899. To Be Found - Willow Pearson

.
We are always looking for the mirror

by which we might see

our true Self

Look closely.

There is no place that mirror is not

Yet the vastness that we are

cannot be captured

in a single image

Through that One, see all beings

We are always listening for the voice

by which we might hear

our true Heart

Listen closely.

There is no place that voice does not resound

Yet the vastness that we are

cannot be captured

in a single sound

In that one tone, listen

as the whole universe sings back to you

The need to be seen, heard

through sacred reflections, and earthly echoes

is the guiding impulse of our basic sanity

Surrender.

While looking and listening,

as we must and as we will

Remember

the One

who looks and listens

Become the inward mirror of your searching eye

the inner echo of your true heartsong

Become the very Beloved you seek

There is nothing you are not

Nothing.

899. “Any fool can get into an ocean . . .” - Jack Spicer

.
Any fool can get into an ocean
But it takes a Goddess
To get out of one.
What’s true of oceans is true, of course,
Of labyrinths and poems. When you start swimming
Through riptide of rhythms and the metaphor’s seaweed
You need to be a good swimmer or a born Goddess
To get back out of them
Look at the sea otters bobbing wildly
Out in the middle of the poem
They look so eager and peaceful playing out there where the water hardly moves
You might get out through all the waves and rocks
Into the middle of the poem to touch them
But when you’ve tried the blessed water long
Enough to want to start backward
That’s when the fun starts
Unless you’re a poet or an otter or something supernatural
You’ll drown, dear. You’ll drown
Any Greek can get you into a labyrinth
But it takes a hero to get out of one
What’s true of labyrinths is true of course
Of love and memory. When you start remembering.

898. Argos - Michael Collier

.
If you think Odysseus too strong and brave to cry,
that the god-loved, god-protected hero
when he returned to Ithaka disguised,
intent to check up on his wife

and candidly apprize the condition of his kingdom,
steeled himself resolutely against surprise
and came into his land cold-hearted, clear-eyed,
ready for revenge--then you read Homer as I did,

too fast, knowing you'd be tested for plot
and major happenings, skimming forward to the massacre,
the shambles engineered with Telemakhos
by turning beggar and taking up the challenge of the bow.

Reading this way you probably missed the tear
Odysseus shed for his decrepit dog, Argos,
who's nothing but a bag of bones asleep atop
a refuse pile outside the palace gates. The dog is not

a god in earthly clothes, but in its own disguise
of death and destitution is more like Ithaka itself.
And if you returned home after twenty years
you might weep for the hunting dog

you long ago abandoned, rising from the garbage
of its bed, its instinct of recognition still intact,
enough will to wag its tail, lift its head, but little more.
Years ago you had the chance to read that page more closely

but instead you raced ahead, like Odysseus, cocksure
with your plan. Now the past is what you study,
where guile and speed give over to grief so you might stop,
and desiring to weep, weep more deeply.

897. Secure - May Swenson

.
Let us deceive ourselves a little
while   Let us pretend that air
is earth   and falling lie resting
within each other's gaze   Let us

deny that flame consumes   that
fruit ripens   that the wave must
break   Let us forget the circle's
fixed beginning marks to the
instant its ordained end   Let us

lean upon the moment and expect
time to enfold us   space sustain
our weight   Let us be still   and

falling lie face to face and drink
each others breath   Be still
Let us be still   We lie secure

within the careful mind of death

896. Variation on the Door - Margaret Randall

Variation on the Door - Margaret Randall
with Adrienne Rich

There is nothing I would not give
for years or even minutes,
time moving differently in this place we occupy,
memory hoisting itself upright in us.

There is nothing I would give
you or another,
repetition comforts me today,
a long delicate line of pink light parts the sky
and a coyote crossing the road makes you smile.

Knowing you here—a here
distant as voices or a room apart
(working as I work)
our air becoming a single air—
knowing you here holds my body in space,
fixes my mind.

