Saturday, May 30, 2015

Edwin Arlington Robinson / The Sheaves


The Sheaves 

by Edwin Arlington Robinson

The American poet displays uncharacteristic romantic and metaphysical tendencies, while pondering a golden field of wheat and the passing of time

Carol Rumens
Monday 25 May 2015 12.27 BST


The Sheaves


Where long the shadows of the wind had rolled,
Green wheat was yielding to the change assigned;
And as by some vast magic undivined
The world was turning slowly into gold.
Like nothing that was ever bought or sold
It waited there, the body and the mind;
And with a mighty meaning of a kind
That tells the more the more it is not told.
So in a land where all days are not fair,
Fair days went on till on another day
A thousand golden sheaves were lying there,
Shining and still, but not for long to stay –
As if a thousand girls with golden hair
Might rise from where they slept and go away.

This week’s poem is one of Edwin Arlington Robinson’s later sonnets and is, in some ways, an atypical work. Even in his shorter pieces, Robinson favoured offbeat human characters, the “queer odd sticks of men”, as he described them (and women, too, of course). His wry vignettes and unheroic narratives were executed with the detachment and specificity of a certain kind of fiction writer – Chekhov might not be far off the comparative mark. Robinson’s forms were traditional, his subjects and approach were not.
The Sheaves at first glance, then, looks aberrant, a poem in which Robinson lets down his hair and indulges in suppressed romantic and metaphysical tendencies, entwining them in a final glorious union. Yet the concession to “some vast magic undivined” is moderated by a certain scrupulous realism, almost offstage but clearly audible as the sonnet unfolds. “As by some vast magic”, “As if a thousand girls” – a wariness of metaphor is marked at such points. The speaker who registers the wonderful phenomena also registers the connivance of his imagination.
To associate wheat with the colour “gold” is hardly original: one might find references to golden wheat in a million texts. Yet maybe we ought to respect Robinson for his modesty in picking a near-cliche that is, nonetheless, an acceptably accurate description. Never one to self-advertise through poetic figures, Robinson remains true to ordinary expression, when ordinary expression seems true. More importantly, “gold” has connotations useful to the poem’s ultimately realist framing. In the octet, it’s the “world” that is “turning slowly into gold” – a visual exaggeration that summons the King Midas myth if only to reject it. But by claiming this world as transcendental, “Like nothing that was ever bought and sold”, the poem reminds us of the very thing it resists – the stifling ubiquity of buying and selling.
The image of the glowing wheat gains further veracity from its presentation as a stage in a process. The plants are green in the first line. They have stayed unripened for perhaps a longer season than usual, but at last are “yielding” – a perfect verb that connects to the action of the wind – “to the change assigned”. There is no miracle hovering in the word “assigned”. The moment of vision, placed on pause, still unquestionably belongs to a natural life cycle.
The speaker knows all about this mutability, but tells us, “It waited there, the body and the mind”. In this strange personification of the world of gold, attention may have turned to the human players – the offstage labourers, farmers, dealers who might be said to form the mind that directs the land’s body. But perhaps, in view of the “mighty meaning” that follows, the poet discerns something like “mind” in the natural process itself. Line eight persists with the sense of mystery and unknowability. The deft chiasmus there seems to reach out to a kind of religious paradox. But it’s also close to an expression of Robinson’s own subtle narrative art – which often “tells the more the more it is not told”.
In the sestet’s opening lines, we can hear Robinson’s usual, low-key tone of voice as he alludes to “a land where all days are not fair”. That dry understatement precedes the report that, nevertheless, the “fair days went on” – and this documentary honesty somehow earns the epiphany: “A thousand golden sheaves were lying there, / Shining and still”. The further qualification “but not for long” – an echo with the “long”, so beautifully placed and hopefully charged – in line one prepares us for a later stage of the process. This time, Robinson allows himself the grandest of fanciful notions: the newly made sheaves might be sleeping, golden-haired girls who will rise of their own volition “and go away”. This is depicted so vividly, it almost happens in front of our eyes, but Robinson is merely imagining a scene yet to be realised. The poem holds on to its moment of magnificence inviolate.
Might Robinson verge towards sentimentality with his golden-haired girls? Despite the faint Shakespearean echo, I found myself going back to a lighter, sweeter sonnet in which golden hair and geography coincide, Charles Tennyson Turner’s Letty’s Globe. But the comparison isn’t very fair: Robinson isn’t pursuing charm, and his girls are not winsome children. They are not quite goddesses, although akin to spirits of the corn, but have bodies and minds that ground the poem’s metaphysics. The golden hair humanises and even vulgarises them, so, despite their slow-moving grandeur, they are emblems of the common tragedies. Lovers forsake one another. Youth dreams its time away and wakes to find years have imperceptibly passed. Lives end and leave no trace. What Robinson has almost said in the octet, that wheat is a commodity, to be bought and sold like any other, also lingers in the sestet, with its one-sentence symphony of fulfilment and transience.



