Saint Francis and the Birds

When Francis preached love to the birds
They listened, fluttered, throttled up
Into the blue like a flock of words

Released for fun from his holy lips.
Then wheeled back, whirred about his head,
Pirouetted on brothers’ capes.

Danced on the wing, for sheer joy played
And sang, like images took flight.
Which was the best poem Francis made,

His argument true, his tone light.

--Seamus Heaney (1939-2013), Irish poet, Northern Irish poet, Nobel Prize winner, Oxford Professor of Poetry, and one of the pre-eminent poets of the 20th century.

St. Kevin and the Blackbird

And then there was St Kevin and the blackbird.
The saint is kneeling, arms stretched out, inside
His cell, but the cell is narrow, so

One turned-up palm is out the window, stiff
As a crossbeam, when a blackbird lands
And lays in it and settles down to nest.

Kevin feels the warm eggs, the small breast, the tucked
Neat head and claws and, finding himself linked
Into the network of eternal life,

Is moved to pity: now he must hold his hand
Like a branch out in the sun and rain for weeks
Until the young are hatched and fledged and flown.

*

And since the whole thing’s imagined anyhow,
Imagine being Kevin. Which is he?
Self-forgetful or in agony all the time

From the neck on out down through his hurting forearms?
Are his fingers sleeping? Does he still feel his knees?
Or has the shut-eyed blank of underearth

Crept up through him? Is there distance in his head?
Alone and mirrored clear in love’s deep river,
‘To labour and not to seek reward,’ he prays,

A prayer his body makes entirely
For he has forgotten self, forgotten bird
And on the riverbank forgotten the river’s name.

--Seamus Heaney (1939-2013), Irish poet, professor, winner of the 1995 Novel prize in Literature.

St. Kevin of Glendalough's feast day is June 3.

Seamus Heaney reads the poem and explicates it below:

A Brigid's Girtle

Last time I wrote I wrote from a rustic table
Under magnolias in South Carolina
As blossoms fell on me, and a white gable
As clean-lined as the prow of a white liner

Bisected sunlight in the sunlit yard.
I was glad of the early heat and the first quiet
I'd had for weeks. I heard the mocking bird
And a delicious, articulate

Flight of small plinkings from a dulcimer
Like feminine rhymes migrating to the north
Where you faced the music and the ache of summer
And earth's foreknowledge gathered in the earth.

Now it's St Brigid's Day and the first snowdrop
In County Wicklow, and this a Brigid's Girdle
I'm plaiting for you, an airy fairy hoop
(Like one of those old crinolines they'd trindle),

Twisted straw that's lifted in a circle
To handsel and to heal, a rite of spring
As strange and lightsome and traditional
As the motions you go through going through the thing.

--Seamus Heaney (1939-2013 ) Irish poet, playwright, translator, and teacher, Nobel Prize Laureate in Literature, from The Spirit Level.

Today is the Feast of St. Brigid of Kildare.

Evening Prayer

I believe my sin
to be entirely common:
the request for help
Masking request for favor
and the plea for pity
thinly veiling complaint.

So little at peace in the spring evening,
I pray for strength, for direction,
but I also ask
to survive my illness
(the immediate one)—never mind
anything in the future.
I make this a special point,
this unconcern for the future,
also the courage I will have acquired by then
to meet my suffering alone
but with heightened fortitude.

Tonight, in my unhappiness,
I wonder what qualities this presumes
in the one who listens.
And as the breeze stirs
the leaves of the little birch tree,
I construct a presence
wholly skeptical and wholly tender,
thus incapable of surprise.

I believe my sin is common, therefore
intended; I can feel
the leaves stir, sometimes
with words, sometimes without,
as though the highest form of pity
could be irony.

Bedtime, they whisper.
Time to begin lying.


--Louise Gluck (1943- ), American poet, and teacher, US Poet Laureate 2003, awarded the Nobel Prize for Literature for 2020

A Found Poem

Like everybody else, I bowed my head
during the consecration of the bread and wine
lifted my eyes to the raised host and raised chalice,
believed (whatever it means) that a change occurred.
I went to the altar rails and received the mystery
on my tongue, returned to my place, shut my eyes fast, made
an act of thanksgiving, opened my eyes and felt
time starting up again.
There was never a scene
when I had it out with myself or with an other.
The loss of faith occurred off stage. Yet I cannot
disrespect words like ‘thanksgiving’ or ‘host’
or even ‘communion wafer.’ They have an undying
pallor and draw, like well water far down.

– Seamus Heaney (1939- 2013) Northern Irish poet, Nobel Prize winner, Oxford Professor of Poetry, and one of the pre-eminent poets of the 20th century 

The Peninsula

When you have nothing more to say, just drive 

For a day all round the peninsula. 

The sky is tall as over a runway, 

The land without marks, so you will not arrive 

But pass through, though always skirting landfall. 

At dusk, horizons drink down sea and hill, 

The ploughed field swallows the whitewashed gable 

And you’re in the dark again. Now recall 

The glazed foreshore and silhouetted log, 

That rock where breakers shredded into rags, 

The leggy birds stilted on their own legs, 

Islands riding themselves out into the fog, 

And drive back home, still with nothing to say 

Except that now you will uncode all landscapes 

By this: things founded clean on their own shapes, 

Water and ground in their extremity.

