Friday, November 9, 2007

List-Poem by the Numbers

The "list-poem" is one of the oldest modes of writing. Homer made long lists in his epics, for example, and I guess poets, being human (I'll assert this for the sake of argument), simply have that list-function in their brains, a function that Evolution must have selected early on. To Do: stay alive; find water; run from large predator.

Even if one doesn't end up writing a list-poem, listing is a heck of a way to prepare to write a poem. Such a preparation-list can be composed of images, associations that spring from a topic, phrases--almost anything, really. The title-poem of the late Wendy Bishop's book of poems, My Last Door, is a list poem, a catalog-poem, in which "Let my last door . . ." is repeated throughout the poem. So a list-poem can also develop into a kind of chanting-poem, incantatory.

Here's a short list-poem paying homage to the number 2:

Fortuitous Twos

by Hans Ostrom

A pair of spats. Two herons,

early morning, bending

necks to water. Windows

on each side of a carved door.


Cells dividing in a newborn baby.

A mother and a daughter


singing two-part harmony.

Two lovers waking up near


the ocean. Two moons circling

one planet. A couple of old men


golfing in a thunderstorm

two minutes before midnight.


Horns on a moonlit skull,

two miles from the water hole.


This first appeared in Wendy Bishop's textbook, 13 Ways of Looking for a Poem, still in print from Longman.

Copyright 2007 Hans Ostrom

Thursday, November 8, 2007

Homeless

Television-news told me today that almost 200,000 of the homeless citizens in the U.S. are veterans of the military. I think that approximately 25% of the homeless were in the military, whereas only about 14% of the population is composed of former military-veterans.

Almost all cities seem confused by "the homeless problem." When homeless persons establish encampments--under bridges, for example--cities ultimately disband them. But if the homeless congregate near businesses or homes, the police move them from there. Neighborhoods trying to improve themselves are not happy to see meal-distributors show up to feed the homeless because the homeless might bring other problems, like crime. A group for whom my wife and I make sandwiches ran into that problem; the police told them to stop distributing the sandwiches in a certain area of the city. The same goes for shelters: where should cities put them? Should there be shelters on military bases for veterans who are homeless?

The following poem is several years old and goes back to a period when many homeless persons were congregating in our city's main library:

Homeless Citizens in a Library

People have retreated

from the outside

of not having homes

to the inside of not

having homes. This

week that’s the public

library. Amongst books

and terminals, people

sit and lie, squat and

sleep. In bathroom stalls,

a few sell sex or chemicals.

Something needs to be

done about this problem.

Let’s run a keyword

search. Let’s look

for authors of this failure,

Let’s identify the complete

title of our responsibility.

Let’s use our library-cards

and borrow the brains, will,

and humanity to get these

people the help they need,

to get us

people the help we need.


Hans Ostrom

Copyright 2007 Hans Ostrom

Poem About a Play

One great source of inspiration for writers is literature itself. Imitation of established works by newer writers was part of the writing-instruction created by the Roman, Quintilian, for example, some 2,000 years ago, and creative-writing teachers nowadays use the method, too. More often, perhaps, writers produce a work that expresses a response to reading they've done, or they use an existing work as a kind of rail on a pool-table, playing a "carom shot." The piece they write doesn't imitate the earlier work as it does play off it. In all of these practices, a productive tension exists between the old piece of literature and the new one, just as there is tension between a jazz-musician's rendering of a song and the song as it was strictly composed. The tension might also be regarded as a conversation. (Parody is a "conversation" in which one work mocks another.)

The following poem, by Meredith Ott, a writer in Oregon, was inspired by British writer Caryl Churchill's play about cloning, A Number:

A Number

by Meredith Ott

Me
well what do you mean by Me?
Am I myself because if there is another
I think I should know I think I should because because
I have a right to know because
if there are two three four or more
if there are eight me’s running around
shouldn’t I do I want to know
do I should I care and would they could they be like me
am I like me who am I like tell me, tell Me
I must be like someone
don’t we all come from somewhere some genetic make-up
some test tube of the mind of the body I don’t know
who I am is Me determined by someone else?

