The poems I have gathered here have offered me spiritual companionship over the years. For me they show just enough of a glimpse of wisdom, compassion, peacefulness, and good cheer to help me over many an edge in my meditation practice. Each poem can be an example of “mindful reading,” almost like the spiritual practice of Lectio Divina in the Christian contemplative tradition.
At gate C22 in the Portland airport
a man in a broad-band leather hat kissed
a woman arriving from Orange County.
They kissed and kissed and kissed. Long after
the other passengers clicked the handles of their carry-ons
and wheeled briskly toward short-term parking,
the couple stood there, arms wrapped around each other
like he’d just staggered off the boat at Ellis Island,
like she’d been released at last from ICU, snapped
out of a coma, survived bone cancer, made it down
from Annapurna in only the clothes she was wearing.
Neither of them was young. His beard was gray.
She carried a few extra pounds you could imagine
her saying she had to lose. But they kissed lavish
kisses like the ocean in the early morning,
the way it gathers and swells, sucking
each rock under, swallowing it
again and again. We were all watching–
passengers waiting for the delayed flight
to San Jose, the stewardesses, the pilots,
the aproned woman icing Cinnabons, the man selling
sunglasses. We couldn’t look away. We could
taste the kisses crushed in our mouths.
But the best part was his face. When he drew back
and looked at her, his smile soft with wonder, almost
as though he were a mother still open from giving birth,
as your mother must have looked at you, no matter
what happened after–if she beat you or left you or
you’re lonely now–you once lay there, the vernix
not yet wiped off, and someone gazed at you
as if you were the first sunrise seen from the Earth.
The whole wing of the airport hushed,
all of us trying to slip into that woman’s middle-aged body,
her plaid Bermuda shorts, sleeveless blouse, glasses,
little gold hoop earrings, tilting our heads up.
from The Human Line (Copper Canyon Press, 2007).
Basket of Figs
Bring me your pain, love. Spread
it out like fine rugs, silk sashes,
warm eggs, cinnamon
and cloves in burlap sacks. Show me
the detail, the intricate embroidery
on the collar, tiny shell buttons,
the hem stitched the way you were taught,
pricking just a thread, almost invisible.
Unclasp it like jewels, the gold
still hot from your body. Empty
your basket of figs. Spill your wine.
That hard nugget of pain, I would suck it,
cradling it on my tongue like the slick
seed of pomegranate. I would lift it
tenderly, as a great animal might
carry a small one in the private
cave of the mouth.
From Mules of Love
Any Common Desolation
can be enough to make you look up
at the yellowed leaves of the apple tree, the few
that survived the rains and frost, shot
with late afternoon sun. They glow a deep
orange-gold against a blue so sheer, a single bird
would rip it like silk. You may have to break
your heart, but it isn’t nothing
to know even one moment alive. The sound
of an oar in an oarlock or a ruminant
animal tearing grass. The smell of grated ginger.
The ruby neon of the liquor store sign.
Warm socks. You remember your mother,
her precision a ceremony, as she gathered
the white cotton, slipped it over your toes,
drew up the heel, turned the cuff. A breath
can uncoil as you walk across your own muddy yard,
the big dipper pouring night down over you, and everything
you dread, all you can’t bear, dissolves
and, like a needle slipped into your vein—
that sudden rush of the world
Originally published in Poets.org’s Poem-a-Day on November 18, 2016, by the Academy of American Poets
I go among trees and sit still.
I go among trees and sit still.
All my stirring becomes quiet
Around me like circles on water.
My tasks lie in their places
Where I left them, asleep like cattle…
Then what I am afraid of comes.
I live for a while in its sight.
What I fear in it leaves it,
And the fear of it leaves me.
It sings, and I hear its song.
Our Real Work
It may be that when we no longer know what to do
we have come to our real work,
and that when we no longer know which way to go
we have come to our real journey.
The mind that is not baffled is not employed.
The impeded stream is the one that sings.
from Standing by Words
As you set out for Ithaka
hope your road is a long one,
full of adventure, full of discovery.
angry Poseidon—don’t be afraid of them:
you’ll never find things like that on your wayas long as you keep your thoughts raised high,
as long as a rare excitement
stirs your spirit and your body.
wild Poseidon—you won’t encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.
