When I was a teenager in a rural New England village, I fell in love with poetry. That was my second falling in love. The first, of course, was a girl. I wrote her a poem. She was beautiful, charming, and bountifully endowed. Sandy bewitched all of us boys in 12th grade. In verse, I compared her to the Nile River. In retrospect, a false charge - she was not broad and flat. She took pity on me and went on two dates with me. It took only those two dates for her to discover that she preferred her boy friend, who restored cars, to this new - and desperately bad - poet. I didn't get to write a second poet to her; but my love of poetry was ignited. Talk about displacement!
In the subsequent years, I read widely in English language poetry. My French and German reading ability was much too limited to understand verse in those languages. I sought out and read poets who were associated with my village or who wrote about world in which I grew up. Poetry of the rural New England landscape has always been poetry of my home; I understand and respond to it intuitively, in ways that poetry of my other homes - upstate New York, Pittsburgh, Southern California, London - did not. At sixteen, I was thrilled to discover that Robert Frost supposedly wrote "The Road Not Taken," among other poems, while briefly living in my village. I researched what house he lived in. It was only four houses down the street from my parents' home. When I walked by it, I would look into the windows and wonder about the creative inspiration of America's great poet. After my son was born, my time for poetry became very limited. My poetry library, which was probably over 100 books, ceased to expand. I wrote almost no more poems. I ignored news of poets and reviews of new books of verse, simply because I had no time for them.
I did not return to poetry for over ten years. Then a reunion with college friends reignited my interest in it. I wrote a few poems - surely my best, even if very modest accomplishments. But I still could not find the time to expand my reading. Instead, I returned to poets I love and re-read their works. Over my life, since high school, I have particularly enjoyed these New England poets, whose books are in my personal library.
May Sarton, As Does New Hampshire; Maxine Kumin, Up Country - Poems of New England; Donald Hall, Old and New Poems; e. e. cummings, 100 selected poems; Shirley Barker, A Land and a People; and, of course, Robert Frost, Complete Poems. Of the Frost, I most love the North of Boston and Mountain Interval.
I was put onto Hall by a college friend who is a journalist in New Hampshire. My friend interviewed Hall for a newspaper article and recommended him to me. I instantly loved Hall's work. It was this love of Hall's poems that brought another regional poet into my library. A month ago, hungry for new literature, I went to Barnes and Noble with the intent of spending $60 on poets whom I had not heard of. I was exploring the shelves, picking up book after book and browsing the pages to see if I liked the verse, when I took out Jane Kenyon's collection, Otherwise. She was - I had not known - Hall's wife and a poet, too. I flipped pages. I became absorbed. Back home, I read the poems from "The Boat of Quiet Hours." These poems were written a decade or more before her leukemia began, but showed a prescience about human physicality. I was entranced by her fusion of concerns about her body, her spiritual struggle, and the rural New Hampshire landscape. The poem, below, reminded me of a natural spring behind my parents' house at the wooded edge of the village. Water bubbled up in a wood barrel, out of a clear white sand. A blue enameled tin cup hung from a nearby branch to scoop water out of the barrel. I early associated the spring in Frost's poem, "The Pasture," with the spring of my childhood. Both springs are about revelation, as in Kenyon's
"Drink, Eat, Sleep":
I never drink from this blue tin cup
speckled with white
without thinking of stars on a clear,
cold night--of Venus blazing low
over the leafless trees; and Canis
great and small--dogs without flesh
fur, blood, or bone ... dogs made of light,
apparations of cold light, with black
and trackless spaces in between....
The angel gave a little book
to the prophet, telling him to eat--
eat and tell of the end of time.
Strange food, infinitely strange,
but the pages were like honey to his tongue....
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