Here
are a bunch
of links to poems I like, that I've collected from the internet. You're
welcome to sample around and see what you like.
Edwin Brock was an
English plain-speech resonance poet who made some interesting comments
about what he was trying to accomplish, prior to his reading of the
poem he referred to as his "autobiography:" Song of the Battery Hen.
Click on the link to learn more about him and to access his poem.
How
to
Stuff a Pepper / Nancy Willard This
one is a classic of plain speech resonance. So much displaced meaning,
rising
out of a simple task.
Under
Stars /
Tess Gallagher (Notice how this one drives deep and close into the
simple
reality of mailing a letter, and then see how it deflects to a
digression and
then blossoms into the almost unfathomable:
you
who are
so far away
you
have caused me to look up at the stars. . . .
Again, I
am the
found one, intimate, returned
by all
I touch on the way. )
In November
/
Lisel Mueller (She is one of the now-seldom-sung greats.
Don’t forget it. This poem is almost surreal
in its musing about the changing of reality.)
In Your
Absence
/ Judith Harris (ends with:
It is
only April.
I can't
stop my own life
from
hurrying by.
The
moon, already pacing.
The Peace
of Wild
Things / Wendell Berry (the salvation of nature, but also, feel the
pace
and style of the lines, like a psalm:
I come
into the peace of wild things
who do
not tax their lives with forethought
of
grief. I come into the presence of still water.
And I
feel above me the day-blind stars
waiting
with their light . . .)
The
Woodpecker
Keeps Returning / Jane Hirshfield
Boy and Egg
/
Naomi Shihab Nye (Wow!
This small poem is, in my opinion, masterful!
. . . back
to the house of muttering
hens.)
Supple Cord
/
Naomi Shihab Nye (a unique take on a quirk, and a powerful final line: and we had such long and separate
lives
ahead.)
Fifteen
/
Leslie Monsour (In this one, pay attention to the quiet rhyme and the
classic
meter, reminiscent a little, of Frost’s formalism, as Leslie
accomplishes a modern
capture. Say the poem and feel the
rhythm.)
Early in
the
Morning / Li-Young Lee (breakfast cooking, and a mother running an
ivory
comb through her hair “black as calligrapher’s ink,” combing it
“kempt,” and
the story of a life, and a love, is told)
Silent
Music /
Floyd Skloot (Notice the subtle rhymes and the sonnet form that somehow
manages
not to call a lot of attention to itself as the poet gives us a unique
take on
a musical moment)
Part of a
Legacy /
Frank Steele (still more proof that an odd quirk of family history can
yield
poetry, and insight, and wisdom, and tranquil nostalgia:
some
part of my mother still with me
in the
warmth of my face as I dreamed
baseball
and honeysuckle, sleeping
on
sunlight.)
Then there is:
The Blue Bowl
/ Jane Kenyon
Otherwise / Jane
Kenyon
Selecting a Reader /
Ted
Kooser
After Years / Ted
Kooser
White Eyes / Mary
Oliver
Reckless Poem / Mary
Oliver
The Summer Day /
Mary Oliver
The Rider / Naomi
Shihab Nye
The Space Heater /
Sharon
Olds