St. Martin's Summer

Though flowers have perished at the touch
Of Frost, the early comer,
I hail the season loved so much,
The good St. Martin's summer.

O gracious morn, with rose-red dawn,
And thin moon curving o'er it!
The old year's darling, latest born,
More loved than all before it!

How flamed the sunrise through the pines!
How stretched the birchen shadows,
Braiding in long, wind-wavered lines
The westward sloping meadows!

The sweet day, opening as a flower
Unfolds its petals tender,
Renews for us at noontide's hour
The summer's tempered splendor.

The birds are hushed; alone the wind,
That through the woodland searches,
The red-oak's lingering leaves can find,
And yellow plumes of larches.

But still the balsam-breathing pine
Invites no thought of sorrow,
No hint of loss from air like wine
The earth's content can borrow.

The summer and the winter here
Midway a truce are holding,
A soft, consenting atmosphere
Their tents of peace enfolding.

The silent woods, the lonely hills,
Rise solemn in their gladness;
The quiet that the valley fills
Is scarcely joy or sadness.

How strange! The autumn yesterday
In winter's grasp seemed dying;
On whirling winds from skies of gray
The early snow was flying.

And now, while over Nature's mood
There steals a soft relenting,
I will not mar the present good,
Forecasting or lamenting.

My autumn time and Nature's hold
A dreamy tryst together,
And, both grown old, about us fold
The golden-tissued weather.

I lean my heart against the day
To feel its bland caressing;
I will not let it pass away
Before it leaves its blessing.

God's angels come not as of old
The Syrian shepherds knew them;
In reddening dawns, in sunset gold,
And warm noon lights I view them.

Nor need there is, in times like this
When heaven to earth draws nearer,
Of wing or song as witnesses
To make their presence clearer.

O stream of life, whose swifter flow
Is of the end forewarning,
Methinks thy sundown afterglow
Seems less of night than morning!

Old cares grow light; aside I lay
The doubts and fears that troubled;
The quiet of the happy day
Within my soul is doubled.

That clouds must veil this fair sunshine
Not less a joy I find it;
Nor less yon warm horizon line
That winter lurks behind it.

The mystery of the untried days
I close my eyes from reading;
His will be done whose darkest ways
To light and life are leading!

Less drear the winter night shall be,
If memory cheer and hearten
Its heavy hours with thoughts of thee,
Sweet summer of St. Martin!

-- John Greenleaf Whittier (1807-1892), American Quaker poet

Sestina

September rain falls on the house.

In the failing light, the old grandmother

sits in the kitchen with the child
beside the Little Marvel Stove,
reading the jokes from the almanac,
laughing and talking to hide her tears.

She thinks that her equinoctial tears
and the rain that beats on the roof of the house
were both foretold by the almanac,
but only known to a grandmother.
The iron kettle sings on the stove.
She cuts some bread and says to the child,

It's time for tea now; but the child
is watching the teakettle's small hard tears
dance like mad on the hot black stove,
the way the rain must dance on the house.
Tidying up, the old grandmother
hangs up the clever almanac

on its string. Birdlike, the almanac
hovers half open above the child,
hovers above the old grandmother
and her teacup full of dark brown tears.
She shivers and says she thinks the house
feels chilly, and puts more wood in the stove.

It was to be, says the Marvel Stove.
I know what I know, says the almanac.
With crayons the child draws a rigid house
and a winding pathway. Then the child
puts in a man with buttons like tears
and shows it proudly to the grandmother.

But secretly, while the grandmother
busies herself about the stove,
the little moons fall down like tears
from between the pages of the almanac
into the flower bed the child
has carefully placed in the front of the house.

Time to plant tears, says the almanac.
The grandmother sings to the marvelous stove
and the child draws another inscrutable house.

--Elizabeth Bishop (1911-1979), poet and translator, US Poet Laureate 1949-1950, Pulitzer Prize and National Book Award winner

Last Day of Summer

Yours is the day, yours also the night;

    you established the luminaries and the sun.

You have fixed all the bounds of the earth;

    you made summer and winter.

— Psalm 74:16-17

It is time to gather
the green tomatoes,
even as the day and night are at equinox.
Gourds lie drunkenly in the fields.
The crows exult in thuggery
as they hog the birdfeeders, the jays
cursing them with frat-boy fluency.
Strange migrants, Nashville warblers, phoebes, and vireos,
belly up like tourists in a foreign pub,
nervously observing the commotion,
in the basement of the pecking order.

Whether you call it
haying season
or hay-fever season
reveals your real relationship to the land:
as giver or nuisance.

