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Last Poems: XI -- A E Housman

Guest poem submitted by Stephen Axbey, who writes
prefatorily, "Great theme - is there still time to squeeze this one in? - the
definitive 'at work' poem" :
(Poem #539) Last Poems: XI
 Yonder see the morning blink:
    The sun is up, and up must I,
 To wash and dress and eat and drink
 And look at things and talk and think
    And work, and God knows why.

 Oh often have I washed and dressed
    And what's to show for all my pain?
 Let me lie abed and rest:
 Ten thousand times I've done my best
    And all's to do again.
-- A E Housman
Don't have any time for a biog. of Housman - who needs it anyway? - but this
poem I think is a tremendous tour-de-force - just reading it at my desk fills me
with depression and lethargy. It should probably be banned from the workplace
<grin>. But who hasn't felt that way from time to time?

Steve.

[thomas adds]

This week's theme seems to have struck a chord with our readers - several people
have written in with suggestions and submissions. Our thanks to all of you;
we'll continue running 'work poems' until we run out. (Both Martin and myself
have a few to contribute as well; you have been warned!).

Housman biographies can, by the way, be found at poem #33 and poem #377.

thomas.

Back From Vacation -- John Updike

Guest poem submitted by Vikram Doctor , as part of the
theme "Poetry at Work":
(Poem #538) Back From Vacation
 "Back from vacation", the barber announces,
 or the postman, or the girl at the drugstore, now tan.
 They are amazed to find the workaday world
 still in place, their absence having slipped no cogs,
 their customers having hardly missed them, and
 there being so sparse an audience to tell of the wonders,
 the pyramids they have seen, the silken warm seas,
 the nighttimes of marimbas, the purchases achieved
 in foreign languages, the beggars, the flies,
 the hotel luxury, the grandeur of marble cities.
 But at Customs the humdrum pressed its claims.
 Gray days clicked shut around them; the yoke still fit,
 warm as if never shucked. The world is still so small,
 the evidence says, though their hearts cry, "Not so!"
-- John Updike
 From 'For A Living: The Poetry of Work', ed. Nicholas Coles and Peter Oresick.

As in nearly anything he writes, Updike is elegant and skilful. We've all felt
the way he does; coming back after a holiday, our minds expanded, our day to day
world then seems so questionable and small. I must admit that most of my job
shifts tend to have followed holidays abroad, though I hope my boss never reads
this or I'd probably never get leave!

Another angle on the poem: I don't know where it was first published, but it
seems such a quintessentially magazine poem. You know what I mean - those neat,
not too long poems printed in magazines like the New Yorker. I suppose its silly
to think of them as a class of poems in themselves, but they seem to share
qualities: of being brevity and usually they tend to be mostly descriptive, with
a neat thought slipped in at the end, like this.

If that sounds condescending, it's not meant to be. I like reading poems like
that, small crunchy croutons threwn into larger stews of prose.

Vikram.

The Former Miner Returns from His First Day as a Service Worker (at a McDonald's somewhere in Appalachia) -- Mark Defoe

This week we'll be running a guest theme, "Poems at Work". The theme was
suggested (and most of the poems submitted) by Vikram Doctor:
(Poem #537) The Former Miner Returns from His First Day as a Service Worker (at a McDonald's somewhere in Appalachia)
 All day he crushed the spongy buns, pawed at
 The lids of burger boxes and kiddie pacs
 As if they were chinese puzzles.

 All day long his hands ticked, ready to latch on
 Or heave or curl around a tool
 Heavier than a spatula,

 All day he rubbed his eyes in the crisp light.
 All day the blue tile, the polished chrome, said
 Be nimble, be jolly, be quick.

 All day he grinned while the public, with bland
 Or befuddled faces, scowled over his head
 And mumbled, whispered, snarled, and snapped.

 All day his coworkers, pink and scrubbed,
 Prattled and glided and skipped while he,
 All bulk and balk, rumbled and banged.

