kathleen-Jamie-600x600The past few years I’ve found myself increasingly engaged with poetry from across the Pond, Scotland in particular.

In part, through my appearance in ANON magazine, the “honourable mention” I received in the ESRC Genomics Forum Poetry Competition, and connecting with the Scottish Poetry Library.

My paternal grandfather’s family hailed from the central lowlands textile burgh of Paisley, across the River Clyde from Glasgow, which may explain why I’m partial to Scottish poets. (My Burns’ Nights were famous in the 1990s.) Whatever the case, I’ve found some kindred spirits of my generation among them.

Once such is Kathleen Jamie. Jamie “resists being identified solely as a Scottish poet, a woman writer, or a nature poet,” reads her entry in the Poetry Foundation’s web site. “Instead, she aims for her poetry to ‘provide a sort of connective tissue,’ as she notes in a 2005 interview.”

Her influences include Seamus Heaney, Elizabeth Bishop, John Clare, and Annie Dillard. Quite a foursome, that, and it shows or doesn’t show – rather, it is felt. She takes the powerful language of Heaney, the precise observation of Bishop, Clare’s perspective on landscape, and the natural history acumen of Dillard’s nonfiction.

Jamie’s poems are highly musical – meant to be read aloud, and “attend to the intersection of landscape, history, gender, and language.”

Her latest collection, The Overhaul, was published in the UK by Picador (where another Scottish-born poet of my generation, Don Patterson, is editor) and took home the prestigious Costa Prize.

Here is the title poem from this collection, “The Overhaul,” by Kathleen Jamie:

Look – it’s the Lively,

hauled out above the tideline

up on a trailer with two

flat tyres. What –

 

14 foot? Clinker-built

and chained by the stern

to a pile of granite blocks,

but with the bow

 

still pointed westward

down the long voe,

down toward the ocean,

where the business is.

 

Inland from the shore

a road runs, for the crofts

scattered on the hill

where washing flaps,

 

and the school bus calls

and once a week or so

the mobile library;

but see how this

 

duck-egg green keel’s

all salt-weathered,

how the stem, taller

— like a film star –

 

than you’d imagine,

is raked to hold steady

if a swell picks up

and everyone gets scared…

 

No, it can’t be easy,

when the only  spray to touch

your boards all summer

is flowers of scentless mayweed;

 

when little wavelets leap

less than a stone’s throw

with your good name

written all over them –

 

but hey, Lively,

it’s a tme-of-life thing,

it’s a waiting game –

patience, patience.

##

Jasper

My son Jasper “goofing” at Disney World.

Here is my poem for Day 12 of National Poetry Month:

 

Today, my oldest son is,

Somehow, 17I don’t feel

Old enough to have a son

That age. It’s a cliché, I know,

So I won’t even say it.

Suffice it to say,

I remember

My first talk with him:

Holding him in my arms

In a rocking chair

In Alaska Regional,

The Chugach Mountains

Out the hospital window.

I kissed his forehead,

Looked straight into

His face, and whispered,

“No matter what happens,

I will always love you,

And you will always know it.”

 

–Scott Edward Anderson

11_w310_(14)Here is my poem, er, my poems for Day 11:

 

Hard night rain.

Morning departure:

Soaked sleeves.

.

My love exits the train,

Making her connection

–Shapely legs.

.

Magnolia blossoms

Soaking my sleeves,

Wet with longing.

.

Four days too long.

But then–

What time is enough?

.

CONTEXT: I first became interested and engaged in Japanese poetry in the early to mid-1980s, through Gary Snyder and Kenneth Rexroth. I was drawn specifically to the Man’yōshū (Ten Thousand Leaves anthology) poets.

I liked that the Man’yōshū poets were less well-known than the great Haiku poets — Basho, Busan, and Issa — and their forms and styles were more varied, including long poems (chōka), short poems (tanka), and even tan-renga (short connecting poems).

The phrase  “soaked sleeves” or “soaking sleeves,” was used to represent tears shed for an absent lover — whether lost or just far from one’s side. It could also connote longing for place or countryside.

I first used the phrase and a loose tanka form in my “Glimmerglass Poems,” which were written during the summer of 1985 in Cooperstown, NY. You can read them HERE as they appeared in the journal Terrain.

I use it here to draw a parallel between the rain of last night’s storm and my sadness at having to be away from Samantha for the next four days.

–Scott Edward Anderson

num0014-gyoHerewith my Day 10 poem:

 

I awake at 4:30 AM

To the sound of a bird

I can’t identify by song.

He teases me from inside

The magnolia just off our deck.

In the predawn light,

I can’t spot him among the buds.

I think of Issa:

“Singing since morning

Skylark, your throat

Is parched.”

Climbing back into bed,

I see you sleeping.

So beautiful in the early light.

My happiness is anything

But average.

 

–Scott Edward Anderson

Ted Williams No 9Here is my poem for Day 9:

 

I worry that my happiness

Will get in the way of my poetry.

Whoever heard of a happy poet?

We’re all supposed to be manic

Depressives or alcoholics.

We have to suffer for our Art

Or it ain’t “Art” — right?

I worry, too, that I’m boring

My readers with all these love

Poems or that it seems

Over-the-top, that no one

Will believe a man can be

THAT much in love,

When these are among

The most honest poems

I’ve ever written. And,

Yes, I AM that much in love.

