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Welcome to the One Page Poetry Circle at St. Agnes (OPPC) blog.

We met on April 17th to talk about Poetry and Timing. The poems people brought were diverse in their interpretation, prompting everyone to agree that every poem written would fit the subject.

Abigail opened the circle by reading “Shadow March” by Robert Louis Stevenson, in which a child in bed describes the terrors of the night with lines that create a unique timing by alternating meters and rhymes, “The shadow of the balusters, the shadow of the lamp,/The shadow of the child that goes to bed — /All the wicked shadows coming tramp, tramp, tramp,/With the black night overhead.”

Roger read “Time and Life” by Algernon Charles Swinburne with its contrasting views of time, “Girt about with shadow, blind and lame,/Ghosts of things that smite and thoughts that sicken/Hunt and hound thee down to death and shame,” followed by the thought that “rest is born of me for healing.”

Hazel read Percy Bysshe Shelley’s “Sunset” from Queen Mab, an intoxicating view of a particular time of day, “Whilst suns their mingling beamings darted/Through clouds of circumambient darkness,/And pearly battlements around/Looked o’er the immense of heaven.”

Gail read Robin Chapman’s “Time” in which the narrator’s 87 year-old neighbor rings the doorbell and proceeds to give an update on her life, “her car and driver’s license/are missing though she can drive perfectly/well, just memory problems, and her son/is coming this morning to take her up/to Sheboygan, where she was born.” The poem is also a wonderful example of Enjambment, which was last month’s theme.

Terry read Shakespeare’s “Sonnet 49” on the unreliability of love and the law of human nature, which begins, “Against that time, if ever that time come,/When I shall see thee frown on my defects,” and ends, “To leave poor me thou hast the strength of laws,/Since why to love I can allege no cause.”

Christiana read “The Listeners” by Walter de la Mare, with its enigmatic sense of bad timing, “But only a host of phantom listeners/That dwelt in the lone house then/Stood listening in the quiet of the moonlight/To that voice from the world of men.”

Cate read Carolyn Kizer’s “Reunion” in which the narrator describes meeting a man she knew thirty years before, who had taught her, “inadvertently” that “The finest intellect can be a bore”…“I nod, I sip my wine, I praise your view,/Grateful, my dear, that I escaped from you.”

AnnaLee closed the circle with Edith Sitwell’s raucous “Sir Beelzebub” which begins “When/Sir/Beelzebub called for his syllabub in the hotel in Hell/Where Proserpine first fell” and ends “None of them come!” The poem was set to music by William Walton and recited by Barbara Hannigan.

Linda couldn’t attend the poetry circle but had chosen Langston Hughes’s “What Happens to a Dream Deferred”:

What happens to a dream deferred?
 Does it dry up
 Like a raisin in the sun?
 Or fester like a sore—
 And then run?
 Does it stink like rotten meat?
 Or crust and sugar over—
 like a syrupy sweet?
 Maybe it just sags
 like a heavy load.
 Or does it explode? 

We look forward to seeing you for Poetry and Choice, Tuesday May 8 at St. Agnes Branch Library in Manhattan. Choice will conclude the Spring Season of the One Page Poetry Circle. Look back here in the coming weeks for the Fall schedule and poetry themes.

In the meantime, please blog with us here at onepagepoetrycircle.wordpress.com.

See you soon —
Abigail Burnham Bloom and AnnaLee Wilson

The One Page Poetry Circle is sponsored by the New York Public Library and is open to all. St. Agnes Branch Library is handicap accessible.

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The One Page Poetry Circle (at St. Agnes Branch Library) met on March 6th to talk about Poetry and Enjambment. The word comes from the French meaning “legs straddling,” as the thought in a poem can flow beyond a line.

Abigail opened the circle with Núala Ni Dhomhnaill’s “The Language Issue,” her answer to why she writes in Irish (the poem was translated into English by Paul Muldoon) and begins, “I place my hope on the water/in this little boat/of the language, the way a body might put/an infant/in a basket of intertwined/iris leaves.” The poem reflects the flowing water with enjambment.