Could you tell me would you please
if you had the chance
or would you hide it from me?
if I commit a crime against myself do I commit it against others
who are me or are they me and do they feel it--
my suicide?
or are they satisfied
with life
life that has been chosen for them life that isn’t theirs for the choosing
or do they even notice
or know or care or stop to think or fear that maybe what they have isn’t theirs?
mine
could be
you made me. You made me…
they make me, made Me make them
can’t you stop it if you
don’t you want to have one
One perfect
what is it that you’re looking for?
have you found your one
have you found it in me in them
is it in me or from me
or is it
me
?
you
became the womb
you gave birth you gave me gave them gave you
you selfish
it was all for you I was
they were it was you
playing with god and science and where is my mother
the mother of all
I need to be nurtured to grow to develop
outside of a person sterile pure yet eternally contaminated
by the lack of self, family, being, purpose

raise me love me choose me
choose to choose me
aren’t I original only simple individual complicated complex
enough?
aren’t I enough Me?

Copyright 2007 by Meredith Ott

Invitation from a Poem

Often I enjoy reading poems that somehow invite the reader into them. Sometimes they do so merely by being accessible, but even difficult poems can signal, in a variety of ways, that the reader is still welcome. Many of Shakespeare's sonnets and Donne's poems belong, I'd argue, in the latter category. You know going in that there will be some knots to untie, but you also know you'll probably enjoy being inside the poem nonetheless. With some so-called L-A-N-G-U-A-G-E poems, a few of Robert Creeley's poems, and a lot of Pound's poetry, I'm sometimes uncertain about how welcome I am in the poem.

Here's a poem that takes the idea of invitation both literally and figuratively:

Make Yourself, At Home

by Hans Ostrom

You are always welcome here
at the end of this sentence,
in a courtyard of expression.

Your presence shapes utterance,
organizes this garden of letters.
With your permission, afternoon

arrives. We could say “shadows
lengthen,” but that’s not very good,
and you prefer to think of Earth

always moving, pulling trees, people,
hills, and buildings toward and away
from sun. You are and change the subject.

You murmur a tale, which brings laughter
at its close. Will you tell that tale?
Please tell that tale again.

The invitation at the end is "spoken" by the one "uttering" the poem to an implied listener "within" the poem, but the invitation is also literal. The last stanza invites you to tell an engaging, perhaps humorous, tale or anecdote today to someone you know--or to a stranger, if the stranger will stand for it.

The poem is from Subjects Apprehended, by Hans Ostrom (Ohio: Pudding House Press, 2000).

Wednesday, November 7, 2007

Theme and Variations

I tried an experiment whereby I treated a poem the way a jazz musician might treat a melody, playing a melodic phrase or "theme" and then improvising upon the phrase. A couple circumstances suggested, even before I started, that the experiment might be less than 100% successful. I am a piano player, although piano hacker is more accurate. My mother (not a professional piano teacher) gave me a few lessons in middle-school, and then I taught myself, so I studied with the worst. I like to play ballads from the 30s and 40s, and I do a D+ version of "Satin Doll." Okay, maybe D (the grade, not the key). Second problem: words aren't musical notes. Third problem: it's the first time I've tried this. Fourth problem: nobody really likes experimental poems, even if they say they do. Looking on the bright side, I can observe that the poem really isn't very long. It stretches out a bit, but it doesn't have that many words. Here it is:

Theme And Variation

1. Theme

Be nice to her.
Nice words go far.
To go gracefully, gaze.
Her far gaze matters.

2. Variation

be
nice nice
to words to
her go go her
far gracefully far
gaze gaze
matters

3.Variation

her
to far
nice go gaze
be words gracefully matters
nice go gaze
to far
her

4. Variation

be
to
go

far
her

nice
gaze

words
matters

gracefully

Copyright Hans Ostrom 2007

Poem By Hiroshi Kashiwagi

Here is a spare, wry poem from a California writer named Hiroshi Kashiwagi:


A Librarian Looks at Snails

watching

snails

coupling

I wonder

if they read

books on

sexuality

Copyright 2007 Hiroshi Kashiwagi; used by permission.

Guest Poem by Sarah Borsten

Here is a second poem from Northwest writer Sarah Borsten:

Visiting

by Sarah Borsten

Your hands look smaller
every time I see you,
knitting needles sprout
like fingers that somehow
escaped the fire.
When I visit
you are always sitting
underneath the faded Monet poster.
I ask you if the blanket you are knitting
is for my baby cousin.
You glance at the waterlilies
above your head
and reply that
life has more holes
than you can ever patch up.