This knowledge neither linear nor perfect
is again and again the door
opening because we have chosen
to walk through, chosen to risk,
remember our names.

Memory walks tall in this dream, memory
and hope.
Nothing can call me home, love,
but to your eyes and hands.

895. The Door - Jane Hirshfield

.
A note waterfalls steadily
through us,
just below hearing.

Or this early light
streaming through dusty glass:
what enters, enters like that,
unstoppable gift.

And yet there is also the other,
the breath-space held between any call
and its answer—

In the querying
first scuff of footstep,
the wood owls' repeating,
the two-counting heart:

A little sabbath,
minnow whose brightness silvers past time.

The rest-note
unwritten,
hinged between worlds,
that precedes change and allows it.

894. For a Wedding on Mount Tamalpais - Jane Hirshfield

 .
July,
and the rich apples
once again falling.

You put them to your lips,
as you were meant to,
enter a sweetness
the earth wants to give.

Everything loves this way,
in gold honey,
in gold mountain grass
that carries lightly the shadow of hawks,
the shadow of clouds passing by.

And the dry grasses,
the live oaks and bays,
taste the apples' deep sweetness
because you taste it, as you were meant to,
tasting the life that is yours,

while below, the foghorns bend to their work,
bringing home what is coming home,
blessing what goes.

893. The Garden - Louise Glück

.
I couldn't do it again,
I can hardly bear to look at it—

in the garden, in light rain
the young couple planting
a row of peas, as though
no one has ever done this before,
the great difficulties have never as yet
been faced and solved—

They cannot see themselves,
in fresh dirt, starting up
without perspective,
the hills behind them pale green, clouded with flowers—

She wants to stop;
he wants to get to the end,
to stay with the thing—

Look at her, touching his cheek
to make a truce, her fingers
cool with spring rain;
in thin grass, bursts of purple crocus—

even here, even at the beginning of love,
her hand leaving his face makes
an image of departure
and they think
they are free to overlook
this sadness.

892. Kindness - Naomi Shihab Nye

.
Before you know what kindness really is
you must lose things,
feel the future dissolve in a moment
like salt in a weakened broth.
What you held in your hand,
what you counted and carefully saved,
all this must go so you know
how desolate the landscape can be
between the regions of kindness.
How you ride and ride
thinking the bus will never stop,
the passengers eating maize and chicken
will stare out the window forever.

Before you learn the tender gravity of kindness,
you must travel where the Indian in a white poncho
lies dead by the side of the road.
You must see how this could be you,
how he too was someone
who journeyed through the night with plans
and the simple breath that kept him alive.

Before you know kindness as the deepest thing inside,
you must know sorrow as the other deepest thing. 
You must wake up with sorrow.
You must speak to it till your voice
catches the thread of all sorrows
and you see the size of the cloth.

Then it is only kindness that makes sense anymore,
only kindness that ties your shoes
and sends you out into the day to mail letters and purchase bread

only kindness that raises its head
from the crowd of the world to say
it is I you have been looking for,
and then goes with you everywhere
like a shadow or a friend.

891. Poem White Page White Page Poem - Muriel Rukeyser

.
Poem   white page   white page poem
something is streaming out of a body in waves
something is beginning from the fingertips
they are starting to declare for my whole life
all the despair and the making music
something like wave after wave
that breaks on a beach
something like bringing the entire life
to this moment
the small waves bringing themselves to white paper
something like light stands up and is alive

890 For a Wedding on Mount Tamalpais - Jane Hirshfield

July,
and the rich apples
once again falling.

You put them to your lips,
as you were meant to,
enter a sweetness
the earth wants to give.

Everything loves this way,
in gold honey,
in gold mountain grass
that carries lightly the shadow of hawks,
the shadow of clouds passing by.

And the dry grasses,
the live oaks and bays,
taste the apples' deep sweetness
because you taste it, as you were meant to,
tasting the life that is yours,

while below, the foghorns bend to their work,
bringing home what is coming home,
blessing what goes.