Roger read “The Poet of Bray” by John Heath-Stubbs, a humorous history of a poet’s changing political views. His excitement is captured with enjambment, “Back in the dear old thirties’ days/When politics was passion/A harmless left-wing bard was I/And so I grew in fashion.”

Hazel read Hamlet’s “To Be or Not To Be” speech from Shakespeare’s play Hamlet. We were delighted to revisit this poem and examine how the thoughts move forward, “To be, or not to be—that is the question:/Whether ’tis nobler in the mind to suffer/the slings and arrows of outrageous fortune/Or to take arms against a sea of troubles.”

Gail read “The Good Life” by the current American Poet Laureate, Tracy K. Smith, a poem that captures shifting images in a single sentence and is given in its entirety here:

When some people talk about money
They speak as if it were a mysterious lover
Who went out to buy milk and never
Came back, and it makes me nostalgic
For the years I lived on coffee and bread,
Hungry all the time, walking to work on payday
Like a woman journeying for water
From a village without a well, then living
One or two nights like everyone else
On roast chicken and red wine.

Ken read the start of “Endymion” by John Keats, with its many beautiful images created through enjambment, “A thing of beauty is a joy for ever:/Its loveliness increases; it will never/Pass into nothingness; but still will keep/A bower quiet for us, and a sleep/Full of sweet dreams, and health, and quiet breathing.”

Christiana read Marianne Moore’s “The Fish,” which proceeds in ocean-like waves, “wade/through black jade/Of the crow-blue mussel-shells, one keeps/adjusting the ash heaps;/opening and shutting itself like/an/injured fan.”

Linda read Sylvia Plath’s “Edge,” written just six days before she died, in which the sentences run on into the next verse, “The woman is perfected./Her dead/Body wears the smile of accomplishment,/The illusion of a Greek necessity/Flows in the scrolls of her toga.”

Cate read Ted Kooser’s “Gyroscope,” which creates a beautiful image in one sentence, “I place this within the first order/of wonders: a ten-year-old girl/one on a sunny, glassed-in porch/in February, the world beyond/the windows slowly tipping forward into spring.” We noted that when you first read the line ending “the world beyond” there seems to be a natural stop, but the thought continues into the next line and the thought changes.

Susan read “This Is Just To Say” by William Carlos Williams in which a husband apologizes for eating the plums in the icebox that his wife was saving for breakfast, “Forgive me/they were delicious/so sweet/and so cold.”

AnnaLee read Archibald MacLeish’s “The End of the World” in which a mad circus disappears when the top blows off, “There with vast wings across the cancelled skies,/There in the sudden blackness the black pall/Of nothing, nothing, nothing—nothing at all.”

Please blog with us at onepagepoetrycircle.wordpress.com. And join us for our next program at the St. Agnes Branch of the New York Public Library, 81st and Amsterdam Avenue, Manhattan. Dates and times follow:  

Spring 2018 Schedule
April 17: Poetry and Timing (5:30 – 6:30 pm)
May 8: Poetry and Choices (5:30 – 6:30 pm)

Abigail Burnham Bloom and
AnnaLee Wilson

The One Page Poetry Circle is sponsored by the New York Public Library and is open to all. St. Agnes Branch Library is handicap accessible.

We had a great turnout for the first of our fall 2017 season on September 12, where we examined poetry and Commemoration. 

Abigail began the circle with Jacqueline Woodson’s “Occasional Poem,” in which a student responds to a teacher’s assignment, “I guess them arguing/on a Tuesday in January’s an occasion/So I guess this is an occasional poem.” Although an occasional poem is another word for a commemorative poem, this one was not written for a traditional public event.

Roger read Marc Antony’s famous speech, “Friends, Romans, countrymen, lend me your ears,” from William Shakespeare’s Julius Caesar, a work that starts as a commemorative oration but ends as an incitement to riot: “Here, under leave of Brutus and the rest—/For Brutus is an honourable man;/So are they all, all honourable men—/Come I to speak in Caesar’s funeral.”