Copyright 2007 Sarah Borsten

More Recommendations: Books of Poetry

Students in a poetry-writing class had to choose an extra book of poems to read. Almost all of the students are seniors and thus have reached the ripe old age of 21 or 22 but still qualify as youths (pronounced "yutes," remember, a la Cousin Vinny). Here are the books they chose, in no particular order:



Mark Strand, Blizzard of One
Pablo Neruda, The Sea and the Bells
Frank O'Hara, Collected Poems
Langston Hughes, Selected Poems
Mona Lisa Saloy, Red Beans and Ricely Yours
William Butler Yeats, Selected Poems
e.e. cummings, 100 Selected Poems
Derek Walcott, The Gulf and Other Poems
Gary Snyder, Left Out in the Rain
Marge Piercy, The Moon Is Always Female
Norman Dubie, Alehouse Sonnets

Tuesday, November 6, 2007

Why Is Snow White?

I grew up around snow--at about 4,000 feet above sea-level in the Sierra Nevada. That was about 1,000 feet lower than the really serious snow, but each winter we still got storms that dumped a foot here, two feet there, sometimes four feet. Before I was born, the infamous storm of 1952 hit, and it dumped so much snow that drifts piled above the roofs in town and cut the town off. Highway-plows were completely useless against such a volume of snow. Lore has it that some pregnant women, among others, got nervous.

Some people who grow up around snow remember it fondly and become lifelong ski-enthusiasts, etc. I associate it with work: shoveling, walking in it, putting chains on tires, getting cold, driving in it with appropriate caution (why some people speed up, only God knows), stoking wood fires. Snow and I are acquaintances, not enemies but not friends.

According to a variety of sources on the internet, snow is white because when light enters it, light gets bounced around off all the crystals that make up snow, and the light basically gets bounced right out. I think this happens fairly rapidly, as light is known to be in a big hurry all the time. Anyway, when it comes out, our eyes "read" it as "white." I remember digging paths through snow to and from the house, however, and essentially a snow-corridor took shape. The sides of the corridor looked positively blue at times, I assume because the light came out and/or went in at a different angle. . . . There is nothing quite like the silence of a snowed-over field, if the wind isn't blowing.

A wee poem, piled only four lines high, about a snow-childhood, then:

Childhood, Sierra Nevada

Snow fell on me.
I fell on snow.
Why it was white
I didn’t know.

Copyright 2007 Hans Ostrom

By the way, the name "Snow White" has always puzzled me. I gather it's supposed to suggest virginity or purity. But imagine meeting her in the village. "Good morning, Snow. What's going on?"


This, That, and The Other Thing: Our Lives

I like that pat answer people sometimes give when you ask, "What have you been up to?" "Oh, this and that," they say. It can be a way of saying, "None of your business," or of saying, "It's too complicated to go into now," or "You are not the person I was hoping to speak with right now" or "Mere words cannot describe what I've been up to."

But it can also be an accurate response, for our lives are occupied by This and That. This is the thing occupying us most intensely right now, whereas That is what might be on our minds, a constant thing we have to deal with, a relationship, a political cause--whatever. Our days are concerned with the This of our lives and the That of our lives, hence this wee poem:

The Position I Hold

I work for the Office of This and That.
Currently I am Vice President for the
Development of This.

For many years, however, I worked
as District Manager of That.

In many respects This and
That have been my life.

When people ask me at a party,
“What do you do?” I say, “A little bit
of This, and a little bit of That.” I’m not lying.

-Hans Ostrom

Best of luck with this, that, and the other thing--life itself. Peace be with you, and also with you.


Poem As Very Short Essay; or Essay as Very Short Poem

'Tis the season on many college campuses for students to write many, many essays, a.k.a "papers." Here's a little poem that takes its shape from one shape the essay sometimes takes. The poem first appeared in Willow Springs, a magazine published at Eastern Washington University, which has a fine M.F.A. program in writing.

Bread and Bus: And Essay

by Hans Ostrom

Somebody is always,
always baking bread. It’s
been that way for thousands,
thousands of years.

Additionally, if life
is short, then there is
no such thing as
a long bus ride.

In conclusion, the bus
rolled onto a street
of shops, and we smelled
bread, baking; baking bread.

Copyright 2007 Hans Ostrom

May your day be filled with the smell of freshly baked bread. And if you're working on an essay, good luck.

