“The Months” by Linda Pastan

January
Contorted by wind,
mere armatures for ice or snow,
the trees resolve
to endure for now,
they will leaf out in April.
And I must be as patient
as the trees—
a winter resolution
I break all over again,
as the cold presses
its sharp blade
against my throat.

 

February
After endless
hibernation
on the windowsill,
the orchid blooms—
embroidered purple stitches
up and down
a slender stem.
Outside, snow
melts midair
to rain.
Abbreviated month.
Every kind of weather.

 

March
When the Earl King came
to steal away the child
in Goethe’s poem, the father said
don’t be afraid,
it’s just the wind. . .
As if it weren’t the wind
that blows away the tender
fragments of this world—
leftover leaves in the corners
of the garden, a Lenten Rose
that thought it safe
to bloom so early.

 

April
In the pastel blur
of the garden,
the cherry
and redbud
shake rain
from their delicate
shoulders, as petals
of pink
dogwood
wash down the ditches
in dreamlike
rivers of color.

 

May
May apple, daffodil,
hyacinth, lily,
and by the front
porch steps
every billowing
shade of purple
and lavender lilac,
my mother’s favorite flower,
sweet breath drifting through
the open windows:
perfume of memory—conduit
of spring.

 

June
The June bug
on the screen door
whirs like a small,
ugly machine,
and a chorus of frogs
and crickets drones like Musak
at all the windows.
What we don’t quite see
comforts us.
Blink of lightning, grumble
of thunder—just the heat
clearing its throat.

 

July
Tonight the fireflies
light their brief
candles
in all the trees
of summer—
color of moonflakes,
color of fluorescent
lace
where the ocean drags
its torn hem
over the dark
sand.

 

August
Barefoot
and sun-dazed,
I bite into this ripe peach
of a month,
gathering children
into my arms
in all their sandy
glory,
heaping
my table each night
with nothing
but corn and tomatoes.

 

September
Their summer romance
over, the lovers
still cling
to each other
the way the green
leaves cling
to their trees
in the strange heat
of September, as if
this time
there will be
no autumn.

 

October
How suddenly
the woods
have turned
again. I feel
like Daphne, standing
with my arms
outstretched
to the season,
overtaken
by color, crowned
with the hammered gold
of leaves.

 

November
These anonymous
leaves, their wet
bodies pressed
against the window
or falling past—
I count them
in my sleep,
absolving gravity,
absolving even death
who knows as I do
the imperatives
of the season.

 

December
The white dove of winter
sheds its first
fine feathers;
they melt
as they touch
the warm ground
like notes
of a once familiar
music; the earth
shivers and
turns towards
the solstice.

 

“Ode to the Vinyl Record” by Thomas R. Smith

The needle lowers into the groove
and I’m home. It could be any record
I’ve lived with and loved a long time: Springsteen
or Rodrigo, Ray Charles or Emmylou
Harris: Not only the music, but
the whirlpool shimmering on the turntable
funneling blackly down into the ocean
of the ear—even the background
pops and hisses a worn record
wraps the music in, creaturely
imperfections so hospitable to our own.
Since those first Beatles and Stones LPs
plopped down spindles on record players
we opened like tiny suitcases at sweaty
junior high parties while parents were out,
how many nights I’ve pulled around
my desires a vinyl record’s cloak
of flaws and found it a perfect fit,
the crackling unclarity and turbulence
of the country’s lo-fi basement heart
madly spinning, making its big dark sound.

“Ode to the Vinyl Record” by Thomas R. Smith, from The Foot of the Rainbow. © Red Dragonfly Press, 2010.

 

“Put Your Records On” by Corinne Bailey Rae

“The Dead” by Billy Collins (and special announcement)

The dead are always looking down on us, they say,
while we are putting on our shoes or making a sandwich,
they are looking down through the glass-bottom boats of heaven
as they row themselves slowly through eternity.

They watch the tops of our heads moving below on earth,
and when we lie down in a field or on a couch,
drugged perhaps by the hum of a warm afternoon,
they think we are looking back at them,

which makes them lift their oars and fall silent
and wait, like parents, for us to close our eyes.

Billy Collins, from Sailing Alone Around the Room, Random House, 2001.

***

and a special announcement:

Words for the Weekend is back this weekend with another installment in our Apocalypse series. I’m excited because I wrote a piece (as Christy Anna Beguins) just for the series titled, “Just Another Day: Signs, Memories, and Bob Marleys.”

From my intro:

This is a story of survival: how memory and music can sustain us, nourish us, and keep us alive; how undying love can light up the darkness. All you have to do is believe. Do you believe like I believe in magic?

For friends and readers here who may not follow that site (it has been quiet for a while), please drop by to visit. I’d love your thoughts and feedback on my story. Look around and hit the follow button while you’re over there; we’ll have another installment very (very very) soon.  Thanks! ~ Christy

“Keeping Things Whole” by Mark Strand

In a field
I am the absence
of field.
This is
always the case.
Wherever I am
I am what is missing.

 

When I walk
I part the air
and always
the air moves in
to fill the spaces
where my body’s been.

 

We all have reasons
for moving.
I move
to keep things whole.

 

Mark Strand, “Keeping Things Whole” from Selected Poems. Copyright © 1979, 1980 by Mark Strand.

“Vermeer” by Tomas Tranströmer

It’s not a sheltered world. The noise begins over there, on the other side of the wall
where the alehouse is
with its laughter and quarrels, its rows of teeth, its tears, its chiming of clocks,
and the psychotic brother-in-law, the murderer, in whose presence
everyone feels fear.

The huge explosion and the emergency crew arriving late,
boats showing off on the canals, money slipping down into pockets
— the wrong man’s —
ultimatum piled on the ultimatum,
widemouthed red flowers who sweat reminds us of approaching war.

And then straight through the wall — from there — straight into the airy studio
in the seconds that have got permission to live for centuries.
Paintings that choose the name: “The Music Lesson”
or ” A Woman in Blue Reading a Letter.”
She is eight months pregnant, two hearts beating inside her.
The wall behind her holds a crinkly map of Terra Incognita.

Just breathe. An unidentifiable blue fabric has been tacked to the chairs.
Gold-headed tacks flew in with astronomical speed
and stopped smack there
as if there had always been stillness and nothing else.

The ears experience a buzz, perhaps it’s depth or perhaps height.
It’s the pressure from the other side of the wall,
the pressure that makes each fact float
and makes the brushstroke firm.

Passing through walls hurts human beings, they get sick from it,
but we have no choice.
It’s all one world. Now to the walls.
The walls are a part of you.
One either knows that, or one doesn’t; but it’s the same for everyone
except for small children. There aren’t any walls for them.

The airy sky has taken its place leaning against the wall.
It is like a prayer to what is empty.
And what is empty turns its face to us
and whispers:
“I am not empty, I am open.”

Tomas Tranströmer
trans. by Robert Bly
in The Winged Energy of Desire (2004)