Hope your road is a long one.
May there be many summer mornings when,
with what pleasure, what joy,
you enter harbors you’re seeing for the first time;
may you stop at Phoenician trading stations
to buy fine things,
mother of pearl and coral, amber and ebony,
sensual perfume of every kind—
as many sensual perfumes as you can;
and may you visit many Egyptian cities
to learn and go on learning from their scholars.
Keep Ithaka always in your mind.
Arriving there is what you’re destined for.
But don’t hurry the journey at all.
Better if it lasts for years,
so you’re old by the time you reach the island,
wealthy with all you’ve gained on the way,
not expecting Ithaka to make you rich.
Ithaka gave you the marvelous journey.
Without her you wouldn’t have set out.
She has nothing left to give you now.
And if you find her poor, Ithaka won’t have fooled you.
Wise as you will have become, so full of experience,
you’ll have understood by then what these Ithakas mean.
C. P. Cavafy, “The City” from C.P. Cavafy: Collected Poems. Translated by Edmund Keeley and Philip Sherrard. Translation Copyright © 1975, 1992 by Edmund Keeley and Philip Sherrard.
Leaving Mt Baldy
I came down from that mountain
after many years of study
and rigorous practice.
I left my robes hanging on
a wooden peg in that old cabin
where I sat so long,
slept so little.
I finally understood
I had no gift
for spiritual matters
‘Thank You, Beloved’
I hear a heart cry out
as I enter streams of screaming cars
on Santa Monica freeway
westbound for L.A.
A number of people,
are asking me angry questions
concerning ultimate reality.
I suppose it’s because
they don’t like to see
old Jikan smoking.
from The Book of Longing
Most of the poems in this book relate to his experience as a monk during the five years or so he spent at the Mt. Baldy Zen Center, the monastery he left in 1999. I know the place well, having spent some time there in the early 1980s.
“I came down from the mountain” is a literal statement, but it is also a metaphor, for coming down from any high notions of what spirituality means, coming back to join ordinary life and people on earth.
But I reflect that the poet is not just another guy stuck in a traffic jam westbound for L.A. He has just put in five years or more of hard spiritual practice on that mountain. He has more than a notion of the way his mind works. And now his practice is to rejoin the messiness of the world.
“Old Jikan,” as Cohen calls himself in this poem (Jikan, meaning Silent One, was the name he was given at the monastery) smokes. That would be a problem for someone who has the idea that smoking is incongruent with spirituality, but Cohen admits to a lifelong delight in smoking cigarettes, which he faced full on while a monk on the mountain.
The candor and forthright imagery stays with me.
Just when it has seemed I couldn’t bear
one more friend
waking with a tumor, one more maniac
with a perfect reason, often a sweetness
and changed nothing in the world
except the way I stumbled through it,
for a while lost
in the ignorance of loving
someone or something, the world shrunk
hand-size, and never seeming small.
I acknowledge there is no sweetness
that doesn’t leave a stain,
no sweetness that’s ever sufficiently sweet ….
Tonight a friend called to say his lover
was killed in a car
he was driving. His voice was low
and guttural, he repeated what he needed
to repeat, and I repeated
the one or two words we have for such grief
until we were speaking only in tones.
Often a sweetness comes
as if on loan, stays just long enough
to make sense of what it means to be alive,
then returns to its dark
source. As for me, I don’t care
where it’s been, or what bitter road
to come so far, to taste so good.
From New and Selected Poems 1974-1994.
Before we leave
Just so it’s clear—
no whining on the journey.
If you whine, you’ll get stuck
somewhere with people
like yourself. It’s an unwritten law.
Wear hiking boots. Pack food
and a change of clothes.
We go slowly. Endurance won’t
be enough, though without it
you can’t get to the place
where more of you is asked.
Expect there will be times
when you’ll be afraid.
Hold hands and tremble together
if you must but remember
each of you is alone.
Where are we going?
It’s not an issue of here or there.
