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The Apple Trees at Olema
Robert Hass
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eBook - ePub
The Apple Trees at Olema
Robert Hass
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Ă propos de ce livre
"No practicing poet has more talent than Robert Hass."
â Atlantic Monthly
The National Book Award-winning author of Time and Materials, Robert Hass is one of the most revered of all living poets. With The Apple Trees at Olema, the former Poet Laureate and winner of the 2008 Pulitzer Prize offers twenty new and selected poems grounded in the beauty of the physical world. As with all of the collections of this great artist's work, published far too infrequently, The Apple Trees at Olema is a cause for celebration.
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Informations
Sujet
LiteratureSous-sujet
Literary Criticism in PoetryTime and Materials
IOWA, JANUARY
In the long winter nights, a farmerâs dreams are narrow.
Over and over, he enters the furrow.
AFTER TRAKL
October night, the sun going down,
Evening with its brown and blue
(Music from another room),
Evening with its blue and brown.
October night, the sun going down.
ENVY OF OTHER PEOPLEâS POEMS
In one version of the legend the sirens couldnât sing.
It was only a sailorâs story that they could.
So Odysseus, lashed to the mast, was harrowed
By a music that he didnât hearâplungings of sea,
Wind-sheer, the off-shore hunger of the birdsâ
And the mute women gathering kelp for garden mulch,
Seeing him strain against the cordage, seeing
The awful longing in his eyes, are changed forever
On their rocky waste of island by their imagination
Of his imagination of the song they didnât sing.
A SUPPLE WREATH OF MYRTLE
Poor Nietzsche in Turin, eating sausage his mother
Mails to him from Basel. A rented room,
A small square window framing August clouds
Above the mountain. Brooding on the form
Of things: the dangling spur
Of an Alpine columbine, winter-tortured trunks
Of cedar in the summer sun, the warp in the aspenâs trunk
Where it torqued up through the snowpack.
âEverywhere the wasteland grows; woe
To him whose wasteland is within.â
Dying of syphilis. Trimming a luxuriant mustache.
In love with the opera of Bizet.
FUTURES IN LILACS
âTender little Buddha,â she said
Of my least Buddha-like member.
She was probably quoting Allen Ginsberg,
Who was probably paraphrasing Walt Whitman.
After the Civil War, after the death of Lincoln,
That was a good time to own railroad stocks,
But Whitman was in the Library of Congress,
Researching alternative Americas,
Reading up on the curiosities of Hindoo philosophy,
Studying the etchings of stone carvings
Of strange couplings in a book.
She was taking off a blouse,
Almost transparent, the color of a silky tangerine.
From Capitol Hill Walt Whitman must have been able to see
Willows gathering the river haze
In the cooling and still-humid twilight.
He was in love with a trolley conductor
In the summer ofâwhat was it?â1867? 1868?
THREE DAWN SONGS IN SUMMER
1.
The first long shadows in the fields
Are like mortal difficulty.
The first birdsong is not like that at all.
2.
The light in summer is very young and wholly unsupervised.
No one has made it sit down to breakfast.
Itâs the first one up, the first one out.
3.
Because he has opened his eyes, he must be light
And she, sleeping beside him, must be the visible,
One ringlet of hair curled about her ear.
Into which he whispers, âWake up!â
âWake up!â he whispers.
THE DISTRIBUTION OF HAPPINESS
Bedcovers thrown back,
Tangled sheets,
Lustrous in moonlight.
Image of delight,
or longing,
or torment,
Depending on whoâs
Doing the imagining.
(I know: you are the one
Pierced through, Iâm the one
Bent low beside you, trying
To peer into your eyes.)
ETYMOLOGY
Her body by the fire
Mimicked the light-conferring midnights
of philosophy.
Suppose they are dead now.
Isnât âdead nowâ an odd expression?
The sound of the owls outside
And the wind soughing in the trees
Catches in their ears, is sent out
In scouting parties of sensation down their spines.
If you say it became language or it was nothing,
Who touched whom?
In what hurtle of starlight?
Poor language, poor theory
of language. The shards of skull
In the Egyptian museum looked like maps of the wind-eroded
Canyon labyrinths from which,
Standing on the verge
In the yellow of a dwindling fall, you hear
Echo and reecho the cries of terns
Fishing the worked silver of a rapids.
And what to say of her wetness? The Anglo-Saxons
Had a name for it. They called it silm.
They were navigators. It was also
Their word for the look of moonlight on the sea.
THE PROBLEM OF DESCRIBING COLOR
If I saidâremembering in summer,
The cardinalâs sudden smudge of red
In the bare gray winter woodsâ
If I said, red ribbon on the cocked straw hat
of the girl with pooched-out lips
Dangling a wiry lapdog
In the painting by Renoirâ
If I said fire, if I said blood welling fro...