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For an Old Girlfriend, Long Dead -- William Logan

Guest poem submitted by Christian T. McCusker :
(Poem #1757) For an Old Girlfriend, Long Dead
 Lying on that blanket, nights on the seventh green--
 in the dry air the faint scent of gasoline,

 nothing above us but the ragged moon,
 nothing between but a whispered soon...

 Well, such was romance in the seventies.
 Watergate and Cambodia, the public lies,

 made our love seem, somehow, more true.
 Of the few things I wanted then, I needed you.

 I remember our last arguments, my angry calls,
 then the long silence, those northern falls

 we drifted toward our newly manufactured lives.
 Does anything else of us survive?

 That day in Paris, perhaps, when you swore
 our crummy hotel was all you were looking for--

 each cobbled Paris street, each dry baguette,
 even the worthless sous nothing you'd forget.

 Outside, a block away, the endless Seine
 flowed roughly, then brightly, then...

 Then nothing. Nothing later went quite that far.
 I remember that Spring. Those breasts. That car.
-- William Logan
(From a recent issue of the New Yorker; I don't have the issue anymore, nor
the date it was published)

--

This poem, for me, encapsulates the memory of any great romance -- while
Logan's details are specific, everyone that I've shared this with has
related to it and sighed as they read the last stanza. The last line, in
particular, seems to me to be absolutely perfect: up until that line Logan
hadn't mentioned the time of year, her breasts, nor any car. Yet I know
exactly who and when he's talking about, and I miss her just as much as he
does.

The melancholy that I feel on a lazy afternoon thinking about a lost love is
exactly this, is exactly what he describes in this poem.

Christian T.

Yellow Tulips -- James Fenton

Guest poem submitted by Aseem Kaul:
(Poem #1756) Yellow Tulips
 Looking into the vase, into the calyx, into the water drop,
 Looking into the throat of the flower, at the pollen stain,
 I can see the ambush love sprung once in the summery wood.
 I can see the casualties where they lay, till they set forth again.

 I can see the lips, parted first in surprise, parted in desire,
 Smile now as silence falls on the yellow-dappled ride
 For each thinks the other can hear each receding thought
 On each receding tide.

 They have come out of the wood now. They are skirting the fields
 Between the tall wheat and the hedge, on the unploughed strips,
 And they believe anyone who saw them would know
 Every secret of their limbs and lips,

 As if, like creatures of legend, they had come down out of the mist
 Back to their native city, and stood in the square.
 And they were seen to be marked at the throat with a certain sign
 Whose meaning all could share.

 *******

 These flowers came from a shop. Really they looked nothing much
 Till they opened as if in surprise at the heat of this hotel.
 Then the surprise turned to a shout, and the girl said, "Shall I chuck them
now
 Or give them one more day? They've not lasted so well."

 "Oh give them one more day. They've lasted well enough.
 They lasted as love lasts, which is longer than most maintain.
 Look at the sign it has left here at the throat of the flower
 And on your tablecloth - look at the pollen stain"
-- James Fenton
(From the August 11 issue of the New York Review of Books)

I like this poem. I like the contrast between the grand, mythic images
surrounding the flowers in the forest and the more mundane concerns of the
shop flowers. I love the first two stanzas and the way they paint so visual
a picture of the flowers in question. And I like the way that Fenton manages
to breathe life into a tired metaphor in the last few stanzas - that
beautiful line about "they've lasted as love lasts, which is longer than
most maintain".

Fenton - who is not unrepresented on Minstrels - is IMHO one of the better
poets writing today, and this poem, while far from being oneof his best
works, is both intelligent and moving enough to prove it.

Aseem.

The Dolly on the Dustcart -- Pam Ayres

Guest poem submitted by Trisha Gupta :
(Poem #1755) The Dolly on the Dustcart
 I'm the dolly on the dustcart,
 I can see you're not impressed,
 I'm fixed above the driver's cab,
 With wire across me chest,
 The dustman see, he noticed me,
 Going in the grinder,
 And he fixed me on the lorry,
 I dunno if that was kinder.

 This used to be a lovely dress,
 In pink and pretty shades,
 But it's torn now, being on the cart,
 And black as the ace of spades,
 There's dirt all round me face,
 And all across me rosy cheeks,
 Well, I've had me head thrown back,
 But we ain't had no rain for weeks.