After years of living in a maze of suburban
lawns crowding haphazardly against each other
like mah-jongg tiles midgame, we now live
where folks like this farmer own tractors unironically,
faded rust colored, almost salmon pink
International Harvesters tilting and
heeling, sailboats in a sea of grass. He’s dragging
a wheel rake behind him, peering over his shoulder
in Half Lord of Fishes pose, the farmer-yogi sagely
trails windrows behind, a serpent effigy mound,
ceremoniously marking the celestial season
transition to equinox
after darkfall.

There’s a sweet clean fragrance of the dew 
vaporizing in the heat
as the grass is tedded rather than tended.
Let the sun do his work,
this final summer sun
in all faithfulness. Summer lingers
until earth turn away at the coming twilight.

The last day of summer is not yet over,
despite the barbarism of storefronts 
full of sweaters, cinnamon, skeletons, even Santas. It is
a precious time of turning from green to gold,
of tending to harvest, of lining up 

what has been received:
this last summer sunset
with gratitude and grace.

-- Leslie Scoopmire, first published this day at Episcopal Journal's Speaking to the Soul on September 22, 2022.

[what if a much of a which of a wind]

what if a much of a which of a wind
gives truth to the summer's lie;
bloodies with dizzying leaves the sun
and yanks immortal stars awry?
Blow king to beggar and queen to seem
(blow friend to fiend:blow space to time)
—when skies are hanged and oceans drowned,
the single secret will still be man

what if a keen of a lean wind flays
screaming hills with sleet and snow:
strangles valleys by ropes of thing
and stifles forests in white ago?
Blow hope to terror;blow seeing to blind
(blow pity to envy and soul to mind)
—whose hearts are mountains, roots are trees,
it's they shall cry hello to the spring

what if a dawn of a doom of a dream
bites this universe in two,
peels forever out of his grave
and sprinkles nowhere with me and you?
Blow soon to never and never to twice
(blow life to isn't: blow death to was)
—all nothing's only our hugest home;
the most who die,the more we live

--e. e. cummings (1894-1962) American lyric poet and playwright

Leavetaking

Nearing the start of that mysterious last season
Which brings us to the close of the other four,
I’m somewhat afraid and don’t know how to prepare
So I will praise you.

I will praise you for the glaze on buttercups
And for the pearly scent of wild fresh water
And the great crossbow shapes of swans flying over
With that strong silken threshing sound of wings
Which you gave them when you made them without voices.

And I will praise you for crickets.
On starry autumn nights
When the earth is cooling
Their rusty diminutive music
Repeated over and over
Is the very marrow of peace.

And I praise you for crows calling from treetops
The speech of my first village,
And for the sparrow’s flash of song
Flinging me in an instant
The joy of a child who woke
Each morning to the freedom
Of her mother’s unclouded love
And lived in it like a country.

And I praise you that from vacant lots
From only broken glass and candy wrappers
You raise up the blue chicory flowers.

I thank you for that secret praise
Which burns in every creature,
And I ask you to bring us to life
Out of every sort of death

And teach us mercy.

--Anne Porter (1911-2011), Roman Catholic poet, from Living Things: Collected Poems

The Way Prayer Rises

 

The way the air holds warmth 

like a brimming teacup, tenderly
lifting the turkey vultures so high
their grace is all you see, as they trace
lazy lemniscates 
                     forever,
                           forever,
                               forever,
balancing on a thermal delicately,
black-winged angels gravely waltzing 
           atop the head of a pin

The way the painted sunflower bows
her head under the weight of the bumblebee
and the tickseed heads bristle with hyphenated seeds
that will scatter their blessings over 
the living earth
     and prepare a table before the goldfinch
        in the presence of those who treasure her

The way September’s grasshopper
rasps his way from ditches to gravel roads
his battered wings extolling his travels even as
newborn monarchs iron their wings
     under a radiant, dog-summer sun
          and shadows with edges like knives

The way the redbud leaves dance–
a line in the canopy shifting green to citrine
affirming the beauty of repair, healing, and resilience
like a vein of gold repairing a broken pot
      made more beautiful
            for the continued life it offers

is the way prayer rises and falls

-- This was first published at Episcopal Journal's Speaking to the Soul on September 8, 2022.

On an Apple-Ripe September Morning

On an apple-ripe September morning 

Through the mist-chill fields I went
With a pitch-fork on my shoulder
Less for use than for devilment.

The threshing mill was set-up, I knew,
In Cassidy's haggard last night,
And we owed them a day at the threshing
Since last year. O it was delight

To be paying bills of laughter
And chaffy gossip in kind
With work thrown in to ballast
The fantasy-soaring mind.

As I crossed the wooden bridge I wondered
As I looked into the drain
If ever a summer morning should find me
Shovelling up eels again.

And I thought of the wasps' nest in the bank
And how I got chased one day
Leaving the drag and the scraw-knife behind,
How I covered my face with hay.

The wet leaves of the cocksfoot
Polished my boots as I
Went round by the glistening bog-holes
Lost in unthinking joy.

