Showing posts with label Billy Collins. Show all posts
Showing posts with label Billy Collins. Show all posts

Friday, February 17, 2023

Hands in Poems: Billy Collins


Billy Collins

 I LOVE YOU


Early on, I noticed that you always say it

to each of your children

as you are getting off the phone with them

just as you never fail to say it

to me whenever we arrive at the end of a call.


It's all new to this only child.

I never heard my parents say it, 

at least not on such a regular basis,

nor did it ever occur to me to miss it.

To say I love you pretty much every day

 

would have seemed strangely obvious,

like saying I'm looking at you

when you are standing there looking at someone.

If my parents had started saying it 

a lot, I would have started to worry about them.

 

Of course, I always like hearing it from you.

That is never a cause for concern.

The problem is I now find myself saying it back

if only because just saying good-bye

then hanging up would make me seem discourteous.

 

But like Bartleby, I would prefer not to

say it so often, would prefer instead to save it

for special occasions, like shouting it out as I leaped 

into the red mouth of a volcano

with you standing helplessly on the smoking rim,

 

or while we are desperately clasping hands

before our plane plunges into the Gulf of Mexico,

which are only two of the examples I had in mind,

but enough, as it turns out, to make me

want to say it to you right now

 

and what better place than in the final couplet

of a poem where, as every student knows, it really counts.

Monday, December 30, 2019

The Heart in Poems: Billy Collins (V)



MY HEART

It has a bronze covering inlaid with silver,
originally gilt;
the sides are decorated with openwork zoomorphic
panels depicting events in the history
of an unknown religion.
The convoluted top-piece shows a high
level of relief articulation
as do the interworked spirals at the edges.

It was presumably carried in the house-shaped
reliquary alongside it, an object of exceptional
ornament, one of the new such pieces extant.
The handle, worn smooth, indicates its use
in long-forgotten rituals, perhaps
of sacrificial nature.

It is engirdled with an inventive example
of gold interlacing, not doubt of Celtic influence.
Previously thought to be a pre-Carolingian work,
it is now considered to be of more recent provenance,
probably the early 1940s.

The ball at the center, visible
through the interstices of the lead webbing
and the elaborate copper grillwork,
is composed possibly of jelly
or an early version of water,
certainly a liquid, remarkably suspended
within the intricate craftsmanship of its encasement.

In Taking Off Emily Dickinson's Clothes (2000)

Wednesday, November 6, 2019

Hands in Poems: Billy Collins (IV)



DAYS

Each one is a gift, no doubt,
mysteriously placed in your waking hand
or set upon your forehead
moments before you open your eyes.

Today begins cold and bright,
the ground heavy with snow
and the thick masonry of ice,
the sun glinting off the turrets of clouds.

Through the calm eye of the window
everything is in its place
but so precariously 
this day might be resting somehow

on the one before it,
all the days of the past stacked high
like the impossible tower of dishes
entertainers used to build on stage.

No wonder you find yourself
perched on the top of a tall ladder
hoping to add one more.
Just another Wednesday

you whisper,
then holding your breath,
place this cup on yesterday's saucer
without the slightest clink.

In Taking Off Emily Dickinson's Clothes (2000)

Thursday, October 31, 2019

Postcards in Poems: Billy Collins (III)



AMERICAN SONNET

We do not speak like Petrarch or wear a hat like Spenser
and it is not fourteen lines
like furrows in a small, carefully plowed field

but the picture postcard, a poem on vacation,
that forces us to sing our songs in little rooms
or pour our sentiments into measuring cups.

We write on the back of a waterfall or lake,
adding to the view a caption as conventional
as an Elizabethan woman's heliocentric eyes.

We locate an adjective for the weather.
We announce that we are having a wonderful time.
We express the wish that you were here

and hid the wish that we were where you are,
walking back from the mailbox, your head lowered
as you read and turn the thin message in your hands.

A slice of this place, a length of white beach,
a piazza or carved spires of a cathedral
will pierce the familiar place where you remain,

and you will toss on the table this reversible display:
a few square inches of where we have strayed
and a compression of what we feel.

In Taking Off Emily Dickinson's Clothes (2000)

Tuesday, September 10, 2019

Hands in Poems: Billy Collins (II)



EMBRACE

You know the parlor trick.
Wrap your arms around your own body
and from the back it looks like
someone is embracing you,
her hands grasping your shirt,
her fingernails teasing your neck.

From the front it is another story.
You never looked so alone,
you crossed your elbows and screwy grin.
You could be waiting for a tailor
to fit you for a straitjacket,
one that would hold you really tight.