Monday, November 5, 2007

Haiku; Basho; Sneeze

Although one of my favorite books of poetry is Matsuo Basho's The Narrow Road to the Deep North, as translated in English, I hardly ever try to write haiku. Many poets specialize in the form--poets writing in English, I mean. Basho's book is great because it's part travelogue, part autobiography, part meditation, and part poetry. The poetry's interwoven with the narrative, and occasionally he'll invite someone he meets to write a poem with him. In my hands, the haiku-form just seems artificial in a way that the sonnet-form, though difficult, does not. I feel as if I'm writing in a form I don't understand fully, and I assume that there are all sorts of cultural assumptions lying behind the haiku form. For example, the 17 syllables may mean a great deal in Japanese for reasons I don't fathom, but in English, what's the difference between 17 and 16 or 17 and 15? But I certainly enjoy haiku written by other poets, and the focus on clear, "hard" imagery has a lot in common with the Imagist movement.

Anyway, here's just one haiku:

Allergic Haiku

mold, pollen, weeds, dust--

sealed building full of bad air—

she wheezes; sneezes


A-choo.

Bricks

I'm living in a brick house for the first time in my life. I like it just fine. Brick houses always look appealing from the street because you don't see peeling paint, and bricks pretty much stay bricks: they hold their shape and color. I've heard that brick houses don't fare too well in earthquakes, but I don't know that for a fact.

My father, a stone mason, loathed bricks. Basically, he refused to lay them. I think the process was simply too boring for him, and although he would have been furious if someone had referred to him as an "artist," he liked the fact that no two rock walls or fireplaces looked the same. He liked composing the things.

We've always bought highly used homes--a couple were even Victorians houses, ancient by American standards. No matter how much the previous occupant cleans up outside, there always seem to be things of interest (but of no or little use) left behind, such as an oddly shaped piece of metal, a broken chair, or just one brick. The just one brick is the topic of this poem.

Brick

A brick never set
into wall or walkway

seems all rectangular

for nothing, red out
of embarrassment or alarm:

Brick emergency! I need

to be part of something,
mortared into solidarity
!

The isolated brick gives

the impression of being aware
of its situation, although

that is impossible.

What will happen?

Weather will get to it.
Or it will break. Anyway

it’ll return to soil, finish
the trip from clay to mold

to kiln to being brick to dirt.

Recommended Poems

I use a huge anthology in one of my courses, and the book is one of the best of its kind I've seen in a while. It's The Wadsworth Anthology of Poetry, edited by Jay Parini.

The other day, I told the students that each of them could pick any poem at all from the massive book--a favorite of theirs we hadn't yet discussed in class. Most of the students are 20-21 years old, so although the sample is statistically unreliable, the list of poems the students chose does provide a window on what some "youths" [of course, this must be pronounced "yutes," as Joe Pesci's character pronounces it in My Cousin Vinny] like in the way of poetry. Here's the list, in no particular order:

"My Grandmother's Love Letters," by Hart Crane
"America," by Robert Creeley
"since feeling is first," by e.e. cummings
"Morning Song," by Sylvia Plath
"Night Mirror," by Li-Young Lee
"Lucy Gray," by William Wordsworth
"Fog," by Carl Sandburg
"Those Winter Sundays," by Robert Hayden
"America," by Allen Ginsberg
"Ode to the Beautiful Nude," by Pablo Neruda
"The Road Not Taken," by Robert Frost
"The Idea of Order at Key West," by Wallace Stevens
In Memoriam, by Alfred Tennyson
Howl, by Allen Ginsberg

Sunday, November 4, 2007

Holding Back; Emerson

Here's a lesser known poem by Ralph Waldo Emerson:

Forebearance

by Ralph Waldo Emerson

Hast thou named all the birds without a gun;
Loved the wood-rose, and left it on its stalk;
At rich men's tables eaten bread and pulse;
Unarmed, faced danger with a heart of trust;
And loved so well a high behavior
In man or maid, that thou from speech refrained,
Nobility more nobly to repay?—
O be my friend, and teach me to be thine!

This is a complex little poem. It certainly is about holding back, refraining from killing birds when looking at them will do just fine; from picking a wild rose; from letting fear get the better of you in a tough situation; and--perhaps my favorite--refraining from complimenting someone for their good behavior. In one sense, of course, we have been taught that such compliments, when properly offered, are polite and generous. Emerson's poem seems to suggest, however, that there are times when withholding the compliment leaves all the nobility to the person who behaved nobly; one refrains from "joining in," I guess, or from basking in the other person's glow. Perhaps the one puzzling reference is to being invited to a rich man's "table"--to his house for dinner--and to be served "bread and pulse." In this case, "pulse" doesn't refer to heart-beats or, obliquely, blood. It refers to food deriving from anything in the bean-family--probably a kind of mash made of beans. So I guess if you're invited to a rich man's house and expect the food to measure up to the stock-portfolio and instead you get "mere" bread and beans, hold back. Don't complain or let on that you're disappointed. Eat what is put before you. Thank the hosts.

