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“Now of all the voyagers I remember, who among them
Did not board ship with grief among their maps?”
~ lines from “No Voyage” by Mary Oliver

Poems – Rage, Mockingbirds, More

Mary Oliver’s Provincetown: A Poet’s Landscape
(recordings of poems in the poet’s voice
with slideshow of photos of Provincetown and surroundings)

The Bard of Provincetown
(
NYTimes essay by Mary Duenwald – July 1, 2009)

I am the blossom pressed in a book,
found again after two hundred years …

I am the maker, the lover, and the keeper …

When the young girl who starves
sits down to a table
she will sit beside me …

I am food on the prisoner’s plate …

I am water rushing to the wellhead,
filling the pitcher until it spills …

I am the patient gardener
of the dry and weedy garden …

I am the stone step,
the latch, and the working hinge …

I am the heart contracted by joy …
The longest hair, white
before the rest …

I am there in the basket of fruit
presented to the widow …

I am the musk rose opening
unattended, the fern on the boggy summit …

I am the one whose love
overcomes you, already with you
when you think to call my name.

Jane Kenyon
Otherwise

 

Food for Thought

“Can Poetry Matter?”

by Dana Gioia

“1. When poets give public readings, they should spend part of every program reciting other people’s work--preferably poems they admire by writers they do not know personally. Readings should be celebrations of poetry in general, not merely of the featured author’s work.

2. When arts administrators plan public readings, they should avoid the standard subculture format of poetry only. Mix poetry with the other arts, especially music. Plan evenings honoring dead or foreign writers. Combine short critical lectures with poetry performances. Such combinations would attract an audience from beyond the poetry world without compromising quality.

3. Poets need to write prose about poetry more often, more candidly, and more effectively. Poets must recapture the attention of the broader intellectual community by writing for nonspecialist publications. They must also avoid the jargon of contemporary academic criticism and write in a public idiom. Finally, poets must regain the reader’s trust by candidly admitting what they don’t like as well as promoting what they like. Professional courtesy has no place in literary journalism.

4. Poets who compile anthologies–or even reading lists–should be scrupulously honest in including only poems they genuinely admire. Anthologies are poetry’s gateway to the general culture. They should not be used as pork barrels for the creative-writing trade. An art expands its audience by presenting masterpieces, not mediocrity. Anthologies should be compiled to move, delight, and instruct readers, not to flatter the writing teachers who assign books. Poet-anthologists must never trade the Muse’s property for professional favors.

5. Poetry teachers especially at the high school and undergraduate levels, should spend less time on analysis and more on performance. Poetry needs to be liberated from literary criticism. Poems should be memorized, recited, and performed. The sheer joy of the art must be emphasized. The pleasure of performance is what first attracts children to poetry, the sensual excitement of speaking and hearing the words of the poem. Performance was also the teaching technique that kept poetry vital for centuries. Maybe it also holds the key to poetry’s future.

6. Finally poets and arts administrators should use radio to expand the art’s audience. Poetry is an aural medium, and thus ideally suited to radio. A little imaginative programming at the hundreds of college and public-supported radio stations could bring poetry to millions of listeners. Some programming exists, but it is stuck mostly in the standard subculture format of living poets’ reading their own work. Mixing poetry with music on classical and jazz stations or creating innovative talk-radio formats could re-establish a direct relationship between poetry and the general audience.

… watch the ancient, spangle-feathered, unkillable phoenix rise from the ashes.” ~ Dana Gioia

BEAL-TheJazzBird-CDCvr

The Jazz Bird
… listen to the music streaming at

 Jane Beal’s SoundCloud

1. The Beginning of Spring (1:56)
2. The Jazz Bird (4:33)
3. The Maker’s Art (instrumental) (3:04)
4. Transforming Mystery (3:40)
5. Mother’s Hummingbird (5:20)
6. Waiting for Saint Nicholas (3:57)
7. Brewer’s Blackbird (3:46)
8. Wings and Fingertips Meet (3:57)
9. Love-Song (instrumental) (4:17)
10. As I Wandered On (4:30)
11. Chitter-Cheep-Spee (3:36)
12. In Flight (2:45)
13. Sorrow’s Heart (piano solo) (5:00)
14. Haunting (4:15)
15. Dos Alas (instrumental) (4:19)
16. Love-Song (3:55)

Andrew Beal: vocals, alto, tenor, baritone, & C-melody saxophones, acoustic, electric and bass guitars, cello, piano, flute, clarinet, bass clarinet, drum set, Geobones (hardwood tongue drum) and programming, mixing & engineering. Jane Beal: lyrics, vocals, flute, maracas, shakers, Geobones. Emma Carol: violin on “Waiting for Saint Nicholas.” Abraham Beal: watercolor cover image with cover design by Andrew Beal. Recorded at Firewater Phoenix Studios in California. Special thanks to God, Debbie & Gary. Produced by Rudy Holthuis and Jane Beal.

© 2014 Jane Beal – sanctuarypoet.net

Enjoy!

p.s. For more, visit The Birdwatcher’s Diary.