889. Everything - Mary Oliver

No doubt in Holland,
when van Gogh was a boy,
there were swans drifting
over the green sea
of the meadows, and no doubt
on some warm afternoon
he lay down and watched them,
and almost thought: this is everything.
What drove him
to get up and look further
is what saves this world,
even as it breaks
the hearts of men.
In the mines where he preached,
where he studied tenderness,
there were only men, all of them
streaked with dust.
For years he would reach
toward the darkness.
But no doubt, like all of us,
he finally remembered
everything, including the white birds
weightless and unaccountable,
floating around the towns
of grit and hopelessness––
and this is what would finish him:
not the gloom, which was only terrible,
but those last yellow fields, where clearly
nothing in the world mattered, or ever would,
but the insensible light.

888. A Winter Night - Tomas Tranströmer

.
The storm puts its mouth to the house
and blows to get a tone.
I toss and turn, my closed eyes
reading the storm’s text.

The child’s eyes grow wide in the dark
and the storm howls for him.
Both love the swinging lamps;
both are halfway towards speech.

The storm has the hands and wings of a child.
Far away, travellers run for cover.
The house feels its own constellation of nails
holding the walls together.

The night is calm in our rooms,
where the echoes of all footsteps rest
like sunken leaves in a pond,
but the night outside is wild.

A darker storm stands over the world.
It puts its mouth to our soul
and blows to get a tone. We are afraid
the storm will blow us empty.

887. Olives - Amos Oz

.
Sometimes the taste of these strong olives cured slowly in oil,
with cloves of garlic, bay leaves and chillies and lemon and salt,
conjures a whiff of a bygone age: rocky crannies,
goats, shade and the sound of pipes,
in the tune of the breath of primeval times. The chill of a cave, a hidden cottage
in a vineyard, a lodge in a garden, a slice of barley bread and well water.
You are from there. You have lost your way.
Here is exile. Your death will come, and lay a knowing hand on your shoulder.
Come, it’s time to go home.

886. Portrait Of A Woman - Wislawa Szymborska

Wislawa Szymborska - Portrait Of A Woman (1)
Translated from the Polish by Stanislaw Baranczak and Clare Cavanagh

She must be a variety.
Change so that nothing will change.
It's easy, impossible, tough going, worth a shot.
Her eyes are, as required, deep, blue, gray,
dark merry, full of pointless tears.
She sleeps with him as if she's first in line or the only one on earth.
She'll bear him four children, no children, one.
Naive, but gives the best advice.
Weak, but takes on anything.
A screw loose and tough as nails.
Curls up with Jasper or Ladies'Home Journal.
Can't figure out this bolt and builds a bridge.
Young, young as ever, still looking young.
Holds in her hand a baby sparrow with a broken wing,
her own money for some trip far away,
a meat cleaver, a compress, a glass of vodka.
Where's she running, isn't she exhausted.
Not a bit, a little, to death, it doesn't matter.
She must love him, or she's just plain stubborn.
For better, for worse, for heaven's sake.
      
Wislawa Szymborska - Portrait  Of A Woman (2)
Translated from the Polish by Magnus J. Krynski and Robert a. Maguire

She must be willing to please.
To change so that nothing should change.
It's easy, impossible, hard, worth trying.
Her eyes are if need be now deep blue, now gray,
dark, playful, filled for no reason with tears.
She sleeps with him like some chance acquaintance, like his one and only.
She will bear him four children, no children, one.
Naive yet giving the best advice.
Weak yet lifting the weightiest burdens.
Has no head on her shoulders but will have.
Reads Jaspers and ladies' magazines.
Doesn't know what this screw is for and will build a bridge.
Young, as usual young, as always still young.
Holds in her hands a sparrow with a broken wing,
her own money for a journey long and distant,
a meat-cleaver, poultice, and a shot of vodka.
Where is she running so, isn't she tired?
Not at all, just a bit, very much, doesn't matter.
Either she loves him or has made up her mind to.
For better, for worse, and for heaven's sake.

