a dry retribution

he hears the wind ruffling the pines,
soaring up the mountainside
tossing the chickens over the fence
and into the dog's breakfast.

cock and hen alike had always
clucked cheekily between the roughened boards,
refusing to share even a daily ovum,
quibbling merrily over the the latest bug.

fateful diligence spared them not
and it came to pass, in an instant,
that they were merrily consumed
by all who knew them.

and on and on and on
said she, skipping through the grass
skirts lifting, apron cupped and
running smack into bedlam

where she sees the fine sharp
teeth glinting in the sunlight
with the damply clinging feathers of
gold, and white, and green

she whirls, in the swing of time
upward shrieking in a slice of sky
and the errant muddy fiend's appetite
is gone forever, leaving only a trace

of rheumy fleabitten cowering
faintly shadowed by the fall,
into the ready and vacant dust beside
an angry, sodden puff of red-encrusted white.

Image source: Reijo Telaranta, Pixabay

Poetry Monday: Grounding

Poem copyright Susannah Eanes 2016. All rights reserved.

Poetry Monday: The Author to Her Book

The Author to Her Book

Source: Clements Library Chronicles

Anne Bradstreet

	THOU ill-formed offspring of my feeble brain,
	Who after birth didst by my side remain
	Till snatched from thence by friends less wise than true
	Who thee abroad exposed to public view,
	Made thee, in rags, halting, to the press to trudge,
	Where errors were not lessened, all may judge,
	At thy return my blushing was not small,
	My rambling brat—in print—should mother call.
	I cast thee by as one unfit for light,
	Thy visage was so irksome in my sight;
	Yet being mine own, at length affection would
	Thy blemishes amend, if so I could.
	I washed thy face, but more defects I saw,
	And rubbing off a spot still made a flaw.
	I stretched thy joints to make thee even feet,
	Yet still thou run’st more hobbling than is meet.
	In better dress to trim thee was my mind,
	But naught save homespun cloth i’ th’ house I find.
	In this array ’mongst vulgars mayst thou roam,
	In critics’ hands beware thou dost not come,
	And take thy way where yet thou art not known.
	If for thy father asked, say thou hadst none;
	And for thy mother, she, alas, is poor,
	Which caused her thus to send thee out of door.

Source:
Colonial Prose and Poetry
Edited by William P. Trent and Benjamin W. Wells
The 57 writers in these three volumes spanning more than a century and a half represent the literary and cultural trends in Colonial North America—from the confrontation with the American Indians to Puritan life to opposition to slavery. 
NEW YORK: THOMAS Y. CROWELL & Co., 1901 
NEW YORK: BARTLEBY.COM, 2010

In the earlier period men lived earnestly if not largely, they thought highly if not broadly, they felt nobly if not always with magnanimity.—Preface  Trent and Wells

Poetry Monday: Paracelsus

by Robert Browning, 1835



I

TRUTH is within ourselves; it takes no rise
From outward things, whate’er you may believe.
There is an inmost centre in us all,
Where truth abides in fullness; and around,
Wall upon wall, the gross flesh hems it in,
This perfect, clear perception—which is truth.
A baffling and perverting carnal mesh
Binds it, and makes all error: and, to KNOW,
Rather consists in opening out a way
Whence the imprisoned splendour may escape,
Than in effecting entry for a light
Supposed to be without.

