An Introduction - Kamala Das
I don't know politics but I know the names
Of those in power, and can repeat them like
Days of week, or names of months, beginning with
Nehru. I am Indian, very brown, born in
Malabar, I speak three languages, write in
Two, dream in one. Don't write in English, they said,
English is not your mother-tongue. Why not leave
Me alone, critics, friends, visiting cousins,
Every one of you? Why not let me speak in
Any language I like? The language I speak
Becomes mine, its distortions, its queernesses
All mine, mine alone. It is half English, half
Indian, funny perhaps, but it is honest,
It is as human as I am human, don't
You see? It voices my joys, my longings, my
Hopes, and it is useful to me as cawing
Is to crows or roaring to the lions, it
Is human speech, the speech of the mind that is
Here and not there, a mind that sees and hears and
Is aware. Not the deaf, blind speech
Of trees in storm or of monsoon clouds or of rain or the
Incoherent mutterings of the blazing
Funeral pyre. I was child, and later they
Told me I grew, for I became tall, my limbs
Swelled and one or two places sprouted hair. When
I asked for love, not knowing what else to ask
For, he drew a youth of sixteen into the
Bedroom and closed the door. He did not beat me
But my sad woman-body felt so beaten.
The weight of my breasts and womb crushed me. I shrank
Pitifully. Then I wore a shirt and my
Brother's trousers, cut my hair short and ignored
My womanliness. Dress in sarees, be girl,
Be wife, they said. Be embroiderer, be cook,
Be a quarreller with servants. Fit in. Oh,
Belong, cried the categorizers. Don't sit
On walls or peep in through our' lace-draped windows.
Be Amy, or be Kamala. Or, better
Still, be Madhavikutty. It is time to
Choose a name, a role. Don't play pretending games.
Don't play at schizophrenia or be a
Nympho. Don't cry embarrassingly loud when
Jilted in love, I met a man, loved him. Call
Him not by any name, he is every man
Who wants a woman, just as I am every
Woman who seeks love. In him the hungry haste
Of rivers, in me the ocean's tireless
Waiting. Who are you, I ask each and everyone,
The answer is, it is I. Anywhere and
Everywhere, I see the one who calls himself
I; in this world, he is tightly packed like the
Sword in its sheath. It is I who drink lonely
Drinks at twelve, midnight, in hotels of strange towns,
It is I who laugh, it is I who make love
And then feel shame, it is I, dying
With a rattle in my throat. I am sinner,
I am saint. I am the beloved and the
Betrayed. I have no joys which are not yours, no
Aches which are not yours. I too call myself I.
Big Book Of Poetry
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Praying Hands - Ted Kooser
There is at least one pair
in every thrift shop in America,
molded in plastic or plaster of paris
and glued to a plaque,
or printed in church pamphlet colors
and framed under glass.
Today I saw a pair made out of
lightweight wire stretched over a pattern
of finishing nails.
this is the way faith goes
from door to door,
cast out of one and welcomed at another.
A butterfly presses its wings like that
as it rests between flowers.
Notes: I was asked to accompany my friend T to a book signing earlier this evening as he wanted me to meet a theologian friend of his. She had just written a memoir on leaving organized church for a more personal religion. As he was waiting in line to get his books signed (one of which was for me), I was looking at the small poetry rack they had in the store, and in this process picked up Ted Kooser's latest volume "Delights & Shadows".
I had read some of Kooser's poems in various anthologies, and more recently on the web when he was appointed as the current US Poet Laurate. I had first heard of Mr. Kooser in an essay titled "Business and Poetry" in Dana Gioia's "Can Poetry Matter?" (you can read the title essay here). The content of this essay dealt poets who make a living in business rather than taking shelter in the shady groves of Academia or depend on the kindness of strangers. In this essay, Mr. Gioia, who himself was a vice president of operations (which coincidentally is my professional field as well) at General Mills before he was become the head of the National Endownment for Arts (N.E.A), talks about poets such as William Carlos Williams (pediatrician), T. S. Eliot (banker), Wallace Stevens (corporate lawyer), and Ted Kooser (insurance), and how business did or did not impact their poetry.
Anyway, Mr. Kooser's poetry has a flavour and a presence similar to that of Wendell Berry's, a writer whose poems I enjoy and read often, usually in the outdoors. Consequently, I plan on exploring more of Mr. Kooser's poetry in the same fashion as well. Finally, these praying hands, as my friend T told me over dinner, are usually modeled after this classic print by Albrecht Durer.
Big Book Of Poetry
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The People Of The Other Village - Thomas Lux
hate the people of this village
and would nail our hats
to our heads for refusing in their presence to remove them
or staple our hands to our foreheads
for refusing to salute them
if we did not hurt them first: mail them packages of rats,
mix their flour at night with broken glass.
We do this, they do that.
They peel the larynx from one of our brothers’ throats.
We devein one of their sisters.
The quicksand pits they built were good.
Our amputation teams were better.
We trained some birds to steal their wheat.
They sent to us exploding ambassadors of peace.
They do this, we do that.
We canceled our sheep imports.
They no longer bought our blankets.
We mocked their greatest poet
and when that had no effect
we parodied the way they dance
which did cause pain, so they, in turn, said our God
was leprous, hairless.
We do this, they do that.
Ten thousand (10,000) years, ten thousand
(10,000) brutal, beautiful years.
This poem is an reminder to self on why it is, perhaps, better to block the ears and eyes against the din and flash of the news of wars. Ignorance is truely bliss when compared to powerless stupefication.
Big Book Of Poetry
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