exceptindreams poetry

poetry! this is a curated blog of poetry, the first five years of which can be found at exceptindreams.livejournal.com.

This journal is a non-commercial, personal journal to be used for educational or research purposes only. "Fair use" is claimed under U.S. copyright law, sections 107 and 108. No commercial use is permitted without the consent of the copyright holder.

1621: Travelogue for Exiles | Karl Shapiro

“Travelogue for Exiles”
Karl Shapiro

Look and remember. Look upon this sky;
Look deep and deep into the sea-clean air,
The unconfined, the terminus of prayer.
Speak now and speak into the hallowed dome.
What do you hear? What does the sky reply?
The heavens are taken: this is not your home.

Look and remember. Look upon this sea;
Look down and down into the tireless tide.
What of a life below, a life inside,
A tomb, a cradle in the curly foam?
The waves arise; sea-wind and sea agree
The waters are taken: this is not your home.

Look and remember. Look upon this land,
Far, far across the factories and the grass.
Surely, there, surely they will let you pass.
Speak then and ask the forest and the loam.
What do you hear? What does the land command?
The earth is taken: this is not your home.



And all I ask is a tall ship and a star to steer her by

1722: School photo, found after the Joplin tornado | Laura Dimmit

“School photo, found after the Joplin tornado”
Laura Dimmit
“Joey, 4th grade, 1992”

He’s been on the fridge since it happened,
sneaking glances from underneath the cat
magnet at our dinners, coffee habits, arguments.
We posted him on the database of items found,
hoping that someone would recognize his messy
hair, Batman t-shirt, blue eyes, but no one
answered the post or claimed him.
Somewhere a childhood photo album is not
quite complete, or a grandmother’s mantelpiece;
an uncle’s wallet. One afternoon I got restless,
flipped through my old yearbooks, trying to find him,
looking to see how he might have aged: did he lose
the chubby cheeks? dye his hair? how long
did he have to wear braces? But he’s too young
to have passed me in the halls, the picture just
a stranger, a small reminder of the whirling aftermath
when Joplin was clutching at scraps: everything displaced,
even this poor kid who doesn’t even know he’s lost.



I want to say love is this/desire to help even when I know I can’t,/just as I couldn’t explain electricity, stars,/the color of the sky, baldness, tornadoes,/fingernails, coconuts, or the other things/she has asked about over the years

1620: I Am But A Traveler in This Land & Know Little of Its Ways | Dean Young

“I Am But A Traveler in This Land & Know Little of Its Ways”
Dean Young

Is everything a field of energy caused
by human projection? From the crib bars
hang the teething tools. Above the finger-drummed
desk, a bit lip. The cyclone fence of buts

surrounds the soccer field of what if.
Sometimes it seems like a world where no one
knows what he or she is doing, eight lanes
both directions. How about a polymer

that contracts in response to electrical
charge? A swimming pool on the 18th floor?
King Lear done by sock puppets? Anyone
who has traveled here knows the discrepancies

between idea and fact. The idea is the worm
in the tequila and the next day is the fact.
In between may be the sacred—real blood
from the wooden virgin’s eyes, and the hoax—

landing sites in cornfields. Maybe ideas
are best sprung from actions like the children
of Zeus. One gives us elastic and the omelette,
another nightmares and SUVs. There’s considerable

wobble in the system, and the fan belt screams,
waking the baby. Swaying in the darkened
nursery, kissing the baby-smelling head:
good idea! But also sadness looking at the sea.

The stranded whale, guided out of the cove
by tugboats, turns and swims back in.
The violinist will not let go her violin
which is 200 years old and still on the train

thus she is dragged down the track.
By what manner is the soul joined to the body?
Answer: an arm connecting a violin
to a violinist. According to Freud,

there are no accidents. Astrologists
and Presbyterians agree for different reasons.
You fall down the stairs with a birthday cake.
You try to fit a blunderbuss into a laptop.