Layers

Lying here in bed. Feeling my years add up and then
subtract back through decades of sheets and quilts,
like the grave clothes that blanketed my two-year-old self
shivering for the heat of my mother’s arms.
Fragmented early-morning dreams, like scrims, shift

across my brain. A rosy fruit shines,
round and tight, a small, sleek face in a halo of a tree.
Leaves shield an apple blemish — a dimpled
portal for decay — the way hair hides a forehead scar.
Around its hidden core of seed and worm-rot

the apple flashes out and out, flesh-cheeked,
white-celled, and sweet. Her arms — no, my mother’s
whole warm body — folded like layers
of fleshy material, envelope the family newborn
my brother, close as her heart, while I wait

detached for two whole months – the desert of distance,
to be her love again. In their slow vegetable rows
below the orchard, dream cabbages and lettuce
layer themselves around their secret blemishes,
fold over leafing fold. Wakened, I lie motionless

in this familiar grave bed, trying to be warm,
to be good, to be loved. Waiting to rise.
Knowing it’s morning, high time to peel off
the comforter, to shower, come clean, and to clothe
in Easter garments my own naked, waiting child.

Managing God

The stumble of beasts, a lurch
of the oxcart, and Uzzah’s hands leap
to harness God’s holy box. On the instant
he feels heavens fire strike–
an unmanageable current flares
to the ends of his bones,
sizzles his grip ash.

David, rising as the same perilous
burn ignites his fingers and
his flying feet, self abandoned, his
spirit blazing, is stripped naked by joy
to servant girls, himself, and God,
who plays him like a wind-harp.

From her arrogant window Michael’s jealousy
watches this wanton worship – holiness dancing
beyond propriety. Snuffing David’s joy
like a candle, she learns the swiftness
of Yahweh: irony has neutered her fecundity;
contempt has cauterized her womb.

Luci Shaw
The Angles of Light:
New and Selected Poems 

 

 

Ruth Stone (1915-2011)

RuthStone

Academy of American Poet – Ruth Stone

The Poetry Foundation – Ruth Stone

Modern American Poets – Ruth Stone

What Love Comes To: New and Selected Poems

Poems Online

Madeleine DeFrees (1919-)

mdefreesPoet’s Website

Academy of American Poets – Madeleine DeFrees

Blue Dusk: New and Selected Poems (2001)

Denise Levertov (1923-1997)

levertov

Academy of American Poets – Denise Levertov

The Poetry Foundation – Denise Levertov

Modern American Poets – Denise Levertov

The Collected Poems of Denise Levertov (2014)

Poems Online

YT Clip

Maya Angelou (1928- )

maya_angelou1 2Poet’s Website

The Academy of American Poets – Maya Angelou

The Poetry Foundation – Maya Angelou

The Complete Collected Poems of Maya Angelou (2009)
Poems Online

Mary Oliver (1935-)

mary_oliver.crop_.showcase_3

Publisher’s Website

The Academy of American Poets – Mary Oliver

The Poetry Foundation – Mary Oliver

New and Selected Poems, Vol. I (1992) and New and Selected Poems, Vol. II (2005)

Poems Online 

Louise Glück (1943-)

louise-gluckThe Academy of American Poets – Louise Glück

The Poetry Foundation – Louise Glück

Poems, 1962-2012

Poems Online

Marilyn Nelson (1946-)

marilynnelsonsm 2

Poet’s Website

The Academy of American Poets – Marilyn Nelson

The Poetry Foundation – Marilyn Nelson

Fields of Praise: New and Selected Poems (1997) and Faster Than Light: New and Selected Poems, 1996-2011 (2012)

Poems Online

Jane Kenyon (1947-1995)

jane-kenyonThe Academy of American Poets – Jane Kenyon

The Poetry Foundation – Jane Kenyon

Otherwise: New & Selected Poems (1997)

Poems Online 

Joy Harjo (1951-)

JoyHarjo

Poet’s Website

The Academy of American Poets – Joy Harjo

The Poetry Foundation – Joy Harjo

How We Became Human: New and Selected Poems, 1975-2001 (2002)

Poems Online  …

She Had Some Horses” (read aloud by the poet)

More: Native American Women Poets

Rita Dove (1952-)

ritadoveThe Academy of American Poets – Rita Dove

The Poetry Foundation – Rita Dove

Modern American Poets – Rita Dove

Achievement – Rita Dove

Selected Poems (1993)

Poems Online

Ana Castillo (1953-)

Ana-Castillo-by-niutoday.info_

Poet’s Website

The Poetry Foundation – Ann Castillo

My Father was a Toltec and Selected Poems, 1973-1988 and I Ask the Impossible (2011)

Marilyn Chin (1955-)

Lamont_Poet_-__Chin_-_LargeThe Academy of American Poets – Marilyn Chin

The Poetry Foundation – Marilyn Chin

Modern American Poets – Marilyn Chin

Rhapsody in Plain Yellow (2003)

and The Phoenix Gone, the Terrace Empty (2009)

A Medieval Valentine Song

Seasonal-Valentine-Medieval-music-shaped-like-a-heart

 

about this heart

 

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