Showing posts with label poetry. Show all posts
Showing posts with label poetry. Show all posts
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linda
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Credit: desdibuix - miquel Miquel Bohigas Costabella via Flickr. |
Taste of salt on my fingers,that’s howI like it:the line of sea risingabove the dark-green pine,the sea meetingthe horizon,so always the eyes are lifted higher,the pulse buoyed upwardwith themSo itshould be for us all—to belong towhatever moves us outward intothe wideness, for journeying,tales ofdistant places,treasures piledto fill our smiling,for us to know ofalong the travelled coastline,the mountainswe can climb to,each port,each harboranother window to wash our faces in,pull usforward& made for us, made forall of us,as the birds know, whofly the continents, the oceansfor their secret reasons,a map of the earthwritten inside their bodies,markedunder their breastbones:a continuanceof the now most fragile,always travelledpatiently enduring world
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DISTANT COASTS
by John Gould Fletcher
from Japanese Prints
A squall has struck the sea afar off.
You can feel it quiver
Over the paper parasol
With which she shields her face;
In the drawn-together skirts of her robes,
As she turns to meet it.
(Top photo from here. Bottom photo from here.)
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FLOWERS BY THE SEA
By William Carlos Williams
When over the flowery, sharp pasture’s
edge, unseen, the salt ocean
lifts its form—chicory and daisies
tied, released, seem hardly flowers alone
but color and the movement—or the shape
perhaps—of relentlessness, whereas
the sea is circled and sways
peacefully upon its plantlike stem
(Photo credit: Aquaimages via Wikimedia Commons.)
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Up, up, slenderAs an eel’sChild, weavingThrough water, our lonelyPipefish seeks out his dinner,Scanty at best; he blinksCut-diamond eyes—snap—heGrabs morsels so smallOnly a lens pinpoints them,But he ranges all overThat plastic preserve—dorsalFin tremulous—snap—andAnother çedillaOf brine shrimp’s gone ...We talk on of poetry, of love,Of grammar; he looksAt a living comma—Snap—sizzling aboutIn his two-gallon CaribbeanAnd grazes on umlauts for breakfast.His pug nosed, yellowMate, aproned in gloom,Fed rarely, slumped,Went deadwhite, as we argued on;That rudder fin, round as aPizza cutter, at theEnd of his two inchFluent stick self, lets his eyesPilot his mouth—snap ...Does his kind remember? Can our kind forget?
(Photo from here.)
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poetry
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FIVE VIEWS OF CAPTAIN COOK
[A fragment]
by Kenneth Slessor
Flowers turned to stone! Not all the botanyOf Joseph Banks, hung pensive in a porthole,Could find the Latin for this loveliness,Could put the Barrier Reef in a glass boxTagged by the horrid Gorgon squintOf horticulture. Stone turned to flowersIt seemed—you’d snap a crystal twig,One petal even of the water-garden,And have it dying like a cherry-bough.They’d sailed all day outside a coral hedge,And half the night. Cook sailed at night,Let there be reefs a fathom from the keelAnd empty charts. The sailors didn’t ask,Nor Joseph Banks. Who cared? It was the spellOf Cook that lulled them, bade them turn below,Kick off their sea-boots, puff themselves to sleep,Though there were more shoals outsideThan teeth in a shark’s head. Cook snored loudest himself.
(You can read this amazing poem in its entirety at the Poetry Foundation website.)
The illustration of a coral above is by Eugenius Johann Christoph Esper from his c.1798 book Die Pflanzenthiere in Abbildungen nach der Natur mit Farben erleuchtet nebst Beschreibunge.
That translates roughly to: "Images from nature of animal-plants, illuminated with color and descriptions." For more scans of Esper's work, see the digital gallery of Germany's Humboldt University.
HMS Endeavour. 1768. Thomas Luny.
Joseph Banks was the botanist/naturalist who sailed aboard HMS Endeavour on James Cook's first voyage voyage of exploration between 1768 and 1771.
Among their many shared adventures was a near-sinking after weeks of entrapment (occasionally escaping, only to get sucked back in by winds or currents) in the maze of Australia's Great Barrier Reef.
Eventually Endeavour was holed on a reef and Cook's men were forced to lay her ashore for seven weeks of repairs. Cook wrote with unusual feeling about his adventures in the coral shallows:
It is but a few days ago that I rejoiced at having got without the Reef, but that joy was nothing when Compared to what I now felt at being safe at Anchor within it, such is the Visissitudes attending this kind of Service & must always attend an unknown Navigation where one steers wholy in the dark without any manner of Guide whatever.
(Les Gibson. Photo by Julia Whitty.)
The site of Endeavour's repairs is today known as Cooktown—home then and now to the Guugu Yimithirr people, who taught Cook's men the word ganguru (kangaroo) and who kept them alive with gifts of food and natural history lessons in an unfamiliar landscape/seascape.