II

I knew, I felt, (perception unexpressed,
Uncomprehended by our narrow thought,
But somehow felt and known in every shift
And change in the spirit,—nay, in every pore
Of the body, even,)—what God is, what we are
What life is—how God tastes an infinite joy
In infinite ways—one everlasting bliss,
From whom all being emanates, all power
Proceeds; in whom is life for evermore,
Yet whom existence in its lowest form
Includes; where dwells enjoyment there is he:
With still a flying point of bliss remote,
A happiness in store afar, a sphere
Of distant glory in full view; thus climbs
Pleasure its heights for ever and for ever.
The centre-fire heaves underneath the earth,
And the earth changes like a human face;
The molten ore bursts up among the rocks,
Winds into the stone’s heart, outbranches bright
In hidden mines, spots barren river-beds,
Crumbles into fine sand where sunbeams bask—
God joys therein! The wroth sea’s waves are edged
With foam, white as the bitten lip of hate,
When, in the solitary waste, strange groups
Of young volcanos come up, cyclops-like,
Staring together with their eyes on flame—
God tastes a pleasure in their uncouth pride.
Then all is still; earth is a wintry clod:
But spring-wind, like a dancing psaltress, passes
Over its breast to waken it, rare verdure
Buds tenderly upon rough banks, between
The withered tree-roots and the cracks of frost,
Like a smile striving with a wrinkled face;
The grass grows bright, the boughs are swoln with blooms
Like chrysalids impatient for the air,
The shining dorrs are busy, beetles run
Along the furrows, ants make their ade;
Above, birds fly in merry flocks, the lark
Soars up and up, shivering for very joy;
Afar the ocean sleeps; white fishing-gulls
Flit where the strand is purple with its tribe
Of nested limpets; savage creatures seek
Their loves in wood and plain—and God renews
His ancient rapture. Thus He dwells in all,
From life’s minute beginnings, up at last
To man—the consummation of this scheme
Of being, the completion of this sphere
Of life: whose attributes had here and there
Been scattered o’er the visible world before,
Asking to be combined, dim fragments meant
To be united in some wondrous whole,
Imperfect qualities throughout creation,
Suggesting some one creature yet to make,
Some point where all those scattered rays should meet
Convergent in the faculties of man. 

Poetry Monday: Burnt Norton

Time is the moving image of eternity --Plato

Source: Poetry Chaikhana, Dervishes

Burnt Norton
T. S. Eliot (No. 1 of 'Four Quartets')

I

Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened

Into the rose-garden. My words echo
Thus, in your mind.
          But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.
          Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the first gate,
Into our first world, shall we follow
The deception of the thrush? Into our first world.
There they were, dignified, invisible,
Moving without pressure, over the dead leaves,
In the autumn heat, through the vibrant air,
And the bird called, in response to
The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed, for the roses
Had the look of flowers that are looked at.
There they were as our guests, accepted and accepting.

So we moved, and they, in a formal pattern,
Along the empty alley, into the box circle,
To look down into the drained pool.
Dry the pool, dry concrete, brown edged,
And the pool was filled with water out of sunlight,
And the lotos rose, quietly, quietly,
The surface glittered out of heart of light,
And they were behind us, reflected in the pool.
Then a cloud passed, and the pool was empty.
Go, said the bird, for the leaves were full of children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.

II

Garlic and sapphires in the mud
Clot the bedded axle-tree.
The trilling wire in the blood
Sings below inveterate scars
Appeasing long forgotten wars.
The dance along the artery
The circulation of the lymph
Are figured in the drift of stars
Ascend to summer in the tree
We move above the moving tree
In light upon the figured leaf
And hear upon the sodden floor
Below, the boarhound and the boar
Pursue their pattern as before
But reconciled among the stars.

At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.
I can only say, there we have been: but I cannot say where.

And I cannot say, how long, for that is to place it in time.
The inner freedom from the practical desire,
The release from action and suffering, release from the inner
And the outer compulsion, yet surrounded
By a grace of sense, a white light still and moving,
Erhebung without motion, concentration
Without elimination, both a new world
And the old made explicit, understood
In the completion of its partial ecstasy,
The resolution of its partial horror.
Yet the enchainment of past and future
Woven in the weakness of the changing body,
Protects mankind from heaven and damnation
Which flesh cannot endure.
          Time past and time future
Allow but a little consciousness.
To be conscious is not to be in time
But only in time can the moment in the rose-garden,
The moment in the arbour where the rain beat,
The moment in the draughty church at smokefall
Be remembered; involved with past and future.
Only through time time is conquered.