I enjoy the last line very much because the speaker suggests that he's "not quite there yet." He can admire forebearance but hasn't gotten the hang of it yet, so he'd like a forebearing friend to teach him.

I believe the poem was published in 1842. Sometimes now you see forebearance spelled without the e after r.

Since Emerson's often linked to (Walt) Whitman in a Transcendental way, I thought I'd toss in a little poem about the sort of person who is not Whitman-like, who prefers not to "sing myself" (sing herself), who holds back (the "light under a bushel-basket syndrome"):

Not Whitman

She, too, would sing herself
if such a song seemed not so
indulgent, presumptuous.
She leaves her blades of grass
lying under drifts of reticence.
What she knows, you may
know, but only if you ask,
and even then she may answer
only by asking you to sing a little
something of yourself.

Copyright 2007 Hans Ostrom

Saturday, November 3, 2007

Why Do I Like Crows?

My sense of things is that crows are not popular. They're large, loud, and insistent--and these traits are supposed to be exclusively human, aren't they? There are a lot of crows in a lot of places, and if your residence or place of work is next to tall trees, there may well be crow- families in your neighborhood. The nests are huge. The perch on top of schooners and whalers wasn't called the crow's nest for nothing. Crows don't sing or do acrobatics in the air. They're very clear about the fact that they're not here for our entertainment. They seem to eat anything, as do seagulls (are both considered carrion-birds?), but most people think seagulls have some counter-balancing positive attributes.

I like crows, even when they dive at me as I walk across campus in Spring. I don't know exactly why I like them. As with cats, their selfishness doesn't seem personal; it's just business. That may appeal to me. --Although I doubt if either crows or cats would enjoy the comparison.

Once Ted Hughes published his book-length collection of crow-poetry, aptly named Crow, the rest of us were left to pick up scraps, rather like crows. I guess the same might be said of Hopkins and his falcon-poem, "The Windhover," although Yeats, at least, managed to write an equally famous poem that included falcon-imagery (in the service of his idiosyncratic "gyre" theory of history): "The Second Coming." And Robinson Jeffers went ahead and wrote his hawk poems. This business about someone's having written "the last word" on a subject can't be taken literally by poets, after all. One must press on. So here's a crow-poem, but it's really more about why on earth I'm partial to crows:

Annual Interrogative

Crows in soupy light stomp
around broad lawns, pick at buffets
of bugs, shake sandwich-wrappers.
Perturbation is part of
the ravenous package of traits crows
have hauled with them over eons.
These birds have something to say
as they lift themselves and climb
the wind clumsily. They complain,
harangue, object, savage, and smart-off;
they pronounce CAW in several dialects,
are more menacing when they’re
silent, hopping sideways, holding
a grudge with an open beak, fixing
you with a stare, filing away your
coordinates for later air-attacks.
They’re miffed, moody, pessimistic, and
heavy-footed. Why I like them
more than more charming birds
is an annual interrogative I caw—
why?!—to myself.

Copyright 2007 Hans Ostrom

William Miller; Golf Poems

Here is a splendid poem by William Miller that gives us a fresh perspective on golf. The poem is from findarticles.com. Copyright information appears after the poem.

Night Golf

by William Miller

After dusk, on moonlit nights,
the caddies returned to play
their version of the game.

Once more, it was a black
and white world, though
they owned it now,
tamed the course
shot by shot.

They learned to play
by feel, almost like
blind men swinging
in the shadows.

But they got better
than any mill owner
who played his poor game
of slice and curse.

One day they would play,
prove themselves
forever in the daylight world.

That day was coming soon,
or so they hoped,
as they carried heavy bags
in the hot sun
for men who called
the oldest, "boy."

"William Miller teaches African American literature
and creative writingat York College of Pennsylvania.
He has published four books of poetry and
eleven books for children. COPYRIGHT 2002
African American Review."
* * * * *


Golf

by Hans Ostrom

On vast manicured pastures,
eccentric members of an obscure religious cult
seek the hard white spherical fruit
of the mythical snow-tree. Smaller
than a plum, the nutty fruit sometimes
soars away from these people; sometimes
it bounds like a rabbit into the woods;
or rolls like a perfect ice-ball
formed by a child's hands, only
to come to rest, and to melt,
in a patch of pale sand in the pasture.