Hazel read William Wordsworth’s “Composed upon Westminster Bridge,” a poem that commemorates or remembers London before sunrise, “The river glideth at his own sweet will:/Dear God! the very houses seem asleep;/And all that mighty heart is lying still!”

Gail read a shortened version of Yevgeni’s Yevtushenko’s “Babi Yar,” a poem that became a monument commemorating an horrific event, “No monument stands over Babi Yar./A steep cliff only, like the rudest headstone./I am afraid./Today, I am as old/As the entire Jewish race itself.”

Christiana read “Grand Central” by Billy Collins, which reads in its entirety:

The city orbits around eight million
centers of the universe
and turns around the golden clock
at the still point of this place.

Lift up your eyes from the moving hive
and you will see time circling
under a vault of stars and know
just when and where you are.

Linda read “Villanelle for an Anniversary” by Seamus Heaney, composed about the founder of Harvard University, “Begin again where frosts and tests were hard./Find yourself or founder. Here, imagine/A spirit moves, John Harvard walks the yard,/The books stand open and the gates unbarred.”

Eileen read Primo Levi’s “Shema” in which he substitutes knowledge of the holocaust for the well-known Jewish prayer, “Consider that this has been:/I commend these words to you./Engrave them on your hearts.”

Terry read “The Dogwood Tree” by Curtis Moorman, a poem she announced was not very good but that intrigued her because the author wrote prolifically from jail, “Legend says of the Dogwood tree/That on it, Christ was crucified/His blood was shed for you and me/When the soldier pierced His side.”

Vincent read “Normandy, the Impossible Made Possible,” a poem he had written and published describing the landing of the Allies, “Into the face of death, they forged our destiny,/Changing the course of history.”

Maria read William Wordsworth’s “Daffodils,” which examines how a scene can be remembered, “For oft, when on my couch I lie/In vacant or in pensive mood,/They flash upon that inward eye/Which is the bliss of solitude;/And then my heart with pleasure fills,/And dances with the daffodils.”

AnnaLee completed the circle with Mary Jo Bang’s “The Role of Elegy,” which describes a type of commemorative poem, and explores the poet’s difficulty memorializing her son’s death: “The role of elegy is/To put a death mask on tragedy,/A drape on the mirror.”

Scott couldn’t make the meeting but found a poem celebrating an event in the Boer War, which included the lines:

They went across the veldt,
As hard as they could pelt.

Like much of commemorative poetry, these lines are awful. Unfortunately great poetry cannot usually be composed on command.

We look forward to the poems you bring for Poetry and Punctuation. As a reminder, OPPC is not for reading poems you have written, but an opportunity to appreciate well-established poets. 

Find a poem! Show up! Read a poem! Discuss a poem!

Fall 2017 Schedule

October 17: Poetry and Punctuation
November 14: Poetry and Power
December 12: Poetry and Windows

Abigail Burnham Bloom and
AnnaLee Wilson

The One Page Poetry Circle is sponsored by the New York Public Library and is open to all. St. Agnes Branch Library is handicap accessible.

The One Page Poetry Circle met on May 9th to discuss Poetry and Theft. We had a great turnout for our last program of the spring season.

Abigail opened our discussion with two poems, “Jenny Kiss’d Me” by Leigh Hunt, which employs the metaphor of time as a thief, and John MilSafe_Open_Emptyton’s “Sonnet 7,” in which Abigail believes she has found the origin of the metaphor. “How soon hath Time, the subtle thief of youth,/Stol’n on his wing my three-and-twentieth year!” We were impressed by Milton’s concern about how little he had accomplished by the age of 23 and how much he would eventually accomplish.

Roger read Wendy Videlock’s poem “Disarmed,” in which a mother views the evidence of her son’s stolen snacks as he sleeps, “how could I be uncharmed by this,/your secret world, your happy mess?”

