Today I heard

Today I heard A.E. Stallings give her first lecture as the Oxford Professor of Poetry in November of 2023:

https://podcasts.ox.ac.uk/bat-poet-poetry-echolocation

Having taken the on-ramp to these lectures by first listening to a smattering of these lectures delivered by Geoffrey Hill, Simon Armitige, and Alice Oswald before coming to Stallings, I must say that her American’ness was jarring, at first. I had become used to operating the shifter with my left hand, and then suddenly traffic is zipping by dangerously on what somehow feels like the wrong side of the road. (discombobulating) I kept thinking “please don’t embarrass us, please don’t embarrass us” where, by us, I meant U.S.

Then I thought, oh shit, she’s awesome, and totally embarrassing U.S. (lol), but not really, but kind of, but no, but yes, but not at all. I then thought of how American she must seem to the majority of the room, and how the high-brow portion of the audience might be feeling. In the background, I kept thinking of her journey to this point. A girl educated in a small rural community outside of Athens GA, becomes a scholar of Greek literature and a poet and is now occupying this position at Oxford. What an American dream story; rags to riches.

Then she came into her own, in the mid-point of her lecture, — or perhaps I settled down– and her fearless small town American girl authenticity just shone through and was completely delightful. I was pleasantly amused at how she mimicked, poorly, –because she probably thought, should I really be doing this?–a stuffy English male accent as she read some piece. I was wide-eyed when one of her asides was: “It’s a terrifying poem, I mean, I feel bat-shit crazy reading this poem”. I think it was a contrived statement that she set aside, but decided to pull in at that moment, which made it sound nicely spontaneous and funny, and yet I could not hear even a titter from the audience. Why was that?

In the end, with her blah blah blah and her yadda yadda yadda, and her digs at Robert Frost etc., she knocked all the English stuffing out of me, and by the end, brought me to literal tears.

Before listening to this, her first lecture, I did take in just a few minutes from the lecture that came after this, and was saying to myself, “no no no… this is not good, this won’t do”. It all felt too nonchalant, as if I was looking in on a 300 level mid-semester course where the bell was going to ring at any moment and she would be yelling out the homework assignments as the kids streamed out the doors into the hallway. But now that she has won me over, with lecture number 1, I shall approach lecture 2 with a better understanding of her “jizz” (birder terminology) and hopefully find communion.

Today I heard

A lecture by Professor Sir Geoffrey Hill of Oxford on March 10, 2015:

The most exciting part of the lecture, for me, comes around the 18:43 mark when Geoffrey begins to speak at length about the “O” and “Oh” in poetry, which I, for a long time, (as some may know) have had a stormy relationship with.

This is the 2nd lecture of Professor Hill’s that I have listened to. He’s confident, cantankerous, humorous, and pronounces a lot of words wrong.

Here is the page where the lectures are found. I’ve emailed Oxford to ask why two are unavailable.

I didn’t know anything about Goeffrey Hill or these lectures until I was assigned to listen to some of the lectures of past Oxford Professor’s of Poetry by Dr. Timothy Bartel, in preparation for a deeper discussion on the appointment of the first American to the post, A.E. Stallings; who, go figure, lives in Greece.

Today I read

Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour. July 13, 1798

BY WILLIAM WORDSWORTH


Five years have past; five summers, with the length
Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur.—Once again
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses. Once again I see
These hedge-rows, hardly hedge-rows, little lines
Of sportive wood run wild: these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods,
Or of some Hermit's cave, where by his fire
The Hermit sits alone.

                            These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man's eye:
But oft, in lonely rooms, and 'mid the din
Of towns and cities, I have owed to them,
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart;
And passing even into my purer mind
With tranquil restoration:—feelings too
Of unremembered pleasure: such, perhaps,
As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts
Of kindness and of love. Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened:—that serene and blessed mood,
In which the affections gently lead us on,—
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul:
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.

                                      If this
Be but a vain belief, yet, oh! how oft—
In darkness and amid the many shapes
Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world,
Have hung upon the beatings of my heart—
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer thro' the woods,
         How often has my spirit turned to thee!

   And now, with gleams of half-extinguished thought,
With many recognitions dim and faint,
And somewhat of a sad perplexity,
The picture of the mind revives again:
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was when first
I came among these hills; when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams,
Wherever nature led: more like a man
Flying from something that he dreads, than one
Who sought the thing he loved. For nature then
(The coarser pleasures of my boyish days
And their glad animal movements all gone by)
To me was all in all.—I cannot paint
What then I was. The sounding cataract
Haunted me like a passion: the tall rock,
The mountain, and the deep and gloomy wood,
Their colours and their forms, were then to me
An appetite; a feeling and a love,
That had no need of a remoter charm,
By thought supplied, nor any interest
Unborrowed from the eye.—That time is past,
And all its aching joys are now no more,
And all its dizzy raptures. Not for this
Faint I, nor mourn nor murmur; other gifts
Have followed; for such loss, I would believe,
Abundant recompense. For I have learned
To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes
The still sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue.—And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things. Therefore am I still
A lover of the meadows and the woods
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear,—both what they half create,
And what perceive; well pleased to recognise
In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.

