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A daily poem (Mon-Thur) that I recite for the residents of Center Community of Brookline. Also, occasional pieces about Torah, hearing loss, music, and other topics.
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Why Are Your Poems so Dark?
In the Shadows
by Rami Shapiro
I live my life in the shadows:
shadows of doubt,
shadows of regret,
shadows of guilt,
shadows of half baked ideas
and overcooked ones.
There is nothing wrong
with living in the shadows.
Living in the dark, however,
is something else.
Living in the shadows
you know there is light.
Living in the dark
you know nothing of light.
Living in the shadows
you can always walk
toward the light.
Living in the dark
there is no light
toward which to walk.
Assist those who
live in the shadows.
Resist those who
live in the dark.
Open your eyes to the four streams
by Rumi, translated by Haleh Liza Gafori
Listen to an interview with the translator here.
Open your eyes to the four streams
flowing through you-
water, milk, honey, wine.
Pay no attention to what gossips say.
They call the wide-eyed flower jasmine.
They call the wide-eyed flower a thorn.
The wide-eyed flower doesn't care what they call it.
I Adore that freedom. I bow to it.
Some say you worship fire.
Some say you follow scripture.
What do they know?
Labels blind and tear us apart.
Your eyes are not a vulture's beak.
See through the Beloved's eyes.
See one when your mind says two.
The angels adore your Love-drunk eyes.
Open them
and dismiss the vicious judge
from the post you gave him.
Bow to a human
and greet the angel.
(Here's another version I found on the internet--always interesting to compare translations from languages I do not read!)
I found reference to this poem in a provocative blog post by rabbinical student and S'vara Fellow Kendra Watkins. You can find their essay here.
the earth is a living thing
Lucille Clifton - 1936-2010
is a black shambling bear ruffling its wild back and tossing mountains into the sea
is a black hawk circling the burying ground circling the bones picked clean and discarded is a fish black blind in the belly of water is a diamond blind in the black belly of coal is a black and living thing is a favorite child of the universe feel her rolling her hand in its kinky hair feel her brushing it clean
by Billy Collins
This morning as I walked along the lakeshore,
I fell in love with a wren
and later in the day with a mouse
the cat had dropped under the dining room table.
In the shadows of an autumn evening,
I fell for a seamstress
still at her machine in the tailor’s window,
and later for a bowl of broth,
steam rising like smoke from a naval battle.
This is the best kind of love, I thought,
without recompense, without gifts,
or unkind words, without suspicion,
or silence on the telephone.
The love of the chestnut,
the jazz cap and one hand on the wheel.
No lust, no slam of the door –
the love of the miniature orange tree,
the clean white shirt, the hot evening shower,
the highway that cuts across Florida.
No waiting, no huffiness, or rancor –
just a twinge every now and then
for the wren who had built her nest
on a low branch overhanging the water
and for the dead mouse,
still dressed in its light brown suit.
But my heart is always propped up
in a field on its tripod,
ready for the next arrow.
After I carried the mouse by the tail
to a pile of leaves in the woods,
I found myself standing at the bathroom sink
gazing down affectionately at the soap,
so patient and soluble,
so at home in its pale green soap dish.
I could feel myself falling again
as I felt its turning in my wet hands
and caught the scent of lavender and stone.
Why, who makes much of a miracle?
As to me I know of nothing else but miracles,
Whether I walk the streets of Manhattan,
Or dart my sight over the roofs of houses toward the sky,
Or wade with naked feet along the beach just in the edge of the water,
Or stand under trees in the woods,
Or talk by day with any one I love, or sleep in the bed at night with any one I love,
Or sit at table at dinner with the rest,
Or look at strangers opposite me riding in the car,
Or watch honey-bees busy around the hive of a summer forenoon,
Or animals feeding in the fields,
Or birds, or the wonderfulness of insects in the air,
Or the wonderfulness of the sundown, or of stars shining so quiet and bright,
Or the exquisite delicate thin curve of the new moon in spring;
These with the rest, one and all, are to me miracles,
The whole referring, yet each distinct and in its place.