Phil read “The Thieves” by Robert Graves which describes lovers who thieve, reciprocally, from each other, “After, when they disentwine/You from me and yours from mine,/Neither can be certain who/Was that I whose mine was you.”

Hazel and Terry brought the same poem, something that seldom happens, and examined in different ways Shakespeare’s “Sonnet 99”: “The forward violet thus did I chide:/Sweet thief, whence didst thou steal thy sweet that smells,/If not from my love’s breath?”

Ken read Bob Dylan’s “All Along the Watchtower”: “‘There must be some way out of here,’/Said the joker to the thief/‘There’s too much confusion, I can’t get no relief’” and we discussed different interpretations of who the joker and the thief represent and what the song means.

Elizabeth spoke about the theft of a civilization, something experienced by the Hmong people. She brought with her a piece of tapestry that tells (if we knew how to read it) the history of one family and a poem by Mai Der Vang “Cipher Song”: “It’s come to this. We hide the stories/on our sleeves, patchwork of cotton veins.”

Linda read “Ralph Rhodes,” a selection from the Spoon River Anthology by Edgar Lee Masters: “And you look up, and there’s your Theft,/Who waited until your head was gray,/And your heart skipped beats to say to you:/The game is ended./I’ve called for you.”

Salomé read “Richard Cory” by Edwin Arlington Robinson, a poem describing a man who was rich and respected, “So on we worked, and waited for the light,/And went without the meat, and cursed the bread;/And Richard Cory, one calm summer night,/Went home and put a bullet through his head.”

Gail read Philip Larkin’s “Home Is So Sad,”

Home is so sad. It stays as it was left,
Shaped to the comfort of the last to go
As if to win them back. Instead, bereft
Of anyone to please, it withers so,
Having no heart to put aside the theft
And turn again to what it started as,
A joyous shot at how things ought to be,
Long fallen wide. You can see how it was:
Look at the pictures and the cutlery.
The music in the piano stool. That vase.

Karen read two poems from an anthology used to teach children that describe, as in the Larkin poem above, the emptiness in a home. “There Are Four Chairs Round the Table” by John Foster begins, “There are four chairs round the table,/Where we sit down for our tea./But now we only set places/For Mum, for Terry and me.” One of the authors in this anthology said he writes poetry because: “A. When you didn’t follow teacher’s directions to write a poem, you got the cane. B. Later, I thought that girls would realize what a sensitive and wonderful human being I was. They did not. C. Now, to entertain children.”

Stan read the work of a Cherokee poet, Santee Frazier, “The Robbery” which begins, “Red ambulance flicker, curbstone, wheels, a gurney. Down the breezeway a baby, crying out among the gawk-mouthed heads./Knifed, sliced, the man bleeding through the gauze and onto his belly.”

AnnaLee closed the circle with “The Stealing Poems” by Robert Adamson, which compares the act of theft with sex:

It’s the way you feel
as you do it
it’s not good
or bad or anything
and you lose
the feeling as soon as
it’s over
it’s like sex a lot
that’s why when you steal
when you’re a kid
it’s so strange
because you haven’t got sex
to compare it to

Have a wonderful summer and we will see you in the fall. And remember to blog with us at onepagepoetrycircle.wordpress.com. Don’t be shy.

Fall 2017 Schedule:
September 12: Poetry and Commemoration
October 17: Poetry and Punctuation
November 14: Poetry and Power
December 12: Poetry and Windows

Abigail Burnham Bloom and
AnnaLee Wilson

The One Page Poetry Circle is sponsored by the New York Public Library and is open to all. St. Agnes Branch Library is handicap accessible.

Welcome to the One Page Poetry Circle at St. Agnes Branch Library! On Tuesday, May 9, we’ll be reading and discussing the work of established poets on the theme of Poetry and Theft (see particulars below).

Stop thief! Whether someone steals your heart, your belongings, or your poetry, there is a lot of theft out there. While theft and losing things can be bad, poetic theft borrows from other poets to add to the conversation and that’s valuable — unless too much is stolen from one poet and then it’s piracy!