 Near shift's end he daydreamed - of the clang
 Of rock on steel, the skreel
 Of a conveyer belt, the rattling whine
 Of the man-trip, the miner's growl of gears
 As if gnarled, toothing at the seam.

 He makes his slow way home, shadow among
 Roadside shadows, groping back in himself
 For that deep, sheltering dark.
 He has never been so tired.
 His hands have never been so clean.
-- Mark Defoe
from "For A Living: The Poetry of Work", ed. Nicholas Coles and Peter Oresick.

I really liked the way this poem captures the image of a passing of a way of
life. Perhaps it even makes a political point, but not in any in-your-face way.
The language is spare and to the point, yet poetic: "shadow among/Roadside
shadows, groping back in himself". And the last line makes its point in a
quietly devastating way.

Mark Defoe (b. 1942) who now teaches in West Virginia, has also worked as a
farmhand, a bellman, a waiter, a circulation manager for a large newspaper, an
advertising copywriter, and a free-lance writer. His two books of poetry are
Bringing Home the Breakfast and Palmate.

Vikram.

[On the theme]

I don't know what you'll feel about these poems, but they interested me because
one of the subjects that interests me, and on which I write quite a bit, is the
experience of work. Not what work does - not the business a person is in, or his
or her profession, or what they produce - but work itself as the human
action that takes up so much of our lives.

It's not something most poets feel like writing on, despite the fact that poetry
not being exactly a paying living, most poets have had to work in other fields.
That's why I thought that what poetry does exist about the experience of work is
derogatory or contemptuous of it (like Larkin's Toad poem).

But then I discovered two really good anthologies on the subject: For A Living:
The Poetry of Work edited by Nicholas Coles and Peter Oresick, and the Oxford
Book of Work, edited by Keith Thompson. They opened up a whole new perspective
on the literature of work, and I'd like to share some of these with the list.

The anthologies are somewhat different. The Oxford Book includes all types of
literature, not just poetry, and is mostly classical from well known writers.
For A Living is contemporary, part of the what seems to be the democratisation
of poetry, with people of all kinds, all backgrounds writing poetry, mostly
personal.  This has admittedly produced vast floods of terrible poetry, but some
genuinely good writers have come out of it, and sifted through by expert readers
like the anthology editors you get a range of pretty good stuff, that does what
poetry does so well: sharply illuminate a moment, an idea, a person, a thought.

Vikram.

[Endnote]

I just noticed that today is Labor Day in the United States. Rather apt, that.

thomas.

Lighter than a feather -- Diana Bridge

Guest poem submitted by Juned Shaikh:
(Poem #536) Lighter than a feather
 I

 His voice was a broken tile
 in a classical setting,
 a clay edge grating against sky.

 Now his silence speaks to
 the classified space
 in the front of the square.


 II

 A man in a corduroy hat is spinning
 over the sea. Gu Cheng,
 feeling light with a poem.

 This was in the early days when,
 the glaze not yet dry,
 he would sit watching sharp

 incredible outlines
 rise out of the harbour
 needing such a harbour

 to displace waves
 of pale terracotta branded with
 the tight stamp of a seal.

 Did he think he was like
 Any young man clearing out a pigsty
 Or a property?

 He was his mother's obstinate child.


 III

 He left behind a set of graded bells.

 He left behind
 the slow build of stories,
 tiles placed across the centuries,

 each one taking off diagonally
 from the one before.

 His pain trickled down
 through the floor boards.

 Though he left with a poem
 in his arms, he left
 behind too much.


 IV

 Now he's lighter than a feather,
 less material than snow.

 In the Duke's hunting lodge
 the stories fall in cryptic patterns

 Cold blows the north wind,
 Thick falls the snow.
 Take my hand and go, love

 Until the striped deer is back
 With its scholars and poets gather
 in the garden once more.
-- Diana Bridge
Gu Cheng was a young Chinese poet, one of the group known as the 'Misty Poets'.
He came to New Zealand in the late 1980s with his wife, taught at Auckland
University and bought a property on Waiheke Island. He committed suicide there a
few years later, after first killing his wife, and left behind a young son. Gu
Cheng was sent to the countryside during the Cultural Revolution to raise pigs.
'Obstinate child' is a reference to one of his poems. The penultimate stanza is
adapted from Waley's translation of 'North Wind', from 'The Book of Songs'.

