
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Squeezed and caressed her;
Stretched up their dishes,
Panniers and plates:
"Look at our apples
Russet and dun,
Bob at our cherries
Bite at our peaches,
Citrons and dates,
Grapes for the asking,
Pears red with basking
Out in the sun,
Plums on their twigs;
Pluck them and suck them,
Pomegranates, figs."
"Good folk," said Lizzie,
Mindful of Jeanie,
"Give me much and many"; -Held out her apron,
Tossed them her penny.
"Nay, take a seat with us,
Honor and eat with us,"
They answered grinning;
"Our feast is but beginning.
Night yet is early,
Warm and dew-pearly,
Wakeful and starry:
Such fruits as these
No man can carry;
Half their bloom would fly,
Half their dew would dry,
Half their flavor would pass by.
Sit down and feast with us,
Be welcome guest with us,
Cheer you and rest with us."
"Thank you," said Lizzie; "but one waits
At home alone for me:
So, without further parleying,
If you will not sell me any
Of your fruits though much and many,
Give me back my silver penny
I tossed you for a fee."
They began to scratch their pates,
No longer wagging, purring,
But visibly demurring,
Grunting and snarling.
One called her proud,
Cross-grained, uncivil;
Their tones waxed loud,
Their looks were evil.
Lashing their tails
They trod and hustled her,
Elbowed and jostled her,
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Clawed with their nails,
Barking, mewing, hissing, mocking,
Tore her gown and soiled her stocking,
Twitched her hair out by the roots,
Stamped upon her tender feet,
Held her hands and squeezed their fruits
Against her mouth to make her eat.
White and golden Lizzie stood,
Like a lily in a flood,
Like a rock of blue-veined stone
Lashed by tides obstreperously, -Like a beacon left alone
In a hoary roaring sea,
Sending up a golden fire, -Like a fruit-crowned orange-tree
White with blossoms honey-sweet
Sore beset by wasp and bee, -Like a royal virgin town
Topped with gilded dome and spire
Close beleaguered by a fleet
Mad to tear her standard down.
One may lead a horse to water,
Twenty cannot make him drink.
Though the goblins cuffed and caught her,
Coaxed and fought her,
Bullied and besought her,
Scratched her, pinched her black as ink,
Kicked and knocked her,
Mauled and mocked her,
Lizzie uttered not a word;
Would not open lip from lip
Lest they should cram a mouthful in;
But laughed in heart to feel the drip
Of juice that syruped all her face,
And lodged in dimples of her chin,
And streaked her neck which quaked like curd.
At last the evil people,
Worn out by her resistance,
Flung back her penny, kicked their fruit
Along whichever road they took,
Not leaving root or stone or shoot.
Some writhed into the ground,
Some dived into the brook
With ring and ripple.
Some scudded on the gale without a sound,
Some vanished in the distance.
In a smart, ache, tingle,
Lizzie went her way;
Knew not was it night or day;
Sprang up the bank, tore through the furze,
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Threaded copse and dingle,
And heard her penny jingle
Bouncing in her purse, -Its bounce was music to her ear.
She ran and ran
As if she feared some goblin man
Dogged her with gibe or curse
Or something worse:
But not one goblin skurried after,
Nor was she pricked by fear;
The kind heart made her windy-paced
That urged her home quite out of breath with haste
And inward laughter.
She cried "Laura," up the garden,
"Did you miss me ?
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices
Squeezed from goblin fruits for you,
Goblin pulp and goblin dew.
Eat me, drink me, love me;
Laura, make much of me:
For your sake I have braved the glen
And had to do with goblin merchant men."
Laura started from her chair,
Flung her arms up in the air,
Clutched her hair:
"Lizzie, Lizzie, have you tasted
For my sake the fruit forbidden?
Must your light like mine be hidden,
Your young life like mine be wasted,
Undone in mine undoing,
And ruined in my ruin;
Thirsty, cankered, goblin-ridden?"
She clung about her sister,
Kissed and kissed and kissed her:
Tears once again
Refreshed her shrunken eyes,
Dropping like rain
After long sultry drouth;
Shaking with aguish fear, and pain,
She kissed and kissed her with a hungry mouth.
Her lips began to scorch,
That juice was wormwood to her tongue,
She loathed the feast:
Writhing as one possessed she leaped and sung,
Rent all her robe, and wrung
Her hands in lamentable haste,
And beat her breast.