In the poetic form cento (collage), which goes back to Virgil and Homer, every part of a poem must be filched from a different poet. Simone Muench’s “Wolf Cento” begins with words from Anne Sexton’s “Frenzy” and ends with a line from Carl Sandburg’s “Wilderness.”

Very quick. Very intense, like a wolf
at a live heart, the sun breaks down.
What is important is to avoid
the time allotted for disavowels
as the livid wound
leaves a trace    leaves an abscess
takes its contraction for those clouds
that dip thunder & vanish
like rose leaves in closed jars.
Age approaches, slowly. But it cannot
crystal bone into thin air.
The small hours open their wounds for me.
This is a woman’s confession:
I keep this wolf because the wilderness gave it to me.

In Shakespeare’s Othello, Iago, a character who intends to ruin Desdemona and Othello, states something that is true, but his truthfulness disguises his intentions: 

Who steals my purse steals trash; ’tis something, nothing;
’twas mine, ’tis his, and has been slave to thousands;
But he that filches from me my good name
Robs me of that which not enriches him,
 
And makes me poor indeed.

In “Song of Fairies Robbing an Orchard” Leigh Hunt wrote of the rewards of theft:

Stolen sweets are always sweeter,
Stolen kisses much completer,
Stolen looks are nice in chapels,
Stolen, stolen, be your apples.

If you can’t make our free library event let’s hear from you anyway by telling us what poem you would have brought or commenting. To do so, click on the small gray speech balloon next to the date.

Abigail Burnham Bloom and AnnaLee Wilson

Poetry and Theft
Tuesday, May 9, 5:30 – 6:30 pm, St. Agnes Branch Library, 444 Amsterdam Avenue (near 81st Street), 3rd Floor

The One Page Poetry Circle is sponsored by the New York Public Library and is open to all. St. Agnes Branch Library is handicap accessible.

Welcome to the One Page Poetry Circle at St. Agnes Branch Library!

Date: Tuesday, April 18
Time: 5:30 – 6:30 pm
Place: St. Agnes Branch Library, 444 Amsterdam Ave.
3rd Fl.
Theme:
Poetry and Silence

Find a poem! Show up! Read a poem! Discuss a poem!

April’s theme is Poetry and Silence. Feel free to interpret the theme in a way that has meaning for you. We hope you will find a poem you haven’t read before or see an old friend in a new light. Can’t locate a poem you like? Look through a poetry book at the library or check out Poetry Foundation or poets.org.

Silence would seem inimical to poetry, but it is as important as words. Poems use silence, the cessation of words, to create meaning. “Silence” is the last word that Hamlet speaks (Shakespeare’s Hamlet 5.2). The moment contains irony in that the last thing Hamlet says means “nothing” but follows much mental and physical turmoil. Sadly, his voice will be silenced forever—or at least until we read the play again.

The potent poison quite o’ercrows my spirit.
I cannot live to hear the news from England.
But I do prophesy the election lights
On Fortinbras. He has my dying voice.
So tell him, with th’ occurrents, more and less,
Which have solicited. The rest is silence.

In Yvor Winters’ “Before Disaster,” the rhyming couplets tick-tock, lull, increase speed, and then halt, creating a silence where readers can reflect before moving on.

Evening traffic homeward burns,
Swift and even on the turns,
Drifting weight in triple rows,
Fixed relation and repose.
This one edges out and by,
Inch by inch with steady eye.
But should error be increased,
Mass and moment are released;
Matter loosens, flooding blind,
Levels driver to its kind….
Ranks of nations thus descend,
Watchful to a story end.
By a moment’s calm beguiled,
I have got a wife and child.

Simon and Garfunkel’s song, “The Sound of Silence” begins by evoking a mood:

Hello darkness, my old friend
I’ve come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence

What other forms of silence have you found in poetry?

We’d love to blog with you here at onepagepoetrycircle.wordpress.com about Poetry and Silence or any other subject that pertains to poetry.