III

Here is a place of disaffection
Time before and time after
In a dim light: neither daylight
Investing form with lucid stillness
Turning shadow into transient beauty
With slow rotation suggesting permanence

Nor darkness to purify the soul
Emptying the sensual with deprivation
Cleansing affection from the temporal.
Neither plenitude nor vacancy. Only a flicker
Over the strained time-ridden faces
Distracted from distraction by distraction
Filled with fancies and empty of meaning
Tumid apathy with no concentration
Men and bits of paper, whirled by the cold wind
That blows before and after time,
Wind in and out of unwholesome lungs
Time before and time after.
Eructation of unhealthy souls
Into the faded air, the torpid
Driven on the wind that sweeps the gloomy hills of London,
Hampstead and Clerkenwell, Campden and Putney,
Highgate, Primrose and Ludgate. Not here
Not here the darkness, in this twittering world.

     Descend lower, descend only
Into the world of perpetual solitude,
World not world, but that which is not world,
Internal darkness, deprivation
And destitution of all property,
Desiccation of the world of sense,
Evacuation of the world of fancy,
Inoperancy of the world of spirit;
This is the one way, and the other
Is the same, not in movement
But abstention from movement; while the world moves
In appetency, on its metalled ways
Of time past and time future.

IV

Time and the bell have buried the day,
The black cloud carries the sun away.
Will the sunflower turn to us, will the clematis
Stray down, bend to us; tendril and spray
Clutch and cling?

     Chill
Fingers of yew be curled
Down on us? After the kingfisher's wing
Has answered light to light, and is silent, the light is still
At the still point of the turning world.



V

Words move, music moves
Only in time; but that which is only living
Can only die. Words, after speech, reach
Into the silence. Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.
Not the stillness of the violin, while the note lasts,
Not that only, but the co-existence,
Or say that the end precedes the beginning,
And the end and the beginning were always there

Before the beginning and after the end.
And all is always now. Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place,
Will not stay still. Shrieking voices
Scolding, mocking, or merely chattering,
Always assail them. The Word in the desert
Is most attacked by voices of temptation,
The crying shadow in the funeral dance,
The loud lament of the disconsolate chimera.

     The detail of the pattern is movement,
As in the figure of the ten stairs.
Desire itself is movement
Not in itself desirable;
Love is itself unmoving,
Only the cause and end of movement,

Timeless, and undesiring
Except in the aspect of time
Caught in the form of limitation
Between un-being and being.
Sudden in a shaft of sunlight
Even while the dust moves
There rises the hidden laughter
Of children in the foliage
Quick now, here, now, always—
Ridiculous the waste sad time
Stretching before and after.

Source: British Listed Buildings, Burnt Norton

Further readings:
"Time, Eternity, and Immortality in T. S. Eliot’s Four Quartets" by Terry L. Fairchild
"Poetry Landmark: T. S. Eliot's Burnt Norton"
"Let Us Go, Then, to Burnt Norton" by Rebecca Hurt
"At the Still Point: T.S. Eliot, Dance, and Modernism" by Susan Jones
"GARDENING / A Poet's Garden: On a walk" by Helen Chappell

Autumn Vigil

The old tractor watches
Quiet waits
Until it has
Work
To do
Again.

The Fox Goes Out on a Chilly Night

Polanski freed from jail.

Not to clutter up the internet with more words when others have said it better, just want to say I agree with this post, and the subsequent comments are worthwhile reading.



Pic links to Awards Daily's list of signatories and mentions ONTD's impertinent discussion. Image ganked from here, also worthwhile reading.

The Fox
The fox went out on a chilly night
and he prayed for the moon to give him light
For he'd many a mile to go that night
Before he reached the town-o
Source: traditional

No one, in the song, really cared about the chickens, because the hungry pups were so cute. And everyone knows that predators survive on victims, it's the way of the world, the natural order of things. Circle of life, all that.

And everyone feels for the fox who got away, and goes to ground with his prize unpunished, even celebrated for this accomplishment. He lives to steal another day. I guess it's really no wonder some idiots out there confuse this with the basic value of art, or something.

There is, of course, a difference.

The fox steals food in order to survive. Roman Polanski steals innocence and dignity for his own self-gratification. Steals? Yes, steals. Present tense. He's stealing it as we speak, because everyone who reads and understands the root of this story and then looks at his smugly unapologetic face will come away from the experience a little smaller, a little less hopeful, maybe even a little more desperate. It makes us feel sick to know how the system failed here. To say nothing of the victims of his past, who every day have to pick up and go on without the innocence and dignity that he tore out of them to satisfy a manipulative desire for erotic power.