Worry, too, I can’t sustain

Such joy and I’m setting myself

Up for a big fall. I worry…

Nah, I’ve given up worrying.

Happiness is my choice,

And I’m happy with it.

 

 –Scott Edward Anderson

8tileHere is my poem for Day 8 of National Poetry Month:

 

“So this is what it’s like without kids,”

Your son observes when he stops by

To pick up his computer on his way

Back to his dad’s crosstown apartment.

Adult music, a gourmet dinner eaten,

Poached pears in pomegranate juice.

Romance in the air.

Yeah, this is what it’s like without our kids.

We revel in these moments,

Alone together.

But these are only a part of our flowering.

Those nights more frenetic, with your kids

Or mine…or the whole six-pack together

In full flourish, are no less remarkable.

Extraordinary, actually.

And pieces of what we are building together:

The life that we want to live,

With intention and authenticity,

And, yes, equal parts messiness and grace.

 

–Scott Edward Anderson

lucky_number_sevenHere is my poem for Day 7:

 

When I saw your familiar face

In the picture I painted almost 30 years ago,

I understood Frost’s delight

And “surprise of remembering

Something I didn’t know I knew.”

Had I really been searching for you

In all my days and dreams?

It was the same feeling of recognition

I had twice when we met:

For the first time in that Philly train station,

And from across the room a year later,

As I was about to go on stage in New York.

I didn’t know what it was I recognized,

Or how it would change my life.

But “something I didn’t know I knew,”

Became something I didn’t know

I needed in my life, and then

Something I couldn’t live without

In every dream, and every night, and every day.

 

–Scott Edward Anderson

 

Here is my poem for Day 6 (or morning six, as it were…):

 

billrussellnumber6

“Freedom’s just another word

For nothing left to lose,”

As it goes in that old

Kris Kristofferson song.

But we lose something

Every day, free or chained–

Cells, skin, hair, memories.

Time goes too, the sparrows

Mark it outside our window,

The mourning doves coo

And whisper, their throats

Parted by the morning mist.

We rise slowly on mornings

We’re alone together; infrequent

As those days may be.

Our bed loosing its grip

Ever so reluctantly.

“I ache to be in your  hold,”

You wrote in a dream.

My poetess of sleep.

 

–Scott Edward Anderson

5demuthHere is my Day 5 poem for National Poetry Month:

 

Remember that Adrienne Rich poem

About falling in love at middle age?

The one where she talks about wanting

“To know even our limits.”

And where weeks stand in for years

Of not knowing one another.

Every day I’m convinced

That you are more beautiful

In your maturity, with your inner

Core more centered, than you

Could have been in your twenties.

(I am a better man now, too.)

And the time we do have can’t be

Wasted over what might have been,

Or how little of it there is.

We have what we have,

Which is a little like saying,

“It is what it is.”

Forget Manhattan

Or Berlin–

Let’s Take Brooklyn

And begin the beguine.

–Scott Edward Anderson
jack-gilbertI didn’t really know Jack Gilbert’s poetry much before my partner, Samantha’s mother (and my friend), Lee Langbaum, gave me his Collected Poems for the holidays, shortly after the poet’s death. (Gilbert died last November, after a long battle with Alzheimer’s.)

My life has been enriched reading Gilbert’s poetry — at times acerbic, quirky, and irascible — but I need to take him in small doses. There’s a risk in getting too close to fire.

Emily Dickinson famously wrote that “If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry.”

Jack Gilbert’s poetry approaches that more often than not.

“He takes himself away to a place more inward than is safe to go,” the poet and novelist James Dickey said of Gilbert. “From that awful silence and tightening, he returns to us poems of savage compassion.”

“The hard part for me is to find the poem—a poem that matters,” Gilbert told The Paris Review. “To find what the poem knows that’s special. I may think of writing about the same thing that everyone does, but I really like to write a poem that hasn’t been written. And I don’t mean its shape. I want to experience or discover ways of feeling that are fresh. I love it when I have perceived something fresh about being human and being happy.”

Here is Jack Gilbert’s poem, “The Forgotten Dialect of the Heart”:

How astonishing it is that language can almost mean,
and frightening that it does not quite. Love, we say,
God, we say, Rome and Michiko, we write, and the words
Get it wrong. We say bread and it means according
to which nation. French has no word for home,
and we have no word for strict pleasure. A people
in northern India is dying out because their ancient
tongue has no words for endearment. I dream of lost
vocabularies that might express some of what
we no longer can. Maybe the Etruscan texts would
finally explain why the couples on their tombs
are smiling. And maybe not. When the thousands
of mysterious Sumerian tablets were translated,
they seemed to be business records. But what if they
are poems or psalms? My joy is the same as twelve
Ethiopian goats standing silent in the morning light.
O Lord, thou art slabs of salt and ingots of copper,
as grand as ripe barley lithe under the wind’s labor.
Her breasts are six white oxen loaded with bolts
of long-fibered Egyptian cotton. My love is a hundred
pitchers of honey. Shiploads of thuya are what
my body wants to say to your body. Giraffes are this
desire in the dark. Perhaps the spiral Minoan script
is not a language but a map. What we feel most has
no name but amber, archers, cinnamon, horses and birds.

-From THE GREAT FIRES: POEMS, 1982-1992 (Alfred A.Knopf, 1994)

Here is an audio recording of Gilbert reading this poem on April 12, 2005 at The New School in New York: http://www.poets.org/viewmedia.php/prmMID/19351