~Abigail Burnham Bloom and AnnaLee Wilson 

Welcome to the One Page Poetry Circle at St. Agnes Branch Library!

shakespeare_and-3We’re back for the ninth season of the One Page Poetry Circle where people gather to examine the works of established poets. Since the circle started, participants have selected and discussed 963 poems and have read countless others in pursuit of poetry that speaks to them. (Bring a poem with you on March 7, and help us break through to 1000).

Anaphora, the theme for our next program, is the repetition of a word or phrase at the beginnings of successive lines of poetry that can create emphasis, suggest connections, or mount up meanings. The repetition generates a pattern that resonates with the listener, producing a musical quality, memorable and seductive.

We take a broad approach to our themes. Whether a poem is literally about the theme, uses the theme in its title, or has even a remote connection to the theme, feel free to interpret and bring a poem that has meaning for you. For the theme of anaphora you might go beyond the repetition of the initial words to enjoy the repetition of lines and refrains. Can’t locate a poem you want to bring? Look through a poetry book at the library or check out Poetry Foundation or poets.org.

One memorable example of anaphora occurs in John of Gaunt’s lines on England in Shakespeare’s Richard II, building up a sense of common heritage:

This royal throne of kings, this sceptred isle,
This earth of majesty, this seat of Mars,
This other Eden, demi-paradise,
This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea (2.140-42)

In Mark Strand’s “From a Litany” the title gives the clue that the poem will be an invocation that gains strength through repetition. The word “From,” suggests this repetition may continue ringing beyond the poem’s last word. Here are the first few lines:

There is an open field I lie down in a hole I once dug and I praise the sky.
I praise the clouds that are like lungs of light.
I praise the owl that wants to inhabit me and the hawk that does not.
I praise the mouse’s fury, the wolf’s consideration.
I praise the dog that lives in the household of people and shall never be one of them.

One familiar anonymous proverb uses anaphora to show the connection between various things, a connection that can only be made in hindsight:

For want of a nail the shoe was lost.
For want of a shoe the horse was lost.
For want of a horse the rider was lost.
For want of a rider the message was lost.
For want of a message the battle was lost.
For want of a battle the kingdom was lost.
And all for the want of a horseshoe nail.

What are your thoughts about anaphora in poetry? You can blog with us now by using the little speech balloon under the headline of this post. Or return later to onepagepoetrycircle.wordpress.com.

We look forward to seeing the works you select for Poetry and Anaphora and to discussing them with you on March 7. Bring a poem of a known poet. Bring a friend. Show up! And widen the circle! Without your support the library may find other uses for the spacious room they’ve given us.

Spring 2017 Schedule:
March 7, Poetry and Anaphora
April 18, Poetry and Silence
May 9, Poetry and Theft 

Time: 5:30 – 6:30 pm
Place: St. Agnes Branch Library, 444 Amsterdam Avenue (near 81st Street), 3rd Floor

~Abigail Burnham Bloom and AnnaLee Wilson

The One Page Poetry Circle is sponsored by the New York Public Library and is open to all. St. Agnes Branch Library is handicap accessible.

Welcome to the One Page Poetry Circle at St. Agnes Branch Library!
On December 13 OPPC met to discuss Poetry and Endings. At one point in the evening we wondered if everyone had brought in a depressing poem in what should be a time of hope and rebirth.

Abigail began by reading Edith Nesbit’s “On Dit” describing the flowers beneath the snow, the sun after the night and some say, “New life, divine beyond belief,/Somehow, somewhere, some day.” Yet Nesbit does not sound hopeful about the possibility of life after death.

Roger brought in the anonymous tune, “John Brown’s body lies a-mouldering in the grave.” Although there was an end of slavery, and the end of the abolitionist John Brown himself, there has been no end to this song, which became “The Battle Hymn of the Republic” in its most famous manifestation.

Hazel read “January 22nd, Missolonghi” that encompassed Lord Byron’s thoughts on the day he completed his thirty-sixth year and seemed to foreshadow his death in his attempt to free Greece, “The land of honorable death/Is here,—up to the field, and give/Away they breath!”