Ugh. Spare us from those artists who would seek to paint this with an equally manipulative and selfish brush, and who thus share equally in stripping humanity of its innocence and dignity. This leaves us all as the children of Dickens, Ignorance and Want, with the same certainty of ultimate emptiness... which, in effect, robs us of the Art, as well. As we watch this year's latest incarnation of A Christmas Carol, we might be thinking about that.

tears & laughter

those of you who know me are more than likely aware that i get choked up about certain things. for instance, i can not watch the part of sound of music where maria comes back to the von trapp children, striding across the lawn, her silvery voice picking up the notes to "my favorite things," just as they become unable to sing for sadness from missing her. my face was a blindingly wet marshmallow when we left the theater after "bridge to terabithia." for goodness sakes! they shouldn't make such movies. my armor gets all cracked.

but then again, thank god they do.

don't get me wrong. i am perfectly sensible when situations require it, i don't get all silly in an emergency and can drive on through the darkest rain. it's just that since reaching adulthood i feel the tug and pull on the strings that hold the shades closed over my vulnerable sensibilities, and can't always ignore the lump in my throat --sometimes it's happiness, sometimes heartache. and over the years i've decided it's not necessarily a bad thing. i do not turn away from strong feelings, i've learned to take them and mine their depths for meaning and insight. and sometimes, the feeling turns into a beacon, that upon further exploration brings me to a place where i find a poem, a story, or even the beginnings of something more, a new understanding of what it means to be human in this century, on this earth.

a recent story told to me by a myspace friend resulted in this very thing. you know, we are an extremely cerebral, emotional, and tactile culture, and yet we move at the speed of light. we want everything we experience to have meaning. when we find something that speaks to us, someone or even a character in a book or television show, we make it a part of ourselves. it is part of how we grow into who we are meant to be, whoever that is. we take ownership of that and cultivate it like a relationship. and because of the depths to which technology can take us, it is even possible to reach out and claim for a brief span of time --a breath in the wilderness of our emotions --an affirmation that another person shares our thoughts, our opinions, our feelings, our triumphs and even our worries. it is possible to know someone almost better than our own families by typing back and forth over a keyboard. i myself have cultivated friendships this way, i can vouch for the fact that they can be profound, indeed. it is possible to put your heart out there, talk about your very deepest hopes, wishes, whatever, and never even know the last name of the person to whom you are speaking. it's not wierd, it's not detrimental, and it's not dishonest. in the past, because these feelings were never explored in a safe or positive way, many people became addicted to drugs, sank into depression, abused alcohol, or worse.

today, we can do something really fine: we can keep our masks over our identities, and yet put certain things out there for the world to see. we experience something i call "hiding in plain sight." only the important stuff remains hidden, so that the other important stuff might be shared, and hopefully understood by someone else. and hey, sometimes we learn something glorious and wonderful this way. so don't knock it. let it stand on its own. be respectful of the mystery. it's important.

but to continue with my reaction to the story recently told me by my friend: if the person on the other end happens to be well-known, a person hounded by fans and paparazzi because of his or her line of work, what can happen? are those people able to get the same satisfaction and life-affirming confirmation of a shared, somewhat anonymous online friendship? sometimes. but it's dangerous. by the very nature of their work, which involves imagination, fantasy, and belief in something larger than life, by being accessible they are more likely to be the targets of obsession. which makes the fact of any shared experience like this that much more valuable.

after hearing the story of one such relationship that had to end when fans became scary, i was moved to write something. you can read it here. i'll keep the identity and situation secret for what i hope are obvious reasons. it's the feeling and validation that i believe are important.

that, and i hope perhaps someone out there may learn a lesson, and realize that famous people ARE people. not objects there for your possession. they're not perfect or insensible, any more than you or i. so be respectful. have some class.

evolve, damnit.