I wrote at some length about the Guugu Yimithirr and Cook's legacy in my Mother Jones article Listen to the Lionfish: What Invasive Species Are Trying to Tell Us.
In the photo above, Les Gibson, a Guugu Yimithirr, is showing me how to "hunt" (fish) near the place where Endeavour limped ashore 232 years earlier.
James Cook. c. 1775. Nathaniel Dance.
After his sojourn with the Guugu Yimithirr, after enjoying the bounty of their vibrant world, Cook concluded:
In reality they are far more happier than we Europeans; being wholy unacquainted not only with the superfluous but the necessary conveniencies so much sought after in Europe.
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YOU SEA!
Fragment: SONG OF MYSELF
by Walt Whitman
You sea! I resign myself to you also—I guess what you mean,
I behold from the beach your crooked fingers,
I believe you refuse to go back without feeling of me,
We must have a turn together, I undress, hurry me out of sight of the land,
Cushion me soft, rock me in billowy drowse,
Dash me with amorous wet, I can repay you.
Sea of stretch'd ground-swells,
Sea breathing broad and convulsive breaths,
Sea of the brine of life and of unshovell'd yet always-ready graves,
Howler and scooper of storms, capricious and dainty sea,
I am integral with you, I too am of one phase and of all phases.
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by Jalāl ad-Dīn Muḥammad Rūmī
You're sitting here with us, but you're also out walking
in a field at dawn. You are yourself
the animal we hunt when you come with us on the hunt.
You're in your body like a plant is solid in the ground,
yet you're wind. You're the diver's clothes
lying empty on the beach. You're the fish.
In the ocean are many bright strands
and many dark strands like veins that are seen
when a wing is lifted up.
Your hidden self is blood in those, those veins
that are lute strings that make ocean music,
not the sad edge of the surf, but the sound of no shore.
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linda
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Sperm Whale Encounter from Howard Hall on Vimeo.
by Hart Crane
Often beneath the wave, wide from this ledgeThe dice of drowned men’s bones he saw bequeathAn embassy. Their numbers as he watched,Beat on the dusty shore and were obscured.And wrecks passed without sound of bells,The calyx of death’s bounty giving backA scattered chapter, livid hieroglyph,The portent wound in corridors of shells.Then in the circuit calm of one vast coil,Its lashings charmed and malice reconciled,Frosted eyes there were that lifted altars;And silent answers crept across the stars.Compass, quadrant and sextant contriveNo farther tides ... High in the azure steepsMonody shall not wake the mariner.This fabulous shadow only the sea keeps.
*Thanks to my friends Howard and Michele Hall for sharing their amazing sperm whale video on Vimeo.
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(Destiny. 1900. John William Waterhouse.)
I tell you that I see her stillAt the dark entrance of the hall.One gas lamp burning near her shoulderShone also from her other sideWhere hung the long inaccurate glassWhose pictures were as troubled water.An immense shadow had its handBetween us on the floor, and seemedTo hump the knuckles nervously,A giant crab readying to walk,Or a blanket moving in its sleep.You will remember, with a smileInstructed by movies to reminisce,How strict her corsets must have been,How the huge arrangements of her hairWould certainly betray the leastImpassionate displacement there.It was no rig for dallying,And maybe only marriage couldDerange that queenly scaffolding—As when a great ship, coming home,Coasts in the harbor, dropping sailAnd loosing all the tackle that had lacedHer in the long lanes ....I knowWe need not draw this figure out.But all that whalebone came from whales.And all the whales lived in the sea,In calm beneath the troubled glass,Until the needle drew their blood.I see her standing in the hall,Where the mirror’s lashed to blood and foam,And the black flukes of agonyBeat at the air till the light blows out.
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Thermometers rise—
plowing crooked furrows straight
societies fall
Based on the paper, "2500 Years of European Climate Variability and Human Susceptibility" in Science. The abstract:
Climate variations have influenced the agricultural productivity, health risk, and conflict level of preindustrial societies. Discrimination between environmental and anthropogenic impacts on past civilizations, however, remains difficult because of the paucity of high-resolution palaeoclimatic evidence. Here, we present tree ring–based reconstructions of Central European summer precipitation and temperature variability over the past 2500 years. Recent warming is unprecedented, but modern hydroclimatic variations may have at times been exceeded in magnitude and duration. Wet and warm summers occurred during periods of Roman and medieval prosperity. Increased climate variability from ~AD 250 to 600 coincided with the demise of the Western Roman Empire and the turmoil of the Migration Period. Historical circumstances may challenge recent political and fiscal reluctance to mitigate projected climate change.
The painting is Landscape with the Fall of Icarus, 1558, by Pieter Bruegel the Elder. You can just make out the crashed Icarus in the water near the boat. No one seems to notice.
