white apples, first apples of summer,

with skin as delicate as a baby’s,

crispy like white winter snow.

your smell won’t let me sleep,

this is how dead men

are haunting their murderers’ dreams.

white apples,

this is how every july the earth

gets heavier under your weight.

and here only garbage smells like garbage;

and here only tears taste like salt;

and we were picking them

like shells in green ocean gardens,

having just turned away from our mothers’ breasts

we were learning

to get to the core of everything with our teeth.

so why are our teeth like cotton balls now;

white apples,

in black waters, the fishermen,

nursed by you, are drowning.

(Read by Valzhyna on the October 19, 2006 podcast)

Superb and sole, upon a plumed spray
That o’er the general leafage boldly grew,
He summ’d the woods in song; or typic drew
The watch of hungry hawks, the lone dismay
Of languid doves when long their lovers stray,
And all birds’ passion-plays that sprinkle dew
At morn in brake or bosky avenue.
Whate’er birds did or dreamed, this bird could say.
Then down he shot, bounced airily along
The sward, twitched in a grasshopper, made song
Midflight, perched, prinked, and to his art again.
Sweet Science, this large riddle read me plain:
How may the death of that dull insect be
The life of yon trim Shakespeare on the tree?

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

One in a series of elegies by New York City poet Catherine Barnett, this poem
describes the first gathering after death has shaken a family to its core. The
father tries to help his grown daughter forget for a moment that, a year earlier,
her own two daughters were killed, that she is now alone. He’s heartsick, realizing
that drinking can only momentarily ease her pain, a pain and love that takes hold of
the entire family. The children who join her in the field are silent guardians.

Family Reunion

My father scolded us all for refusing his liquor.
He kept buying tequila, and steak for the grill,
until finally we joined him, making margaritas,
cutting the fat off the bone.

When he saw how we drank, my sister
shredding the black labels into her glass
while his remaining grandchildren
dragged their thin bunk bed mattresses

first out to the lawn to play
then farther up the field to sleep next to her,
I think it was then he changed,
something in him died. He’s gentler now,

quiet, losing weight though every night
he eats the same ice cream he always ate
only now he’s not drinking,
he doesn’t fall asleep with the spoon in his hand,

he waits for my mother to come lie down with him.

Reprinted from “Into Perfect Spheres Such Holes Are Pierced,” Alice James Books,
2004, by permission of the author. Copyright (c) 2004 by Catherine Barnett. This
weekly column is supported by The Poetry Foundation, The Library of Congress, and
the Department of English at the University of Nebraska-Lincoln. This column does
not accept unsolicited poetry.

VHV does though. Please leave it in the comments or email us.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Some of the most telling poetry being written in our country today has to do with
the smallest and briefest of pleasures. Here Marie Howe of New York captures a
magical moment: sitting in the shelter of a leafy tree with the rain falling all
around.

The Copper Beech

Immense, entirely itself,
it wore that yard like a dress,

with limbs low enough for me to enter it
and climb the crooked ladder to where

I could lean against the trunk and practice being alone.
One day, I heard the sound before I saw it, rain fell
darkening the sidewalk.

Sitting close to the center, not very high in the branches,
I heard it hitting the high leaves, and I was happy,

watching it happen without it happening to me.

Reprinted from “What the Living Do,” W. W. Norton & Co., 1997. Copyright (c) 1997 by
Marie Howe. This weekly column is supported by The Poetry Foundation, The Library of
Congress, and the Department of English at the University of Nebraska-Lincoln. This
column does not accept unsolicited poetry.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Visiting a familiar and once dear place after a long absence can knock the words right out of us, and in this poem, Keith Althaus of Massachusetts observes this happening to someone else. I like the way he suggests, at the end, that it may take days before that silence heals over.

Homecoming

We drove through the gates
into a maze of little roads,
with speed bumps now,
that circled a pavilion,
field house, and ran past
the playing fields and wound
their way up to the cluster
of wood and stone buildings
of the school you went to once.
The green was returning to
the trees and lawn, the lake
was still half-lidded with ice
and blind in the middle.
There was nobody around
except a few cars in front
of the administration. It must
have been spring break.
We left without ever getting out
of the car. You were quiet
that night, the next day,
the way after heavy rain
that the earth cannot absorb,
the water lies in pools
in unexpected places for days
until it disappears.

Reprinted from “Ladder of Hours: Poems 1969-2005,” Ausable Press, Keene, N.Y., 2005, by permission of the author. Copyright (c) 2005 by Keith Althaus. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.