And if you ever feel you can’t
take another step imagine
how you might feel to arrive,
if not wiser, a little more aware
how to inhabit the middle ground
between misery and joy.
Trudge on. In the higher regions,
where the footing is unsure,
to trudge is to survive.
Happiness is another journey,
almost over before it starts,
guaranteed to disappoint.
If you’ve come for it, say so,
you’ll get your money back.
I hope you all realize that anytime
is a fine time to laugh. Fake it,
however, and false laughter
will accompany you like a cowbell
for the rest of your days.
You’ll forever lack the seriousness
of a clown. At some point
the rocks will be jagged, the precipice sheer.
That won’t be
the abyss you’ll see looking down.
the abyss, you’ll discover
(if you’ve made it this far),
is usually nearer than that—
at the bottom of something
you’ve yet to resolve,
or posing as your confidante.
Follow me. Don’t follow me. I will
say such things, and mean both.
From Lines of Defense: Poems (W. W. Norton & Company).
From a recent interview on NPR radio:
A few years after her younger brother John died from AIDS-related complications in 1989, poet Marie Howe wrote him a poem in the form of a letter. Called “What the Living Do,” the poem is an elegiac description of loss, and of living beyond loss.
“When he died, it was a terrible loss to all of us,” she tells Fresh Air’s Terry Gross. “As you know, as everybody knows, you think, ‘My life is changed so utterly I don’t know how to live it anymore.’ And then you find a way.”
Howe’s poem “What the Living Do” was anthologized in The Penguin Anthology of 20th-Century American Poetry. Howe discusses several of her poems, which deal with topics such as loss, love, spirituality, gender, sexuality and intimacy.
“Poetry holds the knowledge that we are alive and that we know we’re going to die,” says Howe. “The most mysterious aspect of being alive might be that — and poetry knows that.”
Howe is the author of What the Living Do, The Kingdom of Ordinary Time and The Good Thief. She has taught at Sarah Lawrence College, Columbia and New York University.
After the Movie
My friend Michael and I are walking home arguing about the movie.
He says that he believes a person can love someone
and still be able to murder that person.
I say, No, that’s not love. That’s attachment.
Michael says, No, that’s love. You can love someone, then come to a day
when you’re forced to think “it’s him or me”
think “me” and kill him.
I say, Then it’s not love anymore.
Michael says, It was love up to then though.
I say, Maybe we mean different things by the same word.
Michael says, Humans are complicated: love can exist even in the
I say that what he might mean by love is desire.
Love is not a feeling, I say. And Michael says, Then what is it?
We’re walking along West 16th Street — a clear unclouded night — and I hear my voice repeating what I used to say to my husband: Love is action, I used to say to him.
Simone Weil says that when you really love you are able to look at
someone you want to eat and not eat them.
Janis Joplin says, take another little piece of my heart now baby.
Meister Eckhart says that as long as we love images we are doomed to live in purgatory.
Michael and I stand on the corner of 6th Avenue saying goodnight.
I can’t drink enough of the tangerine spritzer I’ve just bought —
again and again I bring the cold can to my mouth and suck the stuff from
the hole the flip top made.
What are you doing tomorrow? Michael says.
But what I think he’s saying is “You are too strict. You are
Then I think, Do I love Michael enough to allow him to think these things
of me even if he’s not thinking them?
Above Manhattan, the moon wanes, and the sky turns clearer and colder.
Although the days, after the solstice, have started to lengthen,
we both know the winter has only begun.
from The Kingdom of Ordinary Time by Marie Howe.
What the Living Do
Johnny, the kitchen sink has been clogged for days, some utensil probably fell down there.
And the Drano won’t work but smells dangerous, and the crusty dishes have piled up
waiting for the plumber I still haven’t called. This is the everyday we spoke of.
It’s winter again: the sky’s a deep, headstrong blue, and the sunlight pours through
the open living-room windows because the heat’s on too high in here and I can’t turn it off.
For weeks now, driving, or dropping a bag of groceries in the street, the bag breaking,
I’ve been thinking: This is what the living do. And yesterday, hurrying along those
wobbly bricks in the Cambridge sidewalk, spilling my coffee down my wrist and sleeve,
I thought it again, and again later, when buying a hairbrush: This is it.