the poem is called, "hiding in plain sight" and is, or will be, up on my website in a day or two. you can find it under the poetry page.
http://www.susannaheanes.com/

taking the blue pill

i have seen more than i want to,
and less than i deserve.
it is time to move on.
to be a martyr no longer to an unrecognized cause,
one that few believe actually exists.
would that it were so.
my venue lies in another sphere, and here i stay listening, listening
eyes shut, ears in fine tune
for the next call of duty
the next will o' the wisp
calming, quiet, hot and breathless it will come
and fall upon my would-be deaf ears
should i not be at attention
and ready to put the cause to action
i will pick up my pen
and march ahead to meet the dawn
while others sleep
and find myself among them,
somnolent sustenance in my throat.

ANSWER IN THE WOOD

This cool green wood that silent waits
guarded, watchful
catching the last clear rays of light
with upturned boughs of verdant trees
before the mist rises to veil the calm-laden valley
It softens the heat, lightens the gloom of evening, and
for brief silver seconds the world seems to shimmer, not really there,
but an intangible thing;
Solid wood and vast stretch of fern-blanketed earth
seems momentarily fragile,
on the verge of being swallowed up by night.
Here is where I played,
I stood in the shadows and watched--
my mind alive,
hearing finely tuned,
straining to catch the essence of the wooded green
in the treasure chest of my imagination.
I could not hold it for more than a moment,
the vibrant pitch of waiting, growing greenery
would filter through when all was silent,
and as quickly, was lost, when I turned away and
answered the call of the outside world.

I must return to the wood,
go back and walk those paths
along which I ran as a child
when I was too busy chasing dreams
to gather in the wonder that lay about me.
To examine bark, and leaf, and twig,
touching needle-strewn beds of moss,
gazing intently at the pattern of life within
each tiny sprout and curling lichen
Something rests here, which helped me
to make peace with my world,
and I need to find that, to once more make it a part of me
the young part, the growing, wondering, reflecting part,
the part of me which accepts,
and believes in the future,
and grows wiser, knowing.


As the wood, we grow tall, stretching forth our branches,
we answer the call of the whippoorwill,
our voices teasing, beckoning,
wanting deep within our hearts to mate,
but always holding something back, something vast,
precious, and green...
...answer, tell, pray, answer, look, tell, answer, answer, tell:
Believe, said the spirit, and isn't it a shame that the
legend is such that the magician had to die before he could
communicate to his wife that one small intelligence?
that love surpasses even Death?

We should know this, and trust in it, and go on,
wiser,
knowing.
What is it that we do not acknowledge?
I think that deeper than Fear, it is our Want,
our need of soulful replenishment
our craving of a concrete essence to re-affirm our own choices,
our own decisions.
Laughing, we mate, we do not think that a lifetime will be so long
to share with another.
Laughing, we were wrong.
So misguided.
We are lost, after a time. Life itself eludes us, we look upon one another as at the door of death itself, and recoil –
aghast, shivering, disgusted.
Depleted, indifferent, yet still tightly nursing the flame of want within our own being.
And so we return to the wood, we look at every tree and branch,
and slowly, we understand.
We grow old, we wither, we die, but
though individually the trees of the wood do just that, the forest remains.
Whole. Vital. Alive.
With every death, a new seed sprouts forth,
to feed upon the old.
Either within the wood, or just outside of it.
Love doesn't die; the men and women do,
so says old Will in the midst of rising waters and thrashing wild palms;
and so right he was.
Love doesn’t die, it outlives us all.
We can hold nothing fast to us
when we are constantly changing, evolving, growing
into someone else ourselves.
The very limbs we use to clasp will wither away to dust,
and grow again, as flowers, new fronds of sun-kissed willow,
and the tiniest of earth-bound leaves.
So. Like the seeds of larch, oak and pine,
we too reach out to grow new roots,
and embrace the Death when we can do no more,
draw from it, extract its nourishment
adding strength to the stand from within ourselves,
expanding our very breadth,
breathing life into death
with new seeds to sow,
ideas and sustenance that we’ve brought in
on winds aloft, from far away.
---Susannah

Note: This is an old version of a poem. Posted in honor of National Poetry Month.