I'll be carrying bags to-day, I mused,
The best job at the mill
With plenty of time to talk of our loves
As we wait for the bags to fill.

Maybe Mary might call round...
And then I came to the haggard gate,
And I knew as I entered that I had come
Through fields that were part of no earthly estate.

-- Patrick Kavanagh (1904-1967), Irish poet and novelist

When the Frost in On the Punkin

When the frost is on the punkin and the fodder’s in the shock,
And you hear the kyouck and gobble of the struttin’ turkey-cock,
And the clackin’ of the guineys, and the cluckin’ of the hens,
And the rooster’s hallylooyer as he tiptoes on the fence;
O, it’s then’s the times a feller is a-feelin’ at his best,
With the risin’ sun to greet him from a night of peaceful rest,
As he leaves the house, bareheaded, and goes out to feed the stock,
When the frost is on the punkin and the fodder’s in the shock.

They’s something kindo’ harty-like about the atmusfere
When the heat of summer’s over and the coolin’ fall is here—
Of course we miss the flowers, and the blossums on the trees,
And the mumble of the hummin’-birds and buzzin’ of the bees;
But the air’s so appetizin’; and the landscape through the haze
Of a crisp and sunny morning of the airly autumn days
Is a pictur’ that no painter has the colorin’ to mock—
When the frost is on the punkin and the fodder’s in the shock.

The husky, rusty russel of the tossels of the corn,
And the raspin’ of the tangled leaves, as golden as the morn;
The stubble in the furries—kindo’ lonesome-like, but still
A-preachin’ sermuns to us of the barns they growed to fill;
The strawstack in the medder, and the reaper in the shed;
The hosses in theyr stalls below—the clover over-head!—
O, it sets my hart a-clickin’ like the tickin’ of a clock,
When the frost is on the punkin and the fodder’s in the shock!

Then your apples all is gethered, and the ones a feller keeps
Is poured around the celler-floor in red and yeller heaps;
And your cider-makin’ ’s over, and your wimmern-folks is through
With their mince and apple-butter, and theyr souse and saussage, too!...

I don’t know how to tell it—but ef sich a thing could be
As the Angels wantin’ boardin’, and they’d call around on me—
I’d want to ’commodate ’em—all the whole-indurin’ flock—
When the frost is on the punkin and the fodder’s in the shock!

-- James Whitcomb Riley (1849-1916), Indiana newspaperman, orator, children's author, and poet, known as "the Hoosier poet" for his work

Day in Autumn

After the summer's yield, Lord, it is time
to let your shadow lengthen on the sundials
and in the pastures let the rough winds fly.

As for the final fruits, coax them to roundness.
Direct on them two days of warmer light
to hale them golden toward their term, and harry
the last few drops of sweetness through the wine.

Whoever's homeless now, will build no shelter;
who lives alone will live indefinitely so,
waking up to read a little, draft long letters,
and, along the city's avenues,
fitfully wander, when the wild leaves loosen.

--Rainer Maria Rilke (1875-1926, born René Karl Wilhelm Johann Josef Maria Rilke)  (translated by Mary Kinzie-- translator's notes may be found here at Poetry magazine), Bohemian-Austrian poet and novelist.

Today is the first day of autumn, as of 9:46 this morning.

Winter

A little heat in the iron radiator,

the dog breathing at the foot of the bed,

and the windows shut tight,

encrusted with hexagons of frost.

I can barely hear the geese

complaining in the vast sky,

flying over the living and the dead,

schools and prisons, and the whitened fields.

--Billy Collins (1941- ), from Poetry East, no. 82, 2014

Little Gidding: I (On the Feast Day of Nicholas Ferrar)

Midwinter spring is its own season
Sempiternal though sodden towards sundown,
Suspended in time, between pole and tropic.
When the short day is brightest, with frost and fire, 
The brief sun flames the ice, on pond and ditches,
In windless cold that is the heart's heat,
Reflecting in a watery mirror
A glare that is blindness in the early afternoon.
And glow more intense than blaze of branch, or brazier,
Stirs the dumb spirit: no wind, but pentecostal fire
In the dark time of the year. Between melting and freezing
The soul's sap quivers. There is no earth smell
Or smell of living thing. This is the spring time
But not in time's covenant. Now the hedgerow
Is blanched for an hour with transitory blossom
Of snow, a bloom more sudden
Than that of summer, neither budding nor fading,
Not in the scheme of generation.
Where is the summer, the unimaginable Zero summer?