Parking. Slamming the car door shut in the cold. What you called that yearning.
What you finally gave up. We want the spring to come and the winter to pass. We want
whoever to call or not call, a letter, a kiss — we want more and more and then more of it.
But there are moments, walking, when I catch a glimpse of myself in the window glass,
say, the window of the corner video store, and I’m gripped by a cherishing so deep
for my own blowing hair, chapped face, and unbuttoned coat that I’m speechless:
I am living. I remember you.
My brother opens his eyes when he hears the door click
open downstairs and Joe’s steps walking up past the meowing cat
and the second click of the upstairs door, and then he lifts
his face so that Joe can kiss him. Joe has brought armfuls
of broken magnolia branches in full blossom, and he putters
in the kitchen looking for a big jar to put them in and finds it.
And now they tower in the living room, white and sweet, where
John can see them if he leans out from his bed which
he can’t do just now, and now Joe is cleaning. What a mess
you’ve left me, he says, and John is smiling, almost asleep again.
the last two poems are from What the Living Do by Marie Howe.
The Blue Bowl
Like primitives we buried the cat
with his bowl. Bare-handed
we scraped sand and gravel
back into the hole. It fell with a hiss
and thud on his side,
on his long red fur, the white feathers
that grew between his toes, and his
long, not to say aquiline, nose.
We stood and brushed each other off.
There are sorrows much keener than these.
Silent the rest of the day, we worked,
ate, stared, and slept. It stormed
all night; now it clears, and a robin
burbles from a dripping bush
like the neighbor who means well
but always says the wrong thing.
from Collected Poems. Copyright © 2005 by the Estate of Jane Kenyon.
St. Francis and the Sow
stands for all things,
even for those things that don’t flower,
for everything flowers, from within, of self-blessing;
though sometimes it is necessary
to reteach a thing its loveliness,
to put a hand on its brow
of the flower
and retell it in words and in touch
it is lovely
until it flowers again from within, of self-blessing;
as Saint Francis
put his hand on the creased forehead
of the sow, and told her in words and in touch
blessings of earth on the sow, and the sow
began remembering all down her thick length,
from the earthen snout all the way
through the fodder and slops to the spiritual curl of the tail,
from the hard spininess spiked out from the spine
down through the great broken heart
to the sheer blue milken dreaminess spurting and shuddering
from the fourteen teats into the fourteen mouths sucking and blowing beneath them:
the long, perfect loveliness of sow.
from Three Books. Copyright © 2002 by Galway Kinnell.
I eat oatmeal for breakfast.
I make it on the hot plate and put skimmed milk on it.
I eat it alone.
I am aware it is not good to eat oatmeal alone.
Its consistency is such that is better for your mental health
if somebody eats it with you.
That is why I often think up an imaginary companion to have
Possibly it is even worse to eat oatmeal with an imaginary
Nevertheless, yesterday morning, I ate my oatmeal porridge,
as he called it with John Keats.
Keats said I was absolutely right to invite him:
due to its glutinous texture, gluey lumpishness, hint of slime,
and unsual willingness to disintigrate, oatmeal should
not be eaten alone.
He said that in his opinion, however, it is perfectly OK to eat
it with an imaginary companion, and that he himself had
enjoyed memorable porridges with Edmund Spenser and John
Even if eating oatmeal with an imaginary companion is not as
wholesome as Keats claims, still, you can learn something
Yesterday morning, for instance, Keats told me about writing the
“Ode to a Nightingale.”
He had a heck of a time finishing it those were his words “Oi ‘ad
a ‘eck of a toime,” he said, more or less, speaking through
He wrote it quickly, on scraps of paper, which he then stuck in his
but when he got home he couldn’t figure out the order of the stanzas,
and he and a friend spread the papers on a table, and they
made some sense of them, but he isn’t sure to this day if
they got it right.
An entire stanza may have slipped into the lining of his jacket
through a hole in his pocket.
He still wonders about the occasional sense of drift between stanzas,
and the way here and there a line will go into the
configuration of a Moslem at prayer, then raise itself up
and peer about, and then lay \ itself down slightly off the mark,
causing the poem to move forward with a reckless, shining wobble.