In Taking Off Emily Dickinson's Clothes (2000)


Friday, August 30, 2019

Books in Poems: Billy Collins



BOOKS

From the heart of this dark, evacuated campus
I can hear the library humming in the night,
a choir of authors murmuring inside their books
along the unlit, alphabetical shelves,
Giovanni Pontano next to Pope, Dumas next to his son,
each one stitched into his own private coat,
together forming a low, gigantic cord of language.

I picture a figure in the act of reading, 
shoes on a desk, head tilted into the wind of a book
a man in two worlds, holding the rope of his tie
as the suicide of lovers saturates a page,
or lighting a cigarette in the middle of a theorem.
He moves from paragraph to paragraph,
as if touring a house of endless, panelled rooms.

I hear the voice of my mother reading to me
from a chair facing the bed, books about horses and dogs,
and inside her voice lie other distant sounds,
the horrors of a stable ablaze in the night,
a bark that is moving toward the brink of speech.

I watch myself building bookshelves in college,
walls within walls, as rain soaks New England,
or standing in a bookstore in a trench coat.

I see all of us reading ourselves away from ourselves,
straining in circles of light to find more light
until the line of words becomes a trail of crumbs
that we follow across a page of fresh snow.

In Taking Off Emily Dickinson's Clothes (2000)

Monday, May 23, 2016

Letter-writing Practices and Rituals

Por que algunhas persoas nos sentimos atraídas polos rituais da escritura de cartas?


A verdade nunca me parara a pensalo. Eu só sei que me gustan eses rituais relacionados coa escritura de cartas: elixir unha postal ou papel para unha persoa en particular, buscar un sobre adecuado, quizais un recorte, decoración ou mensaxe para engadir. Sentarme cunha taza de té na terraza e pensar nesa persoa, no que lle preocupa, as vivencias xuntos, o que fixo por min, o que lle gusta. Escoller o contido e a orde. Coller o bolígrafo e ir tecendo palabras co fío do pensamento e a emoción - a parte que máis concentración require, pois non me gusta editar, tachar, nin pasar a limpo, prefiro pensar ben o que escribo antes. Reler o resultado unha última vez e "kiss it goodbye", deixala ir. Pegarlle un selo e enviala. E despois agardar con paciencia (como custa!) a que lle chegue, imaxinando a reacción cando a atope no buzón, a abra, a lea,... Dame igual que responda ou non responda, que haxa ou non reacción, porque o que me encanta é o acto de escribila en si.

Pero cal é a razón de que nos enfeitice esa escritura? Na páxina de Storyacious publicaron unha entrada cunha posible teoría, baseada nas catro dimensións dos rituais que establece o sociólogo Mervin Verbit. Estas dimensións son: o contido, a frecuencia, a intensidade e a centralidade (importancia dentro da nosa vida). É certo que Verbit aplica estas dimensións aos rituais relixiosos, pero realmente poden extenderse a outras áreas das nosas vidas, e o que se indica é que as actividades que inclúen esas catro dimensións nos motivan a prestar máis atención e proporcionan un espazo no cal desenvolver a nosa creatividade. Ollo que non quere dicir que os rituais desenvolvan a creatividade, senón que estes crean as condicións apropiadas para que floreza, en contraste, por exemplo, cos correos electrónicos, que son máis inmediatos e non tan consistentes en termos de frecuencia e intensidade; ou coas entradas dunha bitácora coma esta, que non son comunicación de ti a ti, senón para unha audiencia máis ampla.

Ademais, como pasa ca maioría das cousas na vida, canto menos cartas se escriben, máis se valoran como un especie de tesouro ou extravagancia. De aí que autores que aínda viven como Hanif Kureishi e Billy Collins xa se encargaran de deixar a súa correspondencia persoal (correos electrónicos e cartas) a institucións académicas para conservala para a posteridade. E lembrade a entrada sobre o filme Her, onde o protagonista, Theodore Twombly (Joaquin Phoenix) traballa para unha compañía que ofrece un servizo profesional de escrita de cartas persoais para xente dun mundo futuro que non quere pasar o traballo de escribir correspondencia persoal do seu puño e letra pero que, curiosamente quere enviala a outros que, tamén curiosamente, a queren recibir.

E despois está o caso da carta de Ernest Hemingway a Marlene Dietrich da que falaremos polo miúdo noutra entrada, pero adiantemos aquí que se vendeu por unha cifra máis obscena que os contidos da carta. Case que se está a producir unha fetichización das cartas, non?