Human consciousness: is it the projector
or the screen? They come in orange jumpsuits
and spray the grass so everything dies
but the grass. It is too late to ask Kafka

what he thinks. Sometimes they give you
a box of ash, a handshake, and the rest
is your problem. In one version,
the beggar turns out to be a king and grants

the poor couple a castle and a moat and two
silver horses said to be sired by the wind.
That was before dentistry, which might have been
a better gift. You did not want to get sick
in the 14th, 15th, 16th, 17th or 18th centuries.

So too the 19th and 20th were to be avoided
but the doctor coming to bleed you is the master
of the short story. After the kiss from whom
he will never know, the lieutenant, going home,

touches a bush in which birds are singing.



I must down to the seas again, to the lonely sea and the sky

1719: Dog’s Death | John Updike

“Dog’s Death”
John Updike

She must have been kicked unseen or brushed by a car.
Too young to know much, she was beginning to learn
To use the newspapers spread on the kitchen floor
And to win, wetting there, the words, “Good dog!
Good dog!”

We thought her shy malaise was a shot reaction.
The autopsy disclosed a rupture in her liver.
As we teased her with play, blood was filling her skin
And her heart was learning to lie down forever.

Monday morning, as the children were noisily fed
And sent to school, she crawled beneath the youngest’s bed.
We found her twisted and limp but still alive.
In the car to the vet’s, on my lap, she tried

To bite my hand and died. I stroked her warm fur
And my wife called in a voice imperious with tears.
Though surrounded by love that would have upheld her,
Nevertheless she sank and, stiffening, disappeared.

Back home, we found that in the night her frame,
Drawing near to dissolution, had endured the shame
Of diarrhoea and had dragged across the floor
To a newspaper carelessly left there. Good dog.



Oh, and one more thing. I send my love/However long and far it takes—through light,/Through time, thorough all the faithlessness of men

1717: Just Once | Anne Sexton

“Just Once”
Anne Sexton

Just once I knew what life was for.
In Boston, quite suddenly, I understood;
walked there along the Charles River,
watched the lights copying themselves,
all neoned and strobe-hearted, opening
their mouths as wide as opera singers;
counted the stars, my little campaigners,
my scar daisies, and knew that I walked my love
on the night green side of it and cried
my heart to the eastbound cars and cried
my heart to the westbound cars and took
my truth across a small humped bridge
and hurried my truth, the charm of it, home
and hoarded these constants into morning
only to find them gone.



I pray to the God I remember, whom I love and fail/to love, knowing words are all I have to bind/us to each other, knowing they are passing too.

1718: Spiritual Warfare | Karla Huston

“Spiritual Warfare”
Karla Huston

I’m always thinking about Lot’s wife,
wonder what her neighbors thought
when she packed up her tunics and cooking pots
and left town without so much as a fare thee well.
Dave, the guy I work with says, “It’s because
she was a sinful woman in a sinful town.
You know where the word sodomy comes from.”
I tell him, “Sodomy’s been made legal in Texas.
I read it in the paper yesterday.”
Dave has been known to get down on his knees
and pray before a computer, but it never seems
to work because it’s always messed up.
“You see, Dave, if she’d had a name, maybe someone
could have called to her, maybe she might
not have turned back.” I’m obsessed with this,
it’s true, but I can’t get the no-name-pillar-of-salt thing
out of my head, and this woman
who probably left with wash on the line
and goat stew simmering on the fire.
And, then there are those two daughters,
who later lay with their father, there being no
other men worth their salt in that mountain town
where they ended up. “Good thing she wasn’t around
to see that kind of sodomy,” I say. “Women
need guidance. Remember Eve?”
I tell him, “Let’s agree to disagree on this.”
He glares at me; his face turns red; pimples
stand out like, like angry mountains, I think.
“Beside, Dave, Lot lingered—he lingered,
and God took mercy on him. I want
mercy for her. And a name, Dave,
a name for God’s sake. Please call her
something besides ‘Lot’s wife’.”
Dave takes my hand, says, “Kneel with me
and let’s pray for you, my disagreeable friend,
and for all those sick people in Texas.”
Meanwhile, the computer flashes:
this program has performed an illegal operation.
“How about Loretta?” I ask, thinking of my best friend
from high school. I shuck off his hand and add,
“It’s a good name, and Mary’s been used.”