He said someone told him that later in life Wordsworth heard about
the scraps of paper on the table, and tried shuffling some
stanzas of his own, but only made matters worse.
I would not have known any of this but for my reluctance to eat oatmeal
When breakfast was over, John recited “To Autumn.”
He recited it slowly, with much feeling, and he articulated the words
lovingly, and his odd accent sounded sweet.
He didn’t offer the story of writing “To Autumn,” I doubt if there
is much of one.
But he did say the sight of a just-harvested oat field go thim started
on it, and two of the lines, “For Summer has o’er-brimmed their
clammy cells” and “Thou watchest the last oozings hours by hours,”
came to him while eating oatmeal alone.
I can see him drawing a spoon through the stuff, gazing into the glimmering
Maybe there is no sublime; only the shining of the amnion’s tatters.
For supper tonight I am going to have a baked potato left over from lunch.
I am aware that a leftover baked potato is damp, slippery, and simultaneaously
gummy and crumbly, and therefore I’m going to invite Patrick Kavanagh
to join me.
from New Selected Poems (Mariner Books).
I’ve been thinking about the way, when you walk
down a crowded aisle, people pull in their legs
to let you by. Or how strangers still say “bless you”
when someone sneezes, a leftover
from the Bubonic plague. “Don’t die,” we are saying.
And sometimes, when you spill lemons
from your grocery bag, someone else will help you
pick them up. Mostly, we don’t want to harm each other.
We want to be handed our cup of coffee hot,
and to say thank you to the person handing it. To smile
at them and for them to smile back. For the waitress
to call us honey when she sets down the bowl of clam chowder,
and for the driver in the red pick-up truck to let us pass.
We have so little of each other, now. So far
from tribe and fire. Only these brief moments of exchange.
What if they are the true dwelling of the holy, these
fleeting temples we make together when we say, “Here,
have my seat,” “Go ahead — you first,” “I like your hat.”
The poet Naomi Shihab Nye wrote this about the above poem in The New York Times:
Sometimes a poem just strikes a precise moment. “Small Kindnesses,” by Danusha Laméris, feels utterly necessary for our time — a poem celebrating minor, automatic graciousness within a community, which can shine a penetrating light. It’s a catalog of small encouragements, unfolding as might a child’s palm filled with shiny stones. It almost feels like another hope we remember having. Acknowledging the modern plight of autonomy and so many separations, the poem then easily passes through them, breezing compliments and simple care.
I will not die an unlived life
I will not die an unlived life
I will not live in fear
of falling or catching fire.
I choose to inhabit my days,
to allow my living to open me,
to make me less afraid,
to loosen my heart
until it becomes a wing,
a torch, a promise.
I choose to risk my significance;
to live so that which came to me as seed
goes to the next as blossom
and that which came to me as blossom,
goes on as fruit.
from I Will Not Die An Unlived Life: reclaiming purpose and passion, by Dawna Markova (Conari Press, 2000)
W. S. Merwin
with the night falling we are saying thank you
we are stopping on the bridges to bow from the railings
we are running out of the glass rooms
with our mouths full of food to look at the sky
and say thank you
we are standing by the water thanking it
standing by the windows looking out
in our directions
back from a series of hospitals back from a mugging
after funerals we are saying thank you
after the news of the dead
whether or not we knew them we are saying thank you
over telephones we are saying thank you
in doorways and in the backs of cars and in elevators
remembering wars and the police at the door
and the beatings on stairs we are saying thank you
in the banks we are saying thank you
in the faces of the officials and the rich
and of all who will never change we go on saying thank you thank you
with the animals dying around us
our lost feelings we are saying thank you
with the forests falling faster than the minutes
of our lives we are saying thank you
with the words going out like cells of a brain
with the cities growing over us
we are saying thank you faster and faster
with nobody listening we are saying thank you
we are saying thank you and waving
dark though it is
From Migration: New & Selected Poems (Copper Canyon Press, 2005).