To me every hour of the light and dark is a miracle,
Every cubic inch of space is a miracle,
Every square yard of the surface of the earth is spread with the same,
Every foot of the interior swarms with the same.
To me the sea is a continual miracle,
The fishes that swim—the rocks—the motion of the waves—the
ships with men in them,
What stranger miracles are there?
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A SEPIA PHOTOGRAPH
by Ted Kooser, from A Man with a Rake (2022)
Light brushes coats of brown varnish
over the past, lets each coat dry
for a generation before adding another.
Who were these two people, the man
standing just to her side, his hand
on her shoulder? They've ridden up
to the front of this oval of walnut
and glass on an uncomfortable bench
like those on a Ferris wheel, with
younger couples out of sight but
swinging down and in behind,
and they've rocked to a stop, the man
stepping off and now waiting for her,
while she gathers her skirts and tries to
recall where she set down her smile.
A Helper of Hearts
by Rumi, from: The Forbidden Rumi, translated by Nevit O. Ergin and Will Johnson
Don't look down on the heart,
even if it's not behaving well.
Even in that shape, the heart
is more precious than the teachings
of the exalted saints.
The broken heart is where God looks.
How lucky is the soul that mends the heart!
For God, consoling the heart
that is broken into hundreds of pieces
is better than going on pilgrimage.
God's treasures are buried in ruined hearts.
If you put on the belt of service
and serve hearts
like a slave or servant,
the roads to all the secrets
will open before your eyes.
If you want peace and glory,
forget about your earthly honors
and try to please the hearts.
If you become
a helper of hearts,
springs of wisdom
will flow from your heart.
The water of life will run from your mouth
like a torrent.
Your breath will become medicine
like the breath of Jesus.
Be silent.
Even if you have two hundred tongues
in each hair on your head,
you won't be able to explain
the heart.
By Jo Harjo
We left for the park a little later than usual,
My old father and I, though
We knew the war was on us. Blood hunger
Has an endless stomach. I wanted to keep
The morning from its mouth. He
Needed his walk to soften his joints.
And we had a daily appointment with the birds.
New green was peeking from the winter earth.
The birds who had not scattered to the forests after
The first detonations kept to their early-spring
Rituals. Like us, they were beginning to sing
Their spring songs and were making new ones.
We could not let war steal everything.
In the park, my old father, hobbled by an older
War, by worries over the evil let loose
Among us, found joy in watching the children,
Feeding the birds, and telling the stories
He never tired of—and for us who loved him,
Well, those old stories made a circle
Of knowledge and affection.
We bought a loaf of bread.
The baker stayed on to help keep the ritual of our lives
Fastened into place. Our genealogies of bones
Are stacked in the graveyard, and live
In the stories we shared this morning, the baker and us.
We will go on, even if there is only one standing
In a sea of blood and loss, one who will tell
The story of who we were and how we fought
For an ordinary morning like this one.
When the earth was beginning to wake
From its cold season.
Old father, you tore off a piece of bread
For the birds gathered at your feet.
They knew to find us here,
This park bench, this prayer of blessing
For the continuum of living.
The fire took you first, old father.
I was stunned.
The sun exploded.
Then I was gone, following you
The way I always did,
First with my eyes, then
When I learned to toddle:
A bird with breadcrumbs in its beak
Fled to the top of the closest
Standing tree.
My mother, your wife,
Was a girl again.
Then you left the wedding feast
As you walked hand in hand
To begin a story.
I was a thought in the shape
Of a spring flower
Emerging from a blood-soaked earth.
How we lived, and lived, and lived
And loved our living.
We did not want to let it go.
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Matisse’s Dance (1990)
Natalie Safir (1935-)
A break in the circle dance of naked women,
dropped stitch between the hands
of the slender figure stretching too hard
to reach her joyful sisters.
Spirals of glee sail from the arms
of the tallest woman. She pulls
the circle around with her fire.
What has she found that she doesn’t
keep losing, her torso
a green-burning torch?
Grass mounds curve ripely beneath
two others who dance beyond the blue.
Breasts swell and multiply and
rhythms rise to a gallop.
Hurry, frightened one and grab on--before
the stich is forever lost, before the dance unravels and a black sun swirls from that space.