“In Passing” by Ted Kooser

From a half block off I see you coming,
walking briskly along, carrying parcels,
furtively glancing up into the faces
of people approaching, looking for someone
you know, holding your smile in your mouth
like a pebble, keeping it moist and ready,
being careful not to swallow.

I know that hope so open on your face,
know how your heart would lift to see just one
among us who remembered. If only someone
would call out your name, would smile,
so happy to see you again. You shift
your heavy parcels, hunch up your shoulders,
and press ahead into the moment.

From a few feet away, you recognize me,
or think you do. I see you preparing your face,
getting your greeting ready. Do I know you?
Both of us wonder. Swiftly we meet and pass,
averting our eyes, close enough to touch,
but not touching. I could not let you know
that I’ve forgotten, and yet you know.

“In Passing” by Ted Kooser from Weather Central. © University of Pittsburgh Press, 1994.

“An Inventory of Moons” by David Shumate

If you live to be very old, you may see twelve hundred full moons.
Some come in winter and you trudge out into the deep snow to
stand beneath their glow. Others come to you in the city and you
take an elevator up to the roof of the highest building and set out
a couple of folding chairs to watch it glide across the sky. Or the
moon finds you along a foreign shore and you paddle out in some
dingy and scoop its reflection from the waters and drink it down.
The moons of your old age are the most potent but seem few and
far between. They make their way into your marrow and teach it
how to hum. When your final moon arrives, it’s as if youth has
come back to you. Though instead of flaunting its yellow hat, now
it’s dressed in black.

“An Inventory of Moons” by David Shumate, from Kimonos in the Closet. © University of Pittsburgh Press, 2013.

“The visible and the in-” by Marge Piercy

Some people move through your life
like the perfume of peonies, heavy
and sensual and lingering.

Some people move through your life
like the sweet musky scent of cosmos
so delicate if you sniff twice, it’s gone.

Some people occupy your life
like moving men who cart off
couches, pianos and break dishes.

Some people touch you so lightly you
are not sure it happened. Others leave
you flat with footprints on your chest.

Some are like those fall warblers
you can’t tell from each other even
though you search Petersen’s.

Some come down hard on you like
a striking falcon and the scars remain
and you are forever wary of the sky.

We all are waiting rooms at bus
stations where hundreds have passed
through unnoticed and others

have almost burned us down
and others have left us clean and new
and others have just moved in.

“The visible and the in-” by Marge Piercy from Made in Detroit. © Knopf, 2015.


“In the Waiting Line” by Zero 7

“Sometimes, I Am Startled Out of Myself,” by Barbara Crooker

like this morning, when the wild geese came squawking,
flapping their rusty hinges, and something about their trek
across the sky made me think about my life, the places
of brokenness, the places of sorrow, the places where grief
has strung me out to dry. And then the geese come calling,
the leader falling back when tired, another taking her place.
Hope is borne on wings. Look at the trees. They turn to gold
for a brief while, then lose it all each November.
Through the cold months, they stand, take the worst
weather has to offer. And still, they put out shy green leaves
come April, come May. The geese glide over the cornfields,
land on the pond with its sedges and reeds.
You do not have to be wise. Even a goose knows how to find
shelter, where the corn still lies in the stubble and dried stalks.
All we do is pass through here, the best way we can.
They stitch up the sky, and it is whole again.

“Sometimes, I Am Startled Out of Myself,” by Barbara Crooker, from Radiance. © Word Press, 2005.

“Mulch” by Linda Hasselstrom

A mulch is a layer of organic matter
used to control weeds,
preserve moisture,
and improve the fertility of the soil.
You will not find naked soil
in the wilderness.

I started cautiously: newspapers,
hay, a few magazines;
Robert Redford stared up
between the rhubarb and the lettuce.

Then one day, cleaning shelves,
I found some old love letters.
I’ve always burned them,
for the symbolism.
But the ashes, gray and dusty
as old passions,
would blow about the yard for days
stinging my eyes,
bitter on my tongue.

So I mulched them:
gave undying love to the tomatoes,
the memory of your gentle hands
to the squash.
It seemed to do them good,
and it taught me a whole new style
of gardening.

Now my garden is the best in the
wilderness,
and I mulch everything:
bills; check stubs;
dead kittens and baby chicks.
I seldom answer letters; I mulch them
with the plans I made
for children of my own,
photographs of places I’ve been
and a husband I had once;
as well as old bouquets
and an occasional unsatisfactory lover.

Nothing is wasted.

Strange plants push up among the corn,
leaves heavy with dark water,
but there are
no weeds.

 

“Mulch” by Linda Hasselstrom, from Dakota: Bones, Grass, Sky, published 2017 by Spoon River Poetry Press.