Of all the poets I have gathered together in this small online collection, Pablo Neruda has moved me the most. On my first 10 day silent retreat with Jack Kornfield and Joseph Goldstein back in 1983, Jack read his poem “Keeping Quiet” (the last poem here) and I was swept away with the depth of his vision and skill with language. Have a listen to Sylvia Boorstein read this poem via the link below that poem.
Pablo Neruda is one of the most influential and widely read 20th-century poets of the Americas. “No writer of world renown is perhaps so little known to North Americans as Chilean poet Pablo Neruda,” observed New York Times Book Review critic Selden Rodman.
Numerous critics have praised Neruda as the greatest poet writing in the Spanish language during his lifetime. John Leonard in the New York Times declared that Neruda “was, I think, one of the great ones, a Whitman of the South.” Among contemporary readers in the United States, he is largely remembered for his odes and love poems.
Reflecting on the life and work of Neruda in the New Yorker, Mark Strand commented, “There is something about Neruda—about the way he glorifies experience, about the spontaneity and directness of his passion—that sets him apart from other poets. It is hard not to be swept away by the urgency of his language, and that’s especially so when he seems swept away.”
Nothing But Death
There are cemeteries that are lonely,
graves full of bones that do not make a sound,
the heart moving through a tunnel,
in it darkness, darkness, darkness,
like a shipwreck we die going into ourselves,
as though we were drowning inside our hearts,
as though we lived falling out of the skin into the soul.
And there are corpses,
feet made of cold and sticky clay,
death is inside the bones,
like a barking where there are no dogs,
coming out from bells somewhere, from graves somewhere,
growing in the damp air like tears of rain.
Sometimes I see alone
coffins under sail,
embarking with the pale dead, with women that have dead hair,
with bakers who are as white as angels,
and pensive young girls married to notary publics,
caskets sailing up the vertical river of the dead,
the river of dark purple,
moving upstream with sails filled out by the sound of death,
filled by the sound of death which is silence.
Death arrives among all that sound
like a shoe with no foot in it, like a suit with no man in it,
comes and knocks, using a ring with no stone in it, with no
finger in it,
comes and shouts with no mouth, with no tongue, with no
Nevertheless its steps can be heard
and its clothing makes a hushed sound, like a tree.
I’m not sure, I understand only a little, I can hardly see,
but it seems to me that its singing has the color of damp violets,
of violets that are at home in the earth,
because the face of death is green,
and the look death gives is green,
with the penetrating dampness of a violet leaf
and the somber color of embittered winter.
But death also goes through the world dressed as a broom,
lapping the floor, looking for dead bodies,
death is inside the broom,
the broom is the tongue of death looking for corpses,
it is the needle of death looking for thread.
Death is inside the folding cots:
it spends its life sleeping on the slow mattresses,
in the black blankets, and suddenly breathes out:
it blows out a mournful sound that swells the sheets,
and the beds go sailing toward a port
where death is waiting, dressed like an admiral.
Translated by Robert Bly, and published by Beacon Press in Neruda & Vallejo: Selected Poems.
Ode to My Socks
Maru Mori brought me
which she knitted herself
with her sheepherder’s hands,
two socks as soft
I slipped my feet
as though into two
with threads of
my feet were
two fish made of wool,
two long sharks
by one golden thread,
two immense blackbirds,
in this way
for the first time
my feet seemed to me
like two decrepit
of that woven fire, of those glowing
the sharp temptation
to save them somewhere
as schoolboys keep
as learned men
the mad impulse
to put them
into a golden
and each day give them
and pieces of pink melon.
in the jungle who hand
over the very rare
to the spit
and eat it
I stretched out
and pulled on
and then my shoes.
of my ode is this:
beauty is twice
and what is good is doubly
when it is a matter of two socks
made of wool
From Neruda & Vallejo: Selected Poems, by Pablo Neruda and translated by Robert Bly (Boston: Beacon Press, 1993).
It so happens I am sick of being a man.
And it happens that I walk into tailorshops and movie houses
dried up, waterproof, like a swan made of felt
steering my way in a water of wombs and ashes.
The smell of barbershops makes me break into hoarse sobs.
The only thing I want is to lie still like stones or wool.
the only thing I want is to see no more stores, no gardens,
no more goods, no spectacles, no elevators.