Wednesday, May 27, 2015

Denise Levertov / The Jacob's Ladder

Denise Levertov

The Jacob's Ladder
by DENISE LEVERTOV
BIOGRAPHY
The stairway is not
a thing of gleaming strands
a radiant evanescence
for angels' feet that only glance in their tread, and
need not touch the stone.
It is of stone.
A rosy stone that takes
a glowing tone of softness
only because behind it the sky is a doubtful,
a doubting night gray.
A stairway of sharp
angles, solidly built.
One sees that the angels must spring
down from one step to the next, giving a little
lift of the wings:
and a man climbing
must scrape his knees, and bring
the grip of his hands into play. The cut stone
consoles his groping feet. Wings brush past him.
The poem ascends.




Monday, May 25, 2015

Denise Levertov / The Freeing of the Dust


The Freeing of the Dust

by Denise Levertov
BIOGRAPHY

Unwrap the dust from its mummycloths.
Let Ariel learn

a blessing for Caliban
and Caliban drink dew freom the lotus
open upon the waters.
Bitter the slow
river water: dew
shall  wet his lips with light.
Let the dust
float, the wrappings too
are dust.
              Drift upon the stir
of air, of dark
river: ashes of wat had lived,
                      or seeds
                of ancient sesame,
                     or namelessly
pure dust that is all
in all.              Bless,
weightless Spirit. Drink,
Caliban, push your tongue
heavy into the calyx.




Denise Levertov
"Poems 1972-1982"
New Directions Publishing Corporation, 2001.





Thursday, May 21, 2015

Billie Holiday / I'm a fool to want you



Billie Holiday
I'M A FOOL TO WANT YOU

This song is from Billie`s final album "Lady in Satin" completed and released in her lifetime.
Ray Ellis said of the album:
"I would say that the most emotional moment was her listening to the playback of "I'm a Fool to Want You". There were tears in her eyes...After we finished the album I went into the control room and listened to all the takes. I must admit I was unhappy with her performance, but I was just listening musically instead of emotionally. It wasn't until I heard the final mix a few weeks later that I realized how great her performance really was."


I` m a fool to want you

I` m a fool to want you
I` m a fool to want you
To want a love that cant be true
A love thats there for others too

I` m a fool to hold you
Such a fool to hold you
To seek a kiss not mine alone
To share a kiss that devil has known

Time and time again I said Id leave you
Time and time again I went away
But then would come the time when I would need you
And once again these words I had to say

Take me back, I love you
...i need you
I know its wrong, it must be wrong
But right or wrong I cant get along...
........Without you.......




Saturday, May 16, 2015

Billie Holiday / All of me




Billie Holiday

All of me


by Seymour Simons and Gerald Marks

All of me
Why not take all of me
Can't you see
I'm no good without you
Take my lips
I want to lose them
Take my arms
I'll never use them
Your goodbye left me with eyes that cry
How can I go on dear, without you
You took the part that once was my heart
So why not take all of me