Morose assistants accompany the members
of the cult and carry bags of arcane, ceremonial
weapons. Sometimes the believers stand
over the white delicacy as if they were grieving.
Sometimes, with enormous, sad deliberation,
they push away the nut with one of the weapons,
which seems more sword than club, more club
than sword. The rolling nut disappears into
a tiny rodents' hole. The believer then retrieves it,

examines it with something like regret,
then hands it to his or her assistant. People
from the village sometimes observe these
inscrutable rituals. They gather in groups,
herded behind ropes. Sometimes they applaud,
as if commanded to do so. Mostly they watch
in anxious silence. They concentrate on
the believers' every move, even when
a believer is merely walking and the white
nut is not nearby. No one seems to know
what any of this activity means.

Copyright 2007 Hans Ostrom

Speak For Yourself

Warning. Red alert. Or at least maybe a burnt-umber alert. (I need to find out what umber is and who first burned to make that color.) Preachy poem ahead. Detour advised.

Can’t Complain, Am Concerned

Life provides me with assistance,
which includes oxygen, sunshine,
water, memory, blueberries, garlic,
recordings of Dinah Washington,
Rubenstein, and Johnny Cash,
cardamom, bookstores, a bed,
birds, and affection. Such largesse.

I’m wealthier than royalty
of previous eras, travel more
comfortably than Vikings,
Marco Polo, and Eisenhower.
I don’t have very much power,

one might allege,
but the same one might cite
my extraordinary American
imperial privilege.

Mere me, ordinary I: I
am one of the most expensive
people in history. I’ve worked,
but who hasn’t? There are a few,
I know, but for many, just
living is the hardest job of all.

A question of society
persists, is more than a
question of propriety:
how shall those who have
behave toward themselves
with regard to those who have
not or much less? Shall we bless
ourselves by making the
blessings go further, as a frugal person does
with what a frugal person has?
Or shall we condemn ourselves
by doing no good with having it good?

“Speak for yourself.” A fair point.
What is it I should
be doing to do the best with doing well?

is a question worth my asking myself.
"Shut up." Consider it done.

Hans Ostrom

Friday, November 2, 2007

Skaters Captured

I'll continue my intermittent posting of Imagists' poems with one by John Gould Fletcher (1886-1950):

The Skaters

by John Gould Fletcher

BLACK swallows swooping or gliding
In a flurry of entangled loops and curves,
The skaters skim over the frozen river.
And the grinding click of their skates as they impinge upon the surface
Is like the brushing together of thin wing-tips of silver.

(The word "surface" belongs at the end of the fourth line in this five-line poem.) This poem embodies the Imagists' dicta of treating "the thing" (usually something experienced through the senses, not a concept like "love") directly, writing sparely, and not being obligated to use conventional verse-forms or even previously common verse-techniques like rhyming. Although the Imagists often didn't rhyme or write in verse-forms like the sonnet or the ballad, they still paid great attention to language and the sounds of words, as this poem shows. "[T]he grinding click" seems like the perfect way to describe the sound of skates on ice. Maybe, like me, you think of Gerard Manley Hopkins' "The Windhover," in which Hopkins compares a hawk's flight to skating, just as here Fletcher compares the skaters to swallows in flight, and there certainly is a sense in which swallows, perhaps even more than hawks, skate on the air.

Lorine Niedecker: Nothing Personal

I just ran across a curious, humorous poem by Lorine Niedecker (1903-1970), a native of Wisconsin and a poet often grouped with William Carlos Williams and Hilda Doolittle because of her spare rhetoric and imagery. Here is the poem:

My Friend Tree

by Lorine Niedecker


My friend tree

I sawed you down

but I must attend

an older friend

the sun.


from The Academy of American Poets site: http://www.poets.org/poet.php/prmPID/729

When we see the title, "My Friend Tree," we're likely to dread reading the poem because we assume it will feature sentimental personification of the tree. Well, in this one we get the personification, but it's nothing personal; it's just business: the tree has to come down, presumably to let some light in. The phrasing is child-like in its simplicity and funny because of how the speaker breaks the news to the tree, after it's been sawed down. Niedecker's background was working-class, I gather, and she lived for a long time on an island in Wisconsin, so I can envisage her sawing down a tree.