                                     Nor perchance,
If I were not thus taught, should I the more
Suffer my genial spirits to decay:
For thou art with me here upon the banks
Of this fair river; thou my dearest Friend,
My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read
My former pleasures in the shooting lights
Of thy wild eyes. Oh! yet a little while
May I behold in thee what I was once,
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray
The heart that loved her; 'tis her privilege,
Through all the years of this our life, to lead
From joy to joy: for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed
With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men,
Nor greetings where no kindness is, nor all
The dreary intercourse of daily life,
Shall e'er prevail against us, or disturb
Our cheerful faith, that all which we behold
Is full of blessings. Therefore let the moon
Shine on thee in thy solitary walk;
And let the misty mountain-winds be free
To blow against thee: and, in after years,
When these wild ecstasies shall be matured
Into a sober pleasure; when thy mind
Shall be a mansion for all lovely forms,
Thy memory be as a dwelling-place
For all sweet sounds and harmonies; oh! then,
If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts
Of tender joy wilt thou remember me,
And these my exhortations! Nor, perchance—
If I should be where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence—wilt thou then forget
That on the banks of this delightful stream
We stood together; and that I, so long
A worshipper of Nature, hither came
Unwearied in that service: rather say
With warmer love—oh! with far deeper zeal
Of holier love. Nor wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!

Thanks to Timothy E. G. Bartel for bringing me back in touch with this poem by virtue of his heartfelt 3 part review of it on his YouTube channel.

today i read

A Word On Statistics

by Wislawa Symborska

translated by Joanna Trzeciak (I think)

Out of every hundred people

those who always know better:
fifty-two.

Unsure of every step:
almost all the rest.

Ready to help,
if it doesn't take long:
forty-nine.

Always good,
because they cannot be otherwise:
four—well, maybe five.

Able to admire without envy:
eighteen.

Led to error
by youth (which passes):
sixty, plus or minus.

Those not to be messed with:
forty and four.

Living in constant fear
of someone or something:
seventy-seven.

Capable of happiness:
twenty-some-odd at most.

Harmless alone,
turning savage in crowds:
more than half, for sure.

Cruel
when forced by circumstances:
it's better not to know,
not even approximately.

Wise in hindsight:
not many more
than wise in foresight.

Getting nothing out of life except things:
thirty
(though I would like to be wrong).

Doubled over in pain
and without a flashlight in the dark:
eighty-three, sooner or later.

Those who are just:
quite a few at thirty-five.

But if it takes effort to understand:
three.

Worthy of empathy:
ninety-nine.

Mortal:
one hundred out of one hundred—
a figure that has never varied yet.

Today I read

by Jean Toomer

Georgia Dusk

The sky, lazily disdaining to pursue
   The setting sun, too indolent to hold
   A lengthened tournament for flashing gold,
Passively darkens for night's barbecue,

A feast of moon and men and barking hounds,
   An orgy for some genius of the South
   With blood-hot eyes and cane-lipped scented mouth,
Surprised in making folk-songs from soul sounds.

The sawmill blows its whistle, buzz-saws stop,
   And silence breaks the bud of knoll and hill,
   Soft settling pollen where plowed lands fulfill
Their early promise of a bumper crop.

Smoke from the pyramidal sawdust pile
   Curls up, blue ghosts of trees, tarrying low
   Where only chips and stumps are left to show
The sold proof of former domicile.

Meanwhile, the men, with vestiges of pomp,
   Race memories of king and caravan,
   High-priests, an ostrich, and a juju-man,
Go singing through the footpaths of the swamp.

Their voices rise . . . the pine trees are guitars,
   Strumming, pine-needles fall like sheets of rain . . .
   Their voices rise . . . the chorus of the cane
Is caroling a vesper to the stars . . .

O singers, resinous and soft your songs
   Above the sacred whisper of the pines,
   Give virgin lips to cornfield concubines,
Bring dreams of Christ to dusky cane-lipped throngs.

Today I read

by Rosemerry Wahtola Trommer

Once Upon

There is a night you must travel,
alone, of course, though perhaps
there is someone asleep next to you.

The darkness knows exactly what
to say to snap every sapling of hope
that has dared to grow. It poisons

the gardens, even kills the prettier weeds.
For me, it hisses, though perhaps
you have heard a different voice.

The effect is always the same--
a self-doubt that grows up like thorns
around a fabled castle. What

you wouldn't give for sleep.
But it is the awakeness that saves you--
the way that the doubt works

like an unforgiving mirror
and shows you all the places
that most need your attention.

It was never the fairies who bestowed the gifts,
it was doubt all along that entered
you and blessed you so that when

at last the morning came, you were
ready to rise and meet the world, ready
to be your own true love, flawed

though you are, ready to commit
more deeply to serving a story
greater than your own.

Get the book this poem lives in here: https://www.ablemusepress.com/books/rosemerry-wahtola-trommer-naked-for-tea-poems