Poetry based on religious stories is fascinating to me, especially poems about Lot’s wife and her role in the story that takes place in Genesis 19:1-26. Here are other poems I’ve posted on this theme: “Lot’s Wife” by Gary J. Whitehead, “Lot’s Wife” by Dana Littlepage Smith, “Wife’s Disaster Manual” by Deborah Paredez, “What Lot’s Wife Would Have Said (If She Wasn’t a Pillar of Salt)” by Karen Finneyfrock, “Lot’s Wife” by Anna Akhmatova, and “Lot’s Wife” by Kristine Batey.

The thinking/Of you where you are a blank/To be filled/In by missing. I loved you./I love you like I love/All beautiful things.

1716: In Praise of the Defective | Paul Guest

“In Praise of the Defective”
Paul Guest

When the best of it is prized from the dung
of the Sumatran common palm civet,
sweetened like a cherry in the gut
of this little island cat, I feel better
about not drinking coffee, sipping instead sweet
tea crude as a hammer. I feel
better that I never read much
Tolstoy, stopped at the bulwark of so much
French. I should begin
a second life. I should not dream
of my macrobiotic afterlife
in which I am what I do not eat
and the animals I loved enough
to eat grass, to pretend one thing was another,
purr and sing and chirp
sweet hosannas outside my bedroom window
where sometimes we made
love but never continuances
of our selves which we’d name
Hank or Emily while saving up for Harvard.
I feel better that none of me
works well at all,
that for twenty years the fog
has never lifted
from the landscape I mean to cease defiling
someday. Thank you
cards I should have mailed
and gifts given
and favors repaid with crippling interest
I grow to love
the way I once loved
shame. What will I do with my days
now that my nights
are sublimely alone
and how will I make use of this wound
I carried like a map
so that I would never, never
lose you?



And last year’s leaves are smoke in every lane

1715: Duck/Rabbit | Chana Bloch

“Duck/Rabbit”
Chana Bloch

We remember the rabbit when we see                                          
the duck, but we cannot experience
                                         
both at the same time

                                              —E.H. Gombrich, Art and Illusion

WHAT do you remember? When I looked at
his streaky glasses, I wanted
to leave him. And before that? He stole those
cherries for me at midnight. We were walking
in the rain and I loved him.
And before that? I saw him coming
toward me that time at the picnic,
edgy, foreign.

But you loved him? He sat in his room with
the shades drawn, brooding. But you
loved him? He gave me
a photo of himself at sixteen, diving
from the pier. It was summer. His arms
outstretched. And before that?
His mother was combing his soft curls
with her fingers and crying. Crying.


Is that what he said? He put on the straw hat
and raced me to the barn. What did he
tell you? Here’s the dried rose, brown
as tobacco. Here’s the letter that I tore
and pasted. The book of blank pages
with the velvet cover. But do you still


love him? When I rub the nap
backwards, the colors lift,
bristle. What do you mean?
Sometimes, when I’m all alone,
I find myself stroking it.

because there was another a young woman once, with delicate, deep, deep scars on her wrists and an emptied/bottle of pills and I loved her very much./because now I don’t, and a friend has called that progress; because/he’s probably right, and a part of me hates him for that—just hold your tongue and let me love.