Her locks streamed like the torch
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Borne by a racer at full speed,
Or like the mane of horses in their flight,
Or like an eagle when she stems the light
Straight toward the sun,
Or like a caged thing freed,
Or like a flying flag when armies run.
Swift fire spread through her veins, knocked at her heart,
Met the fire smouldering there
And overbore its lesser flame,
She gorged on bitterness without a name:
Ah! fool, to choose such part
Of soul-consuming care!
Sense failed in the mortal strife:
Like the watch-tower of a town
Which an earthquake shatters down,
Like a lightning-stricken mast,
Like a wind-uprooted tree
Spun about,
Like a foam-topped water-spout
Cast down headlong in the sea,
She fell at last;
Pleasure past and anguish past,
Is it death or is it life ?
Life out of death.
That night long Lizzie watched by her,
Counted her pulse's flagging stir,
Felt for her breath,
Held water to her lips, and cooled her face
With tears and fanning leaves:
But when the first birds chirped about their eaves,
And early reapers plodded to the place
Of golden sheaves,
And dew-wet grass
Bowed in the morning winds so brisk to pass,
And new buds with new day
Opened of cup-like lilies on the stream,
Laura awoke as from a dream,
Laughed in the innocent old way,
Hugged Lizzie but not twice or thrice;
Her gleaming locks showed not one thread of gray,
Her breath was sweet as May,
And light danced in her eyes.
Days, weeks, months, years
Afterwards, when both were wives
With children of their own;
Their mother-hearts beset with fears,
Their lives bound up in tender lives;
Laura would call the little ones
And tell them of her early prime,
Those pleasant days long gone
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Of not-returning time:
Would talk about the haunted glen,
The wicked, quaint fruit-merchant men,
Their fruits like honey to the throat,
But poison in the blood;
(Men sell not such in any town;)
Would tell them how her sister stood
In deadly peril to do her good,
And win the fiery antidote:
Then joining hands to little hands
Would bid them cling together,
"For there is no friend like a sister,
In calm or stormy weather,
To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands."
-Christina Rosetti
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retrieving madrone*
take, take the
arbutus, crazy-woman tree, she said, does
everything at the wrong time, sheds last year’s leaves midsummer, yellow, out of new green, sheds ochre bark at the
end of summer when
you’d think she’d hang onto it
the way
light catches in the curled edges of her
skin, it’s only
paper, thin enough to let light, as the words of this world
impinges, turn me out of mine. i throw off words, leave outgrown images of myself
crazy-waving-in-air-madrone this murmur you make, a stir of bright
leaves hitting home, the sound of geta, his
name for the thongs he wears against sharp
things on his path underfoot: a name, a use
overhead, over my head, i listen to slippery
woman, word peeler, leaf weaver, hear the slur
of a different being approach
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leaf lingua lovetongue
turning me
inside out
-Daphne Marlatt
*An arbutus tree with white flowers, red berries, and glossy leaves, native to western North America. Its bark peels
naturally from the trunk, giving the tree a naked appearance.
19
The Future
Give me back my broken night
my mirrored room, my secret life
It’s lonely here,
there’s no one left to torture
Give me absolute control
over every living soul
And lie beside me, baby,
that’s an order!
Give me crack and anal sex
Take the only tree that’s left
And stuff it up the hole
in your culture
Give me back the Berlin Wall
give me Stalin and St Paul
I’ve seen the future, brother:
it is murder.
Things are going to slide in all directions
Won’t be nothing
Nothing you can measure any more
The blizzard of the world
has crossed the threshold
and it has overturned
the order of the soul
When they said REPENT
I wonder what they meant
You don’t know me from the wind
you never will, you never did
I’m the little jew
who wrote the bible
I’ve seen the nations rise and fall
I’ve heard their stories, heard them all
but love’s the only engine of survival
Your servant here, he has been told
to say it clear, to say it cold:
It’s over, it ain’t going
any further
And now the wheels of heaven stop
you feel the devil’s riding crop
Get ready for the future:
it is murder.
Things are going to slide in all directions
20
There’ll be the breaking
of the ancient western code
Your private life will suddenly explode
There’ll be phantoms
there’ll be fires on the road
and the white man dancing
You’ll see your woman
hanging upside down
her features covered by her fallen gown
and all the lousy little poets
coming round
trying to sound like Charlie Manson
Give me back the Berlin Wall
give me Stalin and St Paul
Give me Christ
or give me Hiroshima
Destroy another fetus now
We don’t like children anyhow
I’ve seen the future, baby:
it is murder.