 I used to be a 'Mama' doll,
 Tipped forward, I'd say, 'Mum'
 But the rain got in me squeaker,
 And now I been struck dumb,
 I had two lovely blue eyes,
 But out in the wind and weather,
 One's sunk back in me head like,
 And one's gone altogether.

 I'm not a soft, flesh coloured dolly,
 Modern children like so much,
 I'm one of those hard old dollies,
 What are very cold to touch,
 Modern dolly's underwear,
 Leaves me a bit nonplussed,
 I haven't got a bra,
 But then I haven't got a bust!

 But I was happy in that doll's house,
 I was happy as a Queen,
 I never knew that Tiny Tears,
 Was coming on the scene,
 I heard of dolls with hair that grew,
 And I was quite enthralled,
 Until I realised my head
 Was hard and pink... and bald.

 So I travel with the rubbish,
 Out of fashion, out of style,
 Out of me environment,
 For mile after mile,
 No longer prized... dustbinised!
 Unfeminine, Untidy,
 I'm the dolly on the dustcart,
 And there's no collection Friday.
-- Pam Ayres
I've loved this poem since I first read it at age 11 or so. Though my memory
of it was triggered by reading 'Clockwork Doll' which just appeared on the
list, Dolly on the Dustcart is certainly less sombre - and is almost
unfailingly categorised as a "children's poem".

And it does have the most amazing read-aloud quality: such as
        "The dustman see, he noticed me,
         Going in the grinder,
         And he fixed me on the lorry,
         I dunno if that was kinder."

But as I looked at again today after many years, I realized again why its
self-deprecatory tone has always seemed to me to be more than simply
hilarious. It combines a charming naivete with a sort of wry, post-facto
resignation... as for
example in
        "I heard of dolls with hair that grew,
         And I was quite enthralled,
         Until I realised my head
         Was hard and pink... and bald."

On the whole, I think, the poem serves rather well as a sharp and funny
comment on the whole femininity thing.

Trisha

Clockwork Doll -- Dalia Ravikovitch

Guest poem submitted by Sariel Har-Peled:
(Poem #1754) Clockwork Doll
 I was a clockwork doll that night,
 and I turned left and I turned right
 and when I fell and broke to bits,
 they recomposed my wax and wits.

 I was a proper doll once more,
 my manner carefully demure;
 and yet a doll of another kind
 an injured twig that tendrils bind.

 And when they asked me to a ball
 although my steps were rhythmical,
 they partnered me with dog and cat.

 My hair was gold, my eyes were blue.
 I wore a dress where flowers grew.
 Cherries blazed on my straw hat.
-- Dalia Ravikovitch
        Translated by Robert Friend.

Dalia Rabikovitch was an Israeli poet who recently committed suicide at age
69. The above poem capture well the pressure to conform applied to each one
of us by society (and even more so to females), and the continuing
suspicious of society if you once fail to comply.  And ever since I read
this poem for the first time, every once in awhile, I feel like I am a
"Clockwork doll".

For more details on Dalia Ravikovitch, see
        http://www.haaretzdaily.com/hasen/spages/615257.html.

Sariel.

Vanitas Vanitatum -- John Webster

Guest poem sent in by Rajeev Cherukupalli
(Poem #1753) Vanitas Vanitatum
 All the flowers of the spring
 Meet to perfume our burying;
 These have but their growing prime,
 And man does flourish but his time:
 Survey our progress from our birth;
 We are set, we grow, we turn to earth.
 Courts adieu, and all delights,
 All bewitching appetites!
 Sweetest breath and clearest eye,
 Like perfumes, go out and die;
 And consequently this is done
 As shadows wait upon the sun.
 Vain ambition of kings
 Who seek by trophies and dead things
 To leave a living name behind,
 And weave but nets to catch the wind.
-- John Webster
Neville Clemens's submission ("Dilemma", by David Budbill, Poem #1753)
reminded me of this poem. There's probably a reason for Longfellow's "And,
departing, leave behind us / footprints on the sands of time;".  First the
footsteps, and then, though not always, the footprints. Until the sands
shift once again.

Webster's poem was published in "The Devil's Law Case" circa 1610. More on
Webster at

http://www.luminarium.org/sevenlit/webster/

Rajeev

[Martin adds]

The theme must have been a popular one at the time - I'm struck by the
similarities to Shirley's "Death the Leveller". Shirley was a contemporary
of Webster's, but I'm not sure which poem came first.