Phil thought of our President-elect and read T.S. Eliot’s “The Hollow Men,” with its famous final lines, “This is the way the world ends/Not with a bang but a whimper.”

Gail read Shakespeare’s “Sonnet 30” which begins, “When to the sessions of sweet silent thought/I summon up remembrance of things past” and ends with the upbeat, “But if the while I think on thee, dear friend,/All losses are restored and sorrows end.”

Eileen read “O Captain! My Captain!,” Walt Whitman’s evocation of President Lincoln’s assassination just as the Civil War ended, “From fearful trip the victor ship comes in with object won;/ Exult O shores, and ring O bells!/But I with mournful tread,/Walk the deck my Captain lies,/Fallen cold and dead.”

Terry read “Richard Cory” by Edwin Arlington Robinson which describes a man admired and even envied by all, “And Richard Cory, one calm summer night,/Went home and put a bullet through his head.”

Elizabeth read W.S. Merwin’s “Old Man at Home Alone in the Morning,” which ends, “I was old but this morning/is not old and I am the morning/in which the autumn leaves have no question/as the breeze passes through them and is gone.” Written without punctuation, the poem suggests the fluidity of existence and our multi-levels of reflection as we get older.

AnnaLee completed our circle with “Aristotle,” in which the poet Billy Collins shows us the structure of life’s stories through a string of beginnings, middles, and ends. “This is the end, according to Aristotle,/what we have all been waiting for,/what everything comes down to,/the destination we cannot help imagining,/a streak of light in the sky,/a hat on a peg, and outside the cabin, falling leaves.”

Come blog with us at https://onepagepoetrycircle.wordpress.com .

Mark your calendars with our Spring 2017 Schedule:
February 7—Poetry and Snakes
March 7—Poetry and Anaphora
April 18—Poetry and Silence
May 9—Poetry and Theft

Enjoy the holidays! We look forward to seeing you in 2017.

~Abigail Burnham Bloom and
AnnaLee Wilson

The One Page Poetry Circle is sponsored by the New York Public Library and is open to all. St. Agnes Branch Library is handicap accessible.

Welcome to the One Page Poetry Circle at St. Agnes Branch Library!

We met on November 1 to discuss Prose Poems. We loved discussing the difference between poetry and prose and found it to be a thin line indeed.

Abigail opened the circle by reading the first paragraph of Vladimir Nabokov’s Lolita which begins, “Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth.” Nabokov incorporates the images, meter, alliteration, and density of poetry into his prose.

Roger read the words of two great presidents: Franklin Delano Roosevelt’s “Pearl Harbor Speech” telling the nation about “a date which will live in infamy” and Abraham Lincoln’s “Gettysburg Address.” We found Lincoln’s words to be more like poetry, more evocative with more rhythms and figures of speech as he contrasts the living with “these honored dead.”

Hazel read Antony’s famous funeral oration from William Shakespeare’s Julius Caesar, “My heart is in the coffin there with Caesar,/And I must pause till it come back to me.” Clearly written in poetic lines with an iambic pentameter rhythm the words have the sentence structure of a prose speech.

Phil read the beautiful conclusion of Molly Bloom’s soliloquy in James Joyce’s Ulysses: “then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.” Like Nabokov, Joyce was also a poet whose prose is as rich and beautiful as his poetry.

Gail read “Allegory of the Cave” by Stephen Dunn based on Plato’s vision. A man attempts to tell his fellow prisoners what he has learned in the twentieth century but finds himself unable to communicate effectively and eventually, “He just stood here,/confused, a man who had moved/to larger errors, without a prayer.”

Elizabeth read a review from Poetry Magazine by Frederick Seidel of a book of poems by Jonathan Galassi that approached poetry itself, “In the middle of Galassi’s life’s journey, in the middle of the dark woods, the road forked. Galassi had no choice —and chose—and wrote these poems. You have here the music of civilized decency superintending a heart raving and roaring like a lion.”