If you came this way,
Taking the route you would be likely to take
From the place you would be likely to come from,
If you came this way in may time, you would find the hedges
White again, in May, with voluptuary sweetness.
It would be the same at the end of the journey,
If you came at night like a broken king,
If you came by day not knowing what you came for,
It would be the same, when you leave the rough road 
And turn behind the pig-sty to the dull facade
And the tombstone. And what you thought you came for
Is only a shell, a husk of meaning
From which the purpose breaks only when it is fulfilled
If at all. Either you had no purpose
Or the purpose is beyond the end you figured 
And is altered in fulfilment. There are other places
Which also are the world's end, some at the sea jaws,
Or over a dark lake, in a desert or a city--
But this is the nearest, in place and time,
Now and in England.

If you came this way,
Taking any route, starting from anywhere,
At any time or at any season,
It would always be the same: you would have to put off
Sense and notion. You are not here to verify,
Instruct yourself, or inform curiosity
Or carry report. You are here to kneel
Where prayer has been valid. And prayer is more
Than an order of words, the conscious occupation
Of the praying mind, or the sound of the voice praying.
And what the dead had no speech for, when living,
They can tell you, being dead: the communication
Of the dead is tongued with fire beyond the language of the living.
Here, the intersection of the timeless moment
Is England and nowhere. Never and always.

--T. S. Eliot (1888-1965) from Four Quartets, 1943

Photo of Little Gidding, where Nicholas Ferrar established his small community devoted to prayer in the 17th century, from pinterest

Lines Written In The Days of Growing Darkness

Every year we have been
witness to it: how the world descends
into a rich mash, in order that

it may resume.
And therefore
who would cry out

to the petals on the ground
to stay, knowing, as we must,
how the vivacity of what was is married

to the vitality of what will be?
I don’t say
it’s easy, but what else will do 

if the love one claims to have for the world
be true?
So let us go on

through the sun be swinging east,
and the ponds be cold and black,
and the sweets of the year be doomed.

--Mary Oliver (1935- ), From A Thousand Mornings, 2013

Especially when the October wind

Especially when the October wind
With frosty fingers punishes my hair,
Caught by the crabbing sun I walk on fire
And cast a shadow crab upon the land,
By the sea’s side, hearing the noise of birds,
Hearing the raven cough in winter sticks,
My busy heart who shudders as she talks
Sheds the syllabic blood and drains her words.

Shut, too, in a tower of words, I mark
On the horizon walking like the trees
The wordy shapes of women, and the rows
Of the star-gestured children in the park.
Some let me make you of the vowelled beeches,
Some of the oaken voices, from the roots
Of many a thorny shire tell you notes,
Some let me make you of the water’s speeches.

Behind a pot of ferns the wagging clock
Tells me the hour’s word, the neural meaning
Flies on the shafted disk, declaims the morning
And tells the windy weather in the cock.
Some let me make you of the meadow’s signs;
The signal grass that tells me all I know
Breaks with the wormy winter through the eye.
Some let me tell you of the raven’s sins.

Especially when the October wind
(Some let me make you of autumnal spells,
The spider-tongued, and the loud hill of Wales)
With fists of turnips punishes the land,
Some let me make you of the heartless words.
The heart is drained that, spelling in the scurry
Of chemic blood, warned of the coming fury.
By the sea’s side hear the dark-vowelled birds.

--Dylan Thomas (1914-1953), from 18 Poems, 1934

This is Why We Can't Have Nice Things (September 1)

September’s grasshopper launches himself
from his covert in some thatch
faded tattered percussive wings
rasping out his flight.

Chickadees swoop in
at the bird feeder outside my window
one at a time, with metronomic precision
seize a seed like Labor Day-frenzied shoppers,
then swoop off to let the next one in
exactly not like Labor Day-frenzied shoppers.

A few hours ago
I congratulated myself
sighing out my satisfaction
on the crisp coolness of the day
although I certainly had no hand in it.

And now glittering on the grass I see
six yellow leaves
that have already smirked the news
that autumn approaches.

Damn.

--L. B. S., September 1, 2017

Leavetaking

Nearing the start of that mysterious last season
Which brings us closer to the close of the other four,
I'm somewhat afraid and don't know how to prepare
So I will praise you.

I will praise you for the glaze on buttercups
And for the pearly scent of wild fresh water
And the great crossbow shapes of swans flying over
With that strong silken threshing sound of wings
Which you gave them when you made them without voices.

And I will praise you for crickets.
On starry autumn nights
When the earth is cooling
Their rusty dimunitive music
Repeated over and over
Is the very marrow of peace.

And I will praise you for the crows calling from treetops
The speech of my first village,
And for the sparrow's flash of song
Flinging me in an instant
The joy of a child who woke
Each morning to the freedom
Of her mother's unclouded love
And lived in it like a country.

And I will praise you that from vacant lots
From only broken glass and candy wrappers
You raise up blue chicory flowers.
I thank you for that secret praise
Which burns in every creature,
And I ask you to bring us to life
Out of every sort of death

And teach us mercy.

-- Anne Porter (1911-2011) from Living Things: Collected Poems, 2006