– Seamus Heaney (1939- 2013) Northern Irish poet, Nobel Prize winner, Oxford Professor of Poetry, and one of the pre-eminent poets of the 20th century 

Miscegenation

In 1965 my parents broke two laws of Mississippi;
they went to Ohio to marry, returned to Mississippi.

They crossed the river into Cincinnati, a city whose name
begins with a sound like sin, the sound of wrong—mis in Mississippi.

A year later they moved to Canada, followed a route the same
as slaves, the train slicing the white glaze of winter, leaving Mississippi.

Faulkner’s Joe Christmas was born in winter, like Jesus, given his name
for the day he was left at the orphanage, his race unknown in Mississippi.

My father was reading War and Peace when he gave me my name.
I was born near Easter, 1966, in Mississippi.

When I turned 33 my father said, It’s your Jesus year—you’re the same
age he was when he died. It was spring, the hills green in Mississippi.

I know more than Joe Christmas did. Natasha is a Russian name—
though I’m not; it means Christmas child, even in Mississippi.


--Natasha Trethewey (1966- ), African American poet, US Poet Laureate 2012- 2014, from Native Guard, 2007, which was awarded the Pulitzer Prize.

Photo: Richard and Mildred Loving, whose lawsuit declared miscegenation laws unconstitutional on June 12, 1967,  from Time magazine.

The Wild Iris

At the end of my suffering
there was a door.

Hear me out: that which you call death
I remember.

Overhead, noises, branches of the pine shifting.
Then nothing. The weak sun
flickered over the dry surface.

It is terrible to survive
as consciousness
buried in the dark earth.

Then it was over: that which you fear, being
a soul and unable
to speak, ending abruptly, the stiff earth
bending a little. And what I took to be
birds darting in low shrubs.

You who do not remember
passage from the other world
I tell you I could speak again: whatever
returns from oblivion returns
to find a voice:

from the center of my life came
a great fountain, deep blue
shadows on azure seawater.

----Louise Gluck (1943- ), American poet, and teacher, US Poet Laureate 2003,  awarded the Nobel Prize for Literature for 2020. Poem from The Wild Iris, 1992.

Vespers ["Once, I believed in you"]

Once I believed in you; I planted a fig tree.
Here, in Vermont, country
of no summer. It was a test: if the tree lived,
it would mean you existed.

By this logic, you do not exist. Or you exist
exclusively in warmer climates,
in fervent Sicily and Mexico and California,
where are grown the unimaginable
apricot and fragile peach. Perhaps
they see your face in Sicily; here we barely see
the hem of your garment. I have to discipline myself
to share with John and Noah the tomato crop.

If there is justice in some other world, those
like myself, whom nature forces
into lives of abstinence, should get
the lion's share of all things, all
objects of hunger, greed being
praise of you. And no one praises
more intensely than I, with more
painfully checked desire, or more deserves
to sit at your right hand, if it exists, partaking
of the perishable, the immortal fig,
which does not travel.

--Louise Gluck (1943- ), American poet,  and teacher, US Poet Laureate 2003,  awarded the Nobel Prize for Literature for 2020 announced today, the first American so honored since Toni Morrison in 1993. Poem from The Wild Iris, 1992.

Photo by Christine Grillo, From Last Word on Nothing blog, "Guest Post: The Death of a Fig Tree: My Climate Change" found here.

Vespers ["In your extended absence, you permit me"]

In your extended absence, you permit me
use of earth, anticipating
some return on investment. I must report
failure in my assignment, principally
regarding the tomato plants.
I think I should not be encouraged to grow
tomatoes. Or, if I am, you should withhold
the heavy rains, the cold nights that come
so often here, while other regions get
twelve weeks of summer. All this
belongs to you: on the other hand,
I planted the seeds, I watched the first shoots
like wings tearing the soil, and it was my heart
broken by the blight, the black spot so quickly
multiplying in the rows. I doubt
you have a heart, in our understanding of
that term. You who do not discriminate
between the dead and the living, who are, in consequence,
immune to foreshadowing, you may not know
how much terror we bear, the spotted leaf,
the red leaves of the maple falling
even in August, in early darkness: I am responsible
for these vines.

--Louise Gluck (1943- ), American poet,  and teacher, US Poet Laureate 2003,  awarded the Nobel Prize for Literature for 2020 announced today, the first American so honored since Toni Morrison in 1993. Poem from The Wild Iris, 1992.

Lightenings viii

The annals say: when the monks of Clonmacnoise
Were all at prayers inside the oratory
A ship appeared above them in the air.
The anchor dragged along behind so deep
It hooked itself into the altar rails
And then, as the big hull rocked to a standstill,
A crewman shinned and grappled down a rope
And struggled to release it. But in vain.
`This man can’t bear our life here and will drown,’
The abbot said, `Unless we help him.’ So 
They did, the freed ship sailed and the man climbed back
Out of the marvelous as he had known it.

--Seamus Heaney (1939- ), Irish poet, recipient of the Nobel Prize in Literature, 1996


Image: Ruins of the Cathedral at Clonmacnoise, Ireland