Eileen read Grace Paley’s “Here” which states with lovely simplicity what life is like for her, “Here I am in the garden laughing/an old woman with heavy breasts/and a nicely mapped face.”

AnnaLee closed the circle by singing a ballad, “The Lonesome Death of Hattie Carroll,” a true story of racial injustice, written in the Civil Rights era by Bob Dylan, winner of the 2016 Nobel Prize for Literature. In the final twist of the refrain, “Oh, but you who philosophize disgrace and criticize all fears/Bury the rag deep in your face/For now’s the time for your tears,” Dylan gives America permission to cry.

Between prose that reads like poetry and poetry that reads like prose, we found the two delightfully intertwined and inseparable. As Peter Johnson explains, “Just as black humor straddles the fine line between comedy and tragedy, so the prose poem plants one foot in prose, the other in poetry, both heels resting precariously on banana peels.”

We look forward to seeing the works you select for Poetry and Endings and to discussing them with you on December 13. Bring a poem of a known poet. Bring a friend. Show up! And widen the circle! Without your support the library may find other uses for the spacious room they’ve given us.

Blog with us here at onepagepoetrycircle.wordpress.com.

Fall Schedule:
December 13, Poetry and Endings

Abigail Burnham Bloom and
AnnaLee Wilson

The One Page Poetry Circle is sponsored by the New York Public Library and is open to all. St. Agnes Branch Library is handicap accessible.

 

 

The One Page Poetry Circle met on September 13 to discuss Dialogue Poems.

Abigail began the circle by reading Thomas Hardy’s “The Ruined Maid” in which a woman from the country and a woman from the town converse about the virtues and vices of lovely clothing. “‘My dear — a raw country girl, such as you be,/Cannot quite expect that. You ain’t ruined,’ said she.”

Roger read from Act 2, Scene 2 of Shakespeare’s Romeo and Juliet, as Romeo speaks of Juliet’s beauty and Juliet worries about her admirer’s name, “O Romeo, Romeo, wherefore art thou Romeo?/Deny thy father and refuse thy name,/Or, if thou wilt not, be but sworn my love,/And I’ll no longer be a Capulet.”

Hazel read “The Little Black Boy” from William Blake’s Songs of Innocence which begins: “My mother bore me in the southern wild,/And I am black, but O my soul is white.” This poem led to notice of where the name of the film “Beasts of the Southern Wild” came from and the more complicated idea of whether racism played a part in Blake’s thinking.

Gail read Leah Goldberg’s “Dialogue,” in which a man and a woman speak through seeming impenetrability, “Scorched by loneliness, towards a strange world’s lands/I carry my dust in my own hands.”

We were delighted that several people joined the circle for the first time. Of these, only Susan brought a poem, “That Single Line,” from How Beautiful the Beloved by Gregory Orr which describes the importance of poetry with its ability to reach other people, “Rescue is imminent./Too soon to say whose.”

AnnaLee closed the circle by reading the funny and touching “Munition Wages” by Madeline Ida Bedford, a woman who worked in an ammunition factory during World War I: “We’re all here today, mate,/Tomorrow — perhaps dead,/If Fate tumbles on us/And blows up our shed.”

Larry added two dialogue poems to our blog, the compact and tense “I Know a Man” by Robert Creeley and Robert Herrick’s more traditional “The Kisse: A Dialogue.” You can read them here at onepagepoetrycircle.wordpress.com.

We look forward to seeing the poems you select for A Poem for Your Pocket and to discussing them with you on October 4.

Bring a poem of a known poet. Bring a friend. Show up! And widen the circle! Without your support the library may find other uses for the spacious room they’ve given us.

We hope you will blog with us here at onepagepoetrycircle.wordpress.com.

Fall Schedule:
October 4, A Poem for Your Pocket
November 1, Prose Poem
December 13, Poetry and Endings

Abigail Burnham Bloom and
AnnaLee Wilson

The One Page Poetry Circle is sponsored by the New York Public Library and is open to all. St. Agnes Branch Library is handicap accessible.