She took the dappled partridge flecked with blood,
And in her hand the drooping pheasant bare,
And by his feet she held the woolly hare,
And like a master painting where she stood,
Looked some new goddess of an English wood.
Nor could I find an imperfection there,
Nor blame the wanton act that showed so fair–
To me whatever freak she plays is good.
Hers is the fairest Life that breathes with breath,
And their still plumes and azure eyelids closed
Made quiet Death so beautiful to see
That Death lent grace to Life and Life to Death
And in one image Life and Death reposed,
To make my love an Immortality.
(As read by Dean Temple for the June 15, 2006 podcast)

Remember those Degas paintings of the ballet dancers? Here is a similar figure study, in muted color, but in this instance made of words, not pigment. As this poem by David Tucker closes, I can feel myself holding my breath as if to help the dancer hold her position.

The Dancer

Class is over, the teacher
and the pianist gone,
but one dancer
in a pale blue
leotard stays
to practice alone without music,
turning grand jetes
through the haze of late afternoon.
Her eyes are focused
on the balancing point
no one else sees
as she spins in this quiet
made of mirrors and light–
a blue rose on a nail–
then stops and lifts
her arms in an oval pause
and leans out
a little more, a little more,
there, in slow motion
upon the air.

Sein Blick ist vom Vorübergehn der Stäbe
so müd geworden, daß er nichts mehr hält.
Ihm ist, als ob es tausend Stäbe gäbe
und hinter tausend Stäben keine Welt.

Der weiche Gang geschmeidig starker Schritte,
der sich im allerkleinsten Kreise dreht,
ist wie ein Tanz von Kraft um eine Mitte,
in der betäubt ein großer Wille steht

Nur manchmal schiebt der Vorhang der Pupille
sich lautlos auf –. Dann geht ein Bild hinein,
geht durch der Glieder angespannte Stille –
und hört im Herzen auf zu sein.

Rainer Maria Rilke
(1875 Praha – 1926 Valmont)
(Read in translation by Dean Temple for the June 1, 2006 Podcast)

Everywhere I travel I meet people who want to write poetry but worry that what they write won’t be “any good.” No one can judge the worth of a poem before it’s been written, and setting high standards for yourself can keep you from writing. And if you don’t write you’ll miss out on the pleasure of making something from words, of seeing your thoughts on a page. Here Leslie Monsour offers a concise snapshot of a self-censoring poet.

The Education of a Poet

Her pencil poised, she’s ready to create,
Then listens to her mind’s perverse debate
On whether what she does serves any use;
And that is all she needs for an excuse
To spend all afternoon and half the night
Enjoying poems other people write.

Leslie Monsour’s newest book of poetry is “The Alarming Beauty of the Sky” (2005) published by Red Hen Press. Poem copyright (c) 2000 by Leslie Monsour and reprinted from “The Formalist,” Vol. 11, by permission of the author. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.

(VHV does. Feel free to leave your poems in the comments!)

Most of us have taken at least a moment or two to reflect upon what we have learned from our mothers. Through a catalog of meaningful actions that range from spiritual to domestic, Pennsylvanian Julia Kasdorf evokes the imprint of her mother’s life on her own. As the poem closes, the speaker invites us to learn these actions of compassion.

What I Learned From My Mother

I learned from my mother how to love
the living, to have plenty of vases on hand
in case you have to rush to the hospital
with peonies cut from the lawn, black ants
still stuck to the buds. I learned to save jars
large enough to hold fruit salad for a whole
grieving household, to cube home-canned pears
and peaches, to slice through maroon grape skins
and flick out the sexual seeds with a knife point.
I learned to attend viewing even if I didn’t know
the deceased, to press the moist hands
of the living, to look in their eyes and offer
sympathy, as though I understood loss even then.
I learned that whatever we say means nothing,
what anyone will remember is that we came.
I learned to believe I had the power to ease
awful pains materially like an angel.
Like a doctor, I learned to create
from another’s suffering my own usefulness, and once
you know how to do this, you can never refuse.
To every house you enter, you must offer
healing: a chocolate cake you baked yourself,
the blessing of your voice, your chaste touch.

Reprinted from “Sleeping Preacher,” University of Pittsburgh Press, 1992, by permission of the publisher. First printed in “West Branch,” Vol. 30, 1992. Copyright (c) 1992 by Julia Kasdorf. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.