The paper:
Buntgen, U., Tegel, W., Nicolussi, K., McCormick, M., Frank, D., Trouet, V., Kaplan, J., Herzig, F., Heussner, K., Wanner, H., Luterbacher, J., & Esper, J. (2011). 2500 Years of European Climate Variability and Human Susceptibility Science DOI: 10.1126/science.1197175
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linda
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(Oil seeps and spills in the Gulf of Mexico, May 13, 2006. NASA image created by Jesse Allen, using data obtained from the Goddard Level 1 and Atmospheric Archive and Distribution System.)
AN OCEAN MUSING
Far, far out lie the white sails all at rest;Like spectral arms they seem to touch and clingUnto the wide horizon. Not a wingOf truant bird glides down the purpling west;No breeze dares to intrude, e’en on a questTo fan a lover’s brow; the waves to singHave quite forgotten till the deep shall flingA bow across its vibrant chords. Then, lestOne moment of the sea’s repose we lose,Nor furnish Fancy with a thousand themesOf unimagined sweetness, let us gazeOn this serenity, for as we muse,Lo! all is restless motion: life’s best dreamsGive changing moods to even halcyon days.
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poetry
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linda
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It came to me that a river is flowing
somewhere inside the ocean, a crystal
muscle of water flexing under
the salt; and in it, trapped for centuries,
fish from a purer stream are living
in their old ways, fresh and strong.
It came to me as I was breathing,
one in a crowd of people waiting
inside a convention listening to speeches
that whispered something hidden in language
to save us. I felt that Amazon tug
for a minute, before the salt came back.
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by Carl Rakosi
Eastern Sea, 100 fathoms,green sand, pebbles,broken shells.Off Suno Saki, 60 fathoms,gray sand, pebbles,bubbles rising.Plasma-bearerand slow-motion benthos!The fishery vessel Iondrops anchor herecollectingplankton smears and fauna.Plasma-bearer, visiblesea purge,sponge and kelpleaf.Halicystus the Sea Bottleresembles emeraldsand is the largestcell in the world.Young sea horseHippocampus twentyminutes old,nobody has everseen this marinefreak blink.It radiates onterminal vertebraa comb of twentyupright spinesand curlsits rocky tail.Saltflush lobsterbull encrusted swimsbackwards from the rock.
(Slipper Lobster larva. Photo by Peter Parks. From the Australian Museum.)
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If you should look for this place after a handful of lifetimes:Perhaps of my planted forest a fewMay stand yet, dark-leaved Australians or the coast cypress, haggardWith storm-drift; but fire and the axe are devils.Look for foundations of sea-worn granite, my fingers had the artTo make stone love stone, you will find some remnant.But if you should look in your idleness after ten thousand years:It is the granite knoll on the graniteAnd lava tongue in the midst of the bay, by the mouth of the CarmelRiver-valley, these four will remainIn the change of names. You will know it by the wild sea-fragrance of windThough the ocean may have climbed or retired a little;You will know it by the valley inland that our sun and our moon were born fromBefore the poles changed; and Orion in DecemberEvenings was strung in the throat of the valley like a lamp-lighted bridge.Come in the morning you will see white gullsWeaving a dance over blue water, the wane of the moonTheir dance-companion, a ghost walkingBy daylight, but wider and whiter than any bird in the world.My ghost you needn’t look for; it is probablyHere, but a dark one, deep in the granite, not dancing on windWith the mad wings and the day moon.
(Robinson Jeffer's Tor House. From the Robinson Jeffers Tor House Foundation.)
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(Common gull, or mew gull, or sea-mew, or Larus canus. Photo by Tomasz Sienicki, courtesy Wikimedia Commons.)
by Samuel Taylor Coleridge
Sea-ward, white gleaming thro' the busy scudWith arching Wings, the sea-mew o'er my headPosts on, as bent on speed, now passagingEdges the stiffer Breeze, now, yielding, drifts,Now floats upon the air, and sends from farA wildly-wailing Note.
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(Common loon. Detail from the diorama Diving Birds: Feasting on Newfoundland's Grand Banks in the Milstein Hall of Ocean Life at the American Museum of Natural History. Photo by Wally Gobetz at Flickr.
THE SEA HOLD
by Carl Sandburg
THE SEA is large.
The sea hold on a leg of land in the Chesapeake hugs an early sunset and a last morning star over the oyster beds and the late clam boats of lonely men.
Five white houses on a half-mile strip of land … five white dice rolled from a tube.
Not so long ago … the sea was large…
And to-day the sea has lost nothing … it keeps all.
I am a loon about the sea.
I make so many sea songs, I cry so many sea cries, I forget so many sea songs and sea cries.
I am a loon about the sea.
So are five men I had a fish fry with once in a tar-paper shack trembling in a sand storm.
The sea knows more about them than they know themselves.
They know only how the sea hugs and will not let go.
The sea is large.
The sea must know more than any of us.
(Diorama: Diving Birds: Feasting on Newfoundland's Grand Banks, at the Milstein Hall of Ocean Life at the American Museum of Natural History.)
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