A native of New Zealand, Diana Bridge spent a large part of her life in Asia.
Being a `diplomat's wife' helped her travel extensively in Asia (particularly
India and the Far East) and develop an insight into the socio-political
conditions. Her writing helped her create an identity of her own, and over throw
the tag of a diplomat's wife.

Juned.

The Working Party -- Siegfried Sassoon

Guest poem submitted by Anustup Datta:
(Poem #535) The Working Party
 Three hours ago he blundered up the trench,
 Sliding and poising, groping with his boots;
 Sometimes he tripped and lurched against the walls
 With hands that pawed the sodden bags of chalk.
 He couldn't see the man who walked in front;
 Only he heard the drum and rattle of feet
 Stepping along barred trench boards, often splashing
 Wretchedly where the sludge was ankle-deep.
 Voices would grunt "Keep to your right -- make way!"
 When squeezing past some men from the front-line:
 White faces peered, puffing a point of red;
 Candles and braziers glinted through the chinks
 And curtain-flaps of dug-outs; then the gloom
 Swallowed his sense of sight;  he stooped and swore
 Because a sagging wire had caught his neck.
 A flare went up; the shining whiteness spread
 And flickered upward, showing nimble rats
 And mounds of glimmering sand-bags, bleached with rain;
 Then the slow silver moment died in dark.
 The wind came posting by with chilly gusts
 And buffeting at the corners, piping thin.
 And dreary through the crannies; rifle-shots
 Would split and crack and sing along the night,
 And shells came calmly through the drizzling air
 To burst with hollow bang below the hill.
 Three hours ago, he stumbled up the trench;
 Now he will never walk that road again:
 He must be carried back, a jolting lump
 Beyond all needs of tenderness and care.
 He was a young man with a meagre wife
 And two small children in a Midland town,
 He showed their photographs to all his mates,
 And they considered him a decent chap
 Who did his work and hadn't much to say,
 And always laughed at other people's jokes
 Because he hadn't any of his own.
 That night when he was busy at his job
 Of piling bags along the parapet,
 He thought how slow time went, stamping his feet
 And blowing on his fingers, pinched with cold.
 He thought of getting back by half-past twelve,
 And a tot of rum to send him warm to sleep
 In draughty dug-out frowsty with the fumes
 Of coke, and full of snoring weary men.
 He pushed another bag along the top,
 Craning his body outward; then a flare
 Gave one white glimpse of No Man's Land and wire;
 And as he dropped his head the instant split
 His startled life with lead, and all went out.
-- Siegfried Sassoon
(one of a series of war poems submitted by Anustup; see poem #481 and
poem #503 for two previous instances; there are more to come - t.)

What can one say about these poems? Any poor words that I may construe are but
woefully inadequate beside the stark reality of these pictures of war and
suffering in the trenches. The impulse to string together some of these was
triggered by re-reading Rupert Brooke's "The Soldier" (Poem #280 on the
Minstrels) - a soulful evocation of fighting and dying for one's country. The
wistful melancholy of that poem is in sharp contrast to the dark underbelly of
war portrayed by Sassoon and Owen.

The first poem is by Sassoon, as grisly as any that Owen wrote - for instance,
one is forcibly reminded of "Dulce et Decorum est" (Poem #132 on the Minstrels).
A worthy poem for the Tomb of the Unknown Soldier anywhere - far more
appropriate than "For the sake of their tomorrows". But great poetry
nevertheless - see for instance the craftsmanship of the last two lines, how
that freeze-frame of the fatal bullet is captured against the backdrop of the
flare's harsh light.

Anustup.