885. Do Not Expect - Dana Gioia

Do not expect that if your book falls open
to a certain page, that any phrase
you read will make a difference today,
or that the voices you might overhear
when the wind moves through the yellow-green
and golden tent of autumn, speak to you.

Things ripen or go dry. Light plays on the
dark surface of the lake. Each afternoon
your shadow walks beside you on the wall,
and the days stay long and heavy underneath
the distant rumor of the harvest. One
more summer gone,
and one way or another you survive,
dull or regretful, never learning that
nothing is hidden in the obvious
changes of the world, that even the dim
reflection of the sun on tall, dry grass
is more than you will ever understand.

And only briefly then
you touch, you see, you press against
the surface of impenetrable things

884. Face To Face - Tomas Tranströmer

 Face To Face translated by Robin Robertson

In February life stood still.
The birds refused to fly and the soul
grated against the landscape as a boat
chafes against the jetty where it’s moored.

The trees were turned away. The snow’s depth
measured by the stubble poking through.
The footprints grew old out on the ice-crust.
Under a tarpaulin, language was being broken down.

Suddenly, something approaches the window.
I stop working and look up.
The colours blaze. Everything turns around.
The earth and I spring at each other.

Face to Face translated by Robin Fulton

In February living stood still.
The birds flew unwillingly and the soul
chafed against the landscape as a boat
chafes against the pier it lies moored to.

The trees stood with their backs turned to me.
The deep snow was measured with dead straws.
The footprints grew old out on the crust.
Under a tarpaulin language pined.

One day something came to the window.
Work was dropped, I looked up.
The colors flared. Everything turned around.
The earth and I sprang toward each other.

883. Letters From Yorkshire - Maura Dooley

.
In February, digging his garden, planting potatoes,
he saw the first lapwings return and came
indoors to write to me, his knuckles singing

as they reddened in the warmth
It’s not romance, simply how things are.
You out there, in the cold, seeing the seasons

turning, me with my heartful of headlines
feeding words onto a blank screen.
Is your life more real because you dig and sow?

You wouldn’t say so, breaking ice on a waterbutt,
clearing a path through snow. Still, it’s you
who sends me word of that other world

pouring air and light into an envelope. So that
at night, watching the same news in different houses,
our souls tap out messages across the icy miles.

882. Sometimes - Sheenagh Pugh

.
Sometimes things don’t go, after all,
from bad to worse. Some years, muscadel
faces down frost: green thrives; the crops don’t fail,
sometimes a man aims high, and all goes well.

A people sometimes will step back from war;
elect an honest man; decide they care
enough, that they can’t leave some stranger poor.
Some men become what they were born for.

Sometimes our best efforts do not go
amiss; sometimes we do as we meant to.
The sun will sometimes melt a field of sorrow
that seemed hard frozen: may it happen to you.

881. Black Snake - Mary Oliver

.
The flat rock in the center of the garden
heats up every morning in the sun. Black
snake coils himself there neatly. He has
cousins who have teeth that spring up and
down and are full of the sap of death,
but what of that, so have we all. As for
his sporting life, there are many things
he can do and I have seen a few of them:
he can climb a tree and dangle like a red-
eyed rope out of its branches; he can swim;
he can catch a mouse and swallow it like
a soft stone. Also he can lie perfectly
still and stare with his lidless eyes in
the greatest hope: that you will not notice
him. If you do, however, he will loft his
chin and extrude the fray of his tongue,
which many find frightening. But tell me,
if you would praise the world, what is it
you would leave out? Besides, he is only
hoping that you will let him live his life.


And now that you have seen him, he looks
shyly at nothing and streams away into the
grass, his long body swaying like a suddenly
visible song.