Safe upon the solid rock the ugly houses stand:
Come and see my shining palace built upon the sand!
There has been a little conversation between myself and Edna St. Vincent Millay’s speaker in “Second Fig” for months now. Sometimes I would forget to think or talk to her for days or even weeks, then run into her riding the shades of a slow afternoon or merging with the shadows of an eerie night. Most recently, though, I have been finding her lisping within conversations shared with others and reading her on pages here and there. The thing is, often, in polite society, we speak only of our minor headaches in such ways that arouse neither genuine pity nor concern for our wellbeing but shine a dim light on our shared struggles in the search of infinite satiation. And this is why the lines of “Second Fig” are irritating––they are shamelessly honest. They can even be called coarse in that they seem to mock and brag simultaneously without apology. T…
By day she woos me, soft, exceeding fair:
But all night as the moon so changeth she;
Loathsome and foul with hideous leprosy
And subtle serpents gliding in her hair.
By day she wooes me to the outer air,
Ripe fruits, sweet flowers, and full satiety:
But through the night, a beast she grins at me,
A very monster void of love and prayer.
By day she stands a lie: by night she stands
In all the naked horror of the truth
With pushing horns and clawed and clutching hands.
Is this a friend indeed; that I should sell
My soul to her, give her my life and youth,
Till my feet, cloven too, take hold on hell?
Christina Rossetti’s "The World" is one of extremes. A heaven seeming hell occurring within spheres of light and darkness. Read one way, “The World” holds light as liar and night as truthful. Often, light is used as medium of truth and darkness that of falsehood and although the poem seems to be doing the opposite, when a…
I found this poem in the current edition of the New Yorker (February 3, 2014 edition) and I liked it a lot on my first read. After a second read, I felt the urge to memorize it. I'm not one to try to memorize poetry; as I am very bad at it. I'm trying very hard to not say why I like the poems I share——no, I don't share poems that I don't care for. I'm not that sophisticated. I like for a good poem to speak for itself.
by Wistawa Szymborska
There are catalogues of catalogues.
There are poems about poems.
There are plays about actors played by actors.
Letters due to letters.
Words used to clarify words.
Brains occupied with studying brains.
There are griefs as infectious as laughter.
Papers emerging from waste papers.
Conditions conditioned by the conditional.
Large rivers with major contributions from small ones.
Forests grown over and above by forests.
Machines designed to make machines.
Dreams that wake us suddenly from dreams.