“Five Wishes” by Anne Porter

I’d like to have a wild bird
Perch on my hand
A sparrow or
A chickadee
Sudden with her sharp feet
And fragile daring

I’d like to see again
The etchings Rembrandt made
Of stories from the Bible

Though they’re as plain
As Bethlehem’s hay
A radiance fills them

And I would like to visit
The Laguna Indians
And their old church
Made of whitewashed clay
With logs for rafters

And in it their Madonna
To whom they’ve given
A white lace apron

And I would like to learn
To accept my death
To accept our dying
That strange dawn

So deeply scandalous
That God himself wept
At the death of his friend

I’d like to find
The shrine of Chimayo
Where the lame leave crutches

I’d like to go there
With my daughter Katie

It would be enough
Just to be there
Without any miracle.
.
“Five Wishes” by Anne Porter from Living Things. © Zooland Books, 2006.

“This Much I Do Remember” by Billy Collins

It was after dinner.
You were talking to me across the table
about something or other,
a greyhound you had seen that day
or a song you liked,

and I was looking past you
over your bare shoulder
at the three oranges lying
on the kitchen counter
next to the small electric bean grinder,
which was also orange,
and the orange and white cruets for vinegar and oil.

All of which converged
into a random still life,
so fastened together by the hasp of color,
and so fixed behind the animated
foreground of your
talking and smiling,
gesturing and pouring wine,
and the camber of your shoulders

that I could feel it being painted within me,
brushed on the wall of my skull,
while the tone of your voice
lifted and fell in its flight,
and the three oranges
remained fixed on the counter
the way stars are said
to be fixed in the universe.

Then all the moments of the past
began to line up behind that moment
and all the moments to come
assembled in front of it in a long row,
giving me reason to believe
that this was a moment I had rescued
from the millions that rush out of sight
into a darkness behind the eyes.

Even after I have forgotten what year it is,
my middle name,
and the meaning of money,
I will still carry in my pocket
the small coin of that moment,
minted in the kingdom
that we pace through every day.

“This Much I Do Remember” by Billy Collins.  Picnic, Lightning (University of Pittsburgh Press, 1998).

“Aboriginal Landscape” by Louise Glück

You’re stepping on your father, my mother said,
and indeed I was standing exactly in the center
of a bed of grass, mown so neatly it could have been
my father’s grave, although there was no stone saying so.

You’re stepping on your father, she repeated,
louder this time, which began to be strange to me,
since she was dead herself; even the doctor had admitted it.

I moved slightly to the side, to where
my father ended and my mother began.

The cemetery was silent. Wind blew through the trees;
I could hear, very faintly, sounds of  weeping several rows away,
and beyond that, a dog wailing.

At length these sounds abated. It crossed my mind
I had no memory of   being driven here,
to what now seemed a cemetery, though it could have been
a cemetery in my mind only; perhaps it was a park, or if not a park,
a garden or bower, perfumed, I now realized, with the scent of roses —
douceur de vivre filling the air, the sweetness of  living,
as the saying goes. At some point,

it occurred to me I was alone.
Where had the others gone,
my cousins and sister, Caitlin and Abigail?

By now the light was fading. Where was the car
waiting to take us home?

I then began seeking for some alternative. I felt
an impatience growing in me, approaching, I would say, anxiety.
Finally, in the distance, I made out a small train,
stopped, it seemed, behind some foliage, the conductor
lingering against a doorframe, smoking a cigarette.

Do not forget me, I cried, running now
over many plots, many mothers and fathers —
Do not forget me, I cried, when at last I reached him.
Madam, he said, pointing to the tracks,
surely you realize this is the end, the tracks do not go further.
His words were harsh, and yet his eyes were kind;
this encouraged me to press my case harder.
But they go back, I said, and I remarked
their sturdiness, as though they had many such returns ahead of them.

You know, he said, our work is difficult: we confront
much sorrow and disappointment.
He gazed at me with increasing frankness.
I was like you once, he added, in love with turbulence.

Now I spoke as to an old friend:
What of  you, I said, since he was free to leave,
have you no wish to go home,
to see the city again?

This is my home, he said.
The city — the city is where I disappear.

Louise Glück. Source: Poetry (December 2013).

“Poem of Regret for an Old Friend” by Meghan O’Rourke

What you did wasn’t so bad.
You stood in a small room, waiting for the sun.
At least you told yourself that.
I know it was small,
but there was something, a kind of pulped lemon,
at the low edge of the sky.

No, you’re right, it was terrible.
Terrible to live without love
in small rooms with vinyl blinds
listening to music secretly,
the secret music of one’s head
which can’t be shared.

A dream is the only way to breathe.
But you must
find a more useful way to live.
I suppose you’re right
this was a failure: to stand there
so still, waiting for—what?

When I think about this life,
the life you led, I think of England,
of secret gardens that never open,
and novels sliding off the bed
at night where the small handkerchief
of darkness settles over
one’s face.

 

Meghan O’Rourke

via: The New Yorker

“White Towels” by Richard Jones

I have been studying the difference
between solitude and loneliness,
telling the story of my life
to the clean white towels taken warm from the dryer.
I carry them through the house
as though they were my children
asleep in my arms.

 

“White Towels” by Richard Jones from The Blessing: New and Selected Poems. © Copper Canyon Press.