Things are going to slide in all directions
Won’t be nothing
Nothing you can measure any more
The blizzard of the world
has crossed the threshold
and it has overturned
the order of the soul
When they said REPENT
I wonder what they meant
-Leonard Cohen
21
Bees’ Wings by George Elliott Clarke
This washed-out morning, April rain descants,
Weeps over gravity, the broken bones
Of gravel and graveyards, and Cora puts
Away gold dandelions to sugar
And skew into gold wine, then discloses
That Pablo gutted his engine last night
Speeding to Beulah Beach under a moon
As pocked and yellowed as aged newsprint.
Now, Othello, famed guitarist, heated
By rain-clear rum, voices transparent notes
Of sad, anonymous heroes who hooked
Mackerel and slept in love-pried-open thighs
And gave out booze in vain crusades to end
Twenty centuries of Christianity.
His voice is simple, sung air: without notes,
There’s nothing. His unknown, imminent death
(The feel of iambs ending as trochees
In a slow, decasyllabic death-waltz;
His vertebrae trellised on his stripped spine
Like a xylophone or keyboard of nerves)
Will also be nothing; the sun pours gold
Upon Shelley, his sis’, light as bees’ wings,
Who roams a garden sprung from rotten wood
And words, picking green nouns and fresh, bright verbs,
For there’s nothing I will not forces language
To do to make us one—whether water
Hurts like whisky or the sun burns like oil
Or love declines to weathered names on stone
22
Say the Names- Al Purdy
--say the names say the names
and listen to yourself
an echo in the mountains
Tulameen Tulameen
say them like your soul
was listening and overhearing
and you dreamed you dreamed
you were a river
and you were a river
Tulameen Tulameen
--not the flat burrowed imitations
of foreign names
not Brighton Windsor Trenton
but names that ride the wind
Spillimacheen and Nahanni
Kleena Keene and Horsefly
Illecillewaet and Whachamacallit
Lillooet and Kluane
Head-Smashed-In Buffalo Jump
and the whole sky falling
when the buffalo went down
Similkameen and Nahanni
say them say them remember
if you ever wander elsewhere
‘the North as a deed and forever’
Kleena Kleen Nahanni
Osoyoos and Similkameen
say the names
as if they were your soul
lost among the mountains
a soul you mislaid
and found again rejoicing
Tulameen Tulameen
till the heart stops beating
say the names
23
The Road Not Taken
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear,
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference.
-Robert Frost
24
I Know Why The Caged Bird Sings- Maya Angelou
The free bird leaps
on the back of the win
and floats downstream
till the current ends
and dips his wings
in the orange sun rays
and dares to claim the sky.
But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.
The caged bird sings
with fearful trill
of the things unknown
but longed for still
and is tune is heard
on the distant hillfor the caged bird
sings of freedom
The free bird thinks of another breeze
an the trade winds soft through the sighing trees
and the fat worms waiting on a dawn-bright lawn
and he names the sky his own.
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing
The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.
25
Grace
This air is flooded with her. I am a boy again, and my mother
and I lie on wet grass, laughing. She startles, turns to
marigolds at my side, saying beautiful, and I can see the red
there is in them.
When she would fall into her thoughts, we'd look for what
distracted her from us.
My mother's gone again as suddenly as ever and, seven months
after the funeral, I go dancing. I am becoming grateful.
Breathing, thinking, marigolds.
Forrest Hamer
26
Barbie Doll
This girlchild was born as usual
and presented dolls that did pee-pee
and miniature GE stoves and irons
and wee lipsticks the color of cherry candy.
Then in the magic of puberty, a classmate said:
You have a great big nose and fat legs.
She was healthy, tested intelligent,
possessed strong arms and back,
abundant sexual drive and manual dexterity.
She went to and fro apologizing.
Everyone saw a fat nose on thick legs.
She was advised to play coy,
exhorted to come on hearty,
exercise, diet, smile and wheedle.
Her good nature wore out
like a fan belt.
So she cut off her nose and her legs
and offered them up.
In the casket displayed on satin she lay
with the undertaker's cosmetics painted on,
a turned-up putty nose,
dressed in a pink and white nightie.
Doesn't she look pretty? everyone said.
Consummation at last.
To every woman a happy ending.
Marge Piercy