It so happens I am sick of my feet and my nails
and my hair and my shadow.
It so happens I am sick of being a man.
Still it would be marvelous
to terrify a law clerk with a cut lily,
or kill a nun with a blow on the ear. It would be great
to go through the streets with a green knife
letting out yells until I died of the cold.
I don’t want to go on being a root in the dark,
insecure, stretched out, shivering with sleep,
going on down, into the moist guts of the earth,
taking in and thinking, eating every day.
I don’t want so much misery.
I don’t want to go on as a root and a tomb,
alone under the ground, a warehouse with corpses,
half frozen, dying of grief.
That’s why Monday, when it sees me coming
with my convict face, blazes up like gasoline,
and it howls on its way like a wounded wheel,
and leaves tracks full of warm blood leading toward the night.
And it pushes me into certain corners, into some moist houses,
into hospitals where the bones fly out the window,
into shoeshops that smell like vinegar, and certain streets hideous as cracks in the skin.
There are sulphur-colored birds, and hideous intestines
hanging over the doors of houses that I hate,
and there are false teeth forgotten in a coffeepot,
there are mirrors
that ought to have wept from shame and terror,
there are umbrellas everywhere, and venoms, and umbilical cords.
I stroll along serenely, with my eyes, my shoes,
my rage, forgetting everything,
I walk by, going through office buildings and orthopedic shops,
and courtyards with washing hanging from the line:
underwear, towels and shirts from which slow
dirty tears are falling.
From Neruda & Vallejo: Selected Poems, by Pablo Neruda and translated by Robert Bly (Boston: Becon Press, 1993).
A Dog Has Died
My dog has died.
I buried him in the garden
next to a rusted old machine.
Some day I’ll join him right there,
but now he’s gone with his shaggy coat,
his bad manners and his cold nose,
and I, the materialist, who never believed
in any promised heaven in the sky
for any human being,
I believe in a heaven I’ll never enter.
Yes, I believe in a heaven for all dogdom
where my dog waits for my arrival
waving his fan-like tail in friendship.
Ai, I’ll not speak of sadness here on earth,
of having lost a companion
who was never servile.
His friendship for me, like that of a porcupine
withholding its authority,
was the friendship of a star, aloof,
with no more intimacy than was called for,
with no exaggerations:
he never climbed all over my clothes
filling me full of his hair or his mange,
he never rubbed up against my knee like other dogs obsessed with sex.
No, my dog used to gaze at me,
paying me the attention I need,
the attention required
to make a vain person like me understand
that, being a dog, he was wasting time,
but, with those eyes so much purer than mine,
he’d keep on gazing at me
with a look that reserved for me alone
all his sweet and shaggy life,
always near me, never troubling me,
and asking nothing.
Ai, how many times have I envied his tail
as we walked together on the shores of the sea
in the lonely winter of Isla Negra
where the wintering birds filled the sky
and my hairy dog was jumping about
full of the voltage of the sea’s movement:
my wandering dog, sniffing away
with his golden tail held high,
face to face with the ocean’s spray.
Joyful, joyful, joyful,
as only dogs know how to be happy
with only the autonomy
of their shameless spirit.
There are no good-byes for my dog who has died,
and we don’t now and never did lie to each other.
So now he’s gone and I buried him,
and that’s all there is to it.
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 a second,
and not move our arms so much.
It would be an exotic moment
without rush, without engines;
we would all be together
in a sudden strangeness.
Fishermen in the cold sea
would not harm whales
and the man gathering salt
would not look at his hurt hands.
Those who prepare green wars,
wars with gas, wars with fire,
victories 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 do 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.
from Extravagaria: A Bilingual Edition, Translated by Alastair Reid
Naomi Shihab Nye
“A true Arab knows how to catch a fly in his hands,”
my father would say. And he’d prove it,
cupping the buzzer instantly
while the host with the swatter stared.
In the spring our palms peeled like snakes.
True Arabs believed watermelon could heal fifty ways.
I changed these to fit the occasion.
Years before, a girl knocked,
wanted to see the Arab.
I said we didn’t have one.