1714: Waiting for This Story to End Before I Begin Another | Jan Heller Levi

“Waiting for This Story to End Before I Begin Another”
Jan Heller Levi


All my stories are about being left,
all yours about leaving. So we should have known.
Should have known to leave well enough alone;
we knew, and we didn’t. You said let’s put
our cards on the table, your card
was your body, the table my bed, where we didn’t
get till 4 am, so tired from wanting
what we shouldn’t that when we finally found our heads,
we’d lost our minds. Love,I wanted to call you
so fast. But so slow you could taste each
letter licked into your particular and rose-like ear.
L, love, for let’s wait. O, for oh no, let’s not. V
for the precious v between your deep breasts
(and the virtue of your fingers
in the voluptuous center of me.)
Okay, E for enough.

Dawn broke, or shattered. Once we’ve made
the promises, it’s hard to add the prefix if… .
But not so wrong to try.
That means taking a lot of walks,
which neither of us is good at,
for different reasons, and nights up till 2
arguing whose reasons are better.
Time and numbers count a lot in this. 13
years my marriage. 5 years you my friend.
4th of July weekend when something that begins
in mist, by mistake (whose?), means too much
has to end. I think we need an abacus to get our love
on course, and one of us to oil the shining rods
so we can keep the crazy beads clicking,
clicking. It wasn’t a question
of a perfect fit. Theoretically,
it should be enough to say I left a man
for a woman (90% of the world is content
to leave it at that. Oh, lazy world) and when the woman
lost her nerve, I left
for greater concerns: when words like autonomy
were useful, I used them, I confess. So I get
what I deserve: a studio apartment he paid the rent on;
bookshelves up to the ceiling she drove
the screws for. And a skylight I sleep alone
beneath, and two shiny quarters in my pocket
to call one, then the other, or to call one

twice. Once, twice, I threatened to leave him—
remember? Now that I’ve done it, he says
he doesn’t. I’m in a phonebooth at the corner of Bank
and Greenwich; not a booth, exactly,
but two sheets of glass to shiver between.
This is called being street-smart: dialing
a number that you know won’t be answered,
but the message you leave leaves proof that you tried.
And this, my two dearly beloveds, is this called
hedging your bets? I fish out my other
coin, turn it over in my fingers, press
it into the slot. Hold it there. Let it drop.

I have closed my arms again. They must do without.

1713: On the Stairs | Constantine P. Cavafy

“Στες Σκάλες”
Κ.Π. Καβάφης

Την άτιμη την σκάλα σαν κατέβαινα,
από την πόρτα έμπαινες, και μια στιγμή
είδα το άγνωστό σου πρόσωπο και με είδες.
Έπειτα κρύφθηκα να μη με ξαναδείς, και συ
πέρασες γρήγορα το πρόσωπό σου κρύβοντας,
και χώθηκες στο άτιμο το σπίτι μέσα
όπου την ηδονή δεν θά ’βρες, καθώς δεν την βρήκα.

Κι όμως τον έρωτα που ήθελες τον είχα να σ’ τον δώσω·
τον έρωτα που ήθελα — τα μάτια σου με το ’παν
τα κουρασμένα καί ύποπτα — είχες να με τον δώσεις.
Τα σώματά μας αισθανθήκαν και γυρεύονταν·
το αίμα και το δέρμα μας ενόησαν.

Aλλά κρυφθήκαμε κ’ οι δυο μας ταραγμένοι.

Translated from the Greek by Edmund Keeley and Philip Sherrard

“On the Stairs”
Constantine P. Cavafy

As I was going down those ill-famed stairs
you were coming in the door, and for a second
I saw your unfamiliar face and you saw mine.
Then I hid so you wouldn’t see me again, and you
hurried past me, hiding your face,
and slipped inside the ill-famed house
where you couldn’t have found sensual pleasure any more
than I did.

And yet the love you were looking for, I had to give you;
the love I was looking for—so you tired,
knowing eyes implied—you had to give me.
Our bodies sensed and sought each other;
our blood and skin understood.

But, flustered, we both hid ourselves.



when I turn/towards beauty it is always at my side.