After that, my father told me who he was,
a good name, borrowed from the sky.
Once I said, “When we die, we give it back?”
He said that’s what a true Arab would say.
Today the headlines clot in my blood.
A little Palestinian dangles a truck on the front page.
Homeless fig, this tragedy with a terrible root
is too big for us. What flag can we wave?
I wave the flag of stone and seed,
table mat stitched in blue.
I call my father, we talk around the news.
It is too much for him,
neither of his two languages can reach it.
I drive into the country to find sheep, cows,
to plead with the air:
Who calls anyone civilized?
Where can the crying heart graze?
What does a true Arab do now?
from Words Under the Words: Selected Poems (Portland, Oregon: Far Corner Books, 1995).
Making a Fist
For the first time, on the road north of Tampico,
felt the life sliding out of me,
a drum in the desert, harder and harder to hear.
I was seven, I lay in the car
watching palm trees swirl a sickening pattern past the glass.
My stomach was a melon split wide inside my skin.
“How do you know if you are going to die?” I begged my mother.
We had been traveling for days.
With strange confidence she answered,
“When you can no longer make a fist.”
Years later I smile to think of that journey,
the borders we must cross separately,
stamped with our unanswerable woes.
I who did not die, who am still living,
still lying in the backseat behind all my questions,
clenching and opening one small hand.
from Grape Leaves: A Century of Arab American Poetry. Copyright © 1988 by University of Utah Press.
A man leaves the world
and the streets he lived on
grow a little shorter.
One more window dark
in this city, the figs on his branches
will soften for birds.
If we stand quietly enough evenings
there grows a whole company of us
standing quietly together.
overhead loud grackles are claiming their trees
and the sky which sews and sews, tirelessly sewing,
drops her purple hem.
Each thing in its time, in its place,
it would be nice to think the same about people.
I wanted to know what it was like to stuff enough beauty in my brain from poetry that all the ugly bits and scary stuff that lived in my head would be regulated to tiny back cloistered rooms.
I self medicated with poetry.I read with wicked abandon.
I ate words without tasting them sometimes.
Just always feeling the visceral burn.
And what happened is sometimes there would be ghosts of a poem just lingering for years.
Haunted by snatches of words I could never just reach.
And then you just stumble upon them some hot day in June.
You just pluck it from the screen.
You just recognize it like a long time lover across a crowded someplace.
You walk right up and kiss it.
From Words Under the Words: Selected Poems by Naomi Shihab Nye. Published by Far Corner.
Half and Half
You can’t be, says a Palestinian Christian
on the first feast day after Ramadan.
So, half-and-half and half-and-half.
He sells glass. He knows about broken bits,
chips. If you love Jesus you can’t love
anyone else. Says he.
At his stall of blue pitchers on the Via Dolorosa,
he’s sweeping. The rubbed stones
feel holy. Dusting of powdered sugar
across faces of date-stuffed mamool.
This morning we lit the slim white candles
which bend over at the waist by noon.
For once the priests weren’t fighting
in the church for the best spots to stand.
As a boy, my father listened to them fight.
This is partly why he prays in no language
but his own. Why I press my lips
to every exception.
A woman opens a window—here and here and here—
placing a vase of blue flowers
on an orange cloth. I follow her.
She is making a soup from what she had left
in the bowl, the shriveled garlic and bent bean.
She is leaving nothing out.
The river is famous to the fish.
The loud voice is famous to silence,
which knew it would inherit the earth
before anybody said so.
The cat sleeping on the fence is famous to the birds
watching him from the birdhouse.
The tear is famous, briefly, to the cheek.
The idea you carry close to your bosom
is famous to your bosom.
The boot is famous to the earth,
more famous than the dress shoe,
which is famous only to floors. The bent photograph is famous to the one who carries it
and not at all famous to the one who is pictured.
I want to be famous to shuffling men
who smile while crossing streets,
sticky children in grocery lines,
famous as the one who smiled back.
I want to be famous in the way a pulley is famous,
or a buttonhole, not because it did anything spectacular,
but because it never forgot what it could do.
from Words Under the Words: Selected Poems by Naomi Shihab Nye