In My Country - Jackie Kay

walking by the waters,
down where an honest river
shakes hands with the sea,
a woman passed around me
in a slow, watchful circle,
as if I were a superstition;

or the worst dregs of her imagination,
so when she finally spoke
her words spliced into bars
of an old wheel. A segment of air.
Where do you come from?
'Here,' I said, 'Here. These parts.'

The poet is a Scottish Black woman who wrote about her frequent experiences of being perceived as a foreigner in her own country.

Memento Mori - Samuel Menashe

This skull instructs
Me now to probe
The socket bone
Around my eyes
To test the nose
Bone underlies
To hold my breath
To make no bones
About the dead

The Charge of The Light Brigade (By Alfred Lord Tennyson)

Half a league, half a league,

Half a league onward,
All in the valley of Death
Rode the six hundred.
"Forward, the Light Brigade!
"Charge for the guns!" he said:
Into the valley of Death
Rode the six hundred.

"Forward, the Light Brigade!"
Was there a man dismay'd?
Not tho' the soldier knew
Someone had blunder'd:
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do and die:
Into the valley of Death
Rode the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volley'd and thunder'd;
Storm'd at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred.

Flash'd all their sabres bare,
Flash'd as they turn'd in air,
Sabring the gunners there,
Charging an army, while
All the world wonder'd:
Plunged in the battery-smoke
Right thro' the line they broke;
Cossack and Russian
Reel'd from the sabre stroke
Shatter'd and sunder'd.
Then they rode back, but not
Not the six hundred.

Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volley'd and thunder'd;
Storm'd at with shot and shell,
While horse and hero fell,
They that had fought so well
Came thro' the jaws of Death
Back from the mouth of Hell,
All that was left of them,
Left of six hundred.

When can their glory fade?
O the wild charge they made!
All the world wondered.
Honor the charge they made,
Honor the Light Brigade,
Noble six hundred.

Gone with the Peacocks (by Pretam Kaur)

When father spoke of golden grains and peacocks
And the sweet smell of orange mangoes, he
raised that flush of excitement that showed
I understood his tongue. Days of coloured festivals,
the life, the essence and the great land of
forefathers - and his eyes gleamed and veins stood out.
He wanted me to see that glorious land,
to speak, see and feel with him -
Then I was there - and I saw no peacocks.
And my peacock love died in me.
Sweet mango fragrance of remembrance was
lost in the dust storm which tickled my
nose, the sense of belonging was grounded as
I tasted the ashy dust of disappointed eyes.
Peacocks live, and that peacock desire
found no joy in the chapati existence
of mud walls.
Father, I had no goose-pimples of patriotism
as I stood on that plot of soil that was yours. I picked up a handful
of your mother-earth and the dust ran
through my fingers, and all I had
were brown stains which I clapped
off in despair.
My phrase of "this trip is like a home coming"
mocked me as I stood stripped of all the colouring
of my peacock hues.
The pilgrim in me had not met the expected grace.
And the peacock was plucked clean of its plume
with the bitter knowledge that it had
just lived and died in me.
I had lost my peacock love -
And father you have lost the
eager ear that painted peacocks with you.

The More Loving One (by W.H. Auden)

Looking up at the stars, I know quite well 
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.

Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.

Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.

Remember

Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann'd:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.

All The World's A Stage

All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first, the infant,
Mewling and puking in the nurse's arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

This Be The Verse

They fuck you up, your mum and dad.
They may not mean to, but they do.
They fill you with the faults they had
And add some extra, just for you.

But they were fucked up in their turn
By fools in old-style hats and coats,
Who half the time were soppy-stern
And half at one another's throats.

Man hands on misery to man.
It deepens like a coastal shelf.
Get out as early as you can,
And don't have any kids yourself.

When We Two Parted

WHEN we two parted
In silence and tears,
Half broken-hearted
To sever for years,
Pale grew thy cheek and cold,
Colder thy kiss;
Truly that hour foretold
Sorrow to this.

The dew of the morning
Sunk chill on my brow—
It felt like the warning
Of what I feel now.
Thy vows are all broken,
And light is thy fame:
I hear thy name spoken,
And share in its shame.

They name thee before me,
A knell to mine ear;
A shudder comes o'er me—
Why wert thou so dear?
They know not I knew thee,
Who knew thee too well:
Long, long shall I rue thee,
Too deeply to tell.

In secret we met—
In silence I grieve,
That thy heart could forget,
Thy spirit deceive.
If I should meet thee
After long years,
How should I greet thee?
With silence and tears.

Lady Lazarus

I have done it again.
One year in every ten
I manage it-----

A sort of walking miracle, my skin
Bright as a Nazi lampshade,
My right foot

A paperweight,
My featureless, fine
Jew linen.

Peel off the napkin
O my enemy.
Do I terrify?-------

The nose, the eye pits, the full set of teeth?
The sour breath
Will vanish in a day.

Soon, soon the flesh
The grave cave ate will be
At home on me

And I a smiling woman.
I am only thirty.
And like the cat I have nine times to die.

This is Number Three.
What a trash
To annihilate each decade.

What a million filaments.
The Peanut-crunching crowd
Shoves in to see

Them unwrap me hand in foot ------
The big strip tease.
Gentleman , ladies

These are my hands
My knees.
I may be skin and bone,

Nevertheless, I am the same, identical woman.
The first time it happened I was ten.
It was an accident.

The second time I meant
To last it out and not come back at all.
I rocked shut

As a seashell.
They had to call and call
And pick the worms off me like sticky pearls.

Dying
Is an art, like everything else.
I do it exceptionally well.

I do it so it feels like hell.
I do it so it feels real.
I guess you could say I've a call.

It's easy enough to do it in a cell.
It's easy enough to do it and stay put.
It's the theatrical

Comeback in broad day
To the same place, the same face, the same brute
Amused shout:

'A miracle!'
That knocks me out.
There is a charge

For the eyeing my scars, there is a charge
For the hearing of my heart---
It really goes.

And there is a charge, a very large charge
For a word or a touch
Or a bit of blood

Or a piece of my hair on my clothes.
So, so, Herr Doktor.
So, Herr Enemy.

I am your opus,
I am your valuable,
The pure gold baby

That melts to a shriek.
I turn and burn.
Do not think I underestimate your great concern.

Ash, ash---
You poke and stir.
Flesh, bone, there is nothing there----

A cake of soap,
A wedding ring,
A gold filling.

Herr God, Herr Lucifer
Beware
Beware.

Out of the ash
I rise with my red hair
And I eat men like air.

Lucy Gray - William Wordsworth

Lucy Gray (or, Solitude)

By William Wordsworth

Oft I had heard of Lucy Gray:
And, when I crossed the wild,
I chanced to see at break of day
The solitary child.

No mate, no comrade Lucy knew;
She dwelt on a wide moor,
-- The sweetest thing that ever grew
Beside a human door!

You yet may spy the fawn at play,
The hare upon the green;
But the sweet face of Lucy Gray
Will never more be seen.

"To-night will be a stormy night --
You to the town must go;
And take a lantern, Child, to light
Your mother through the snow."

"That, Father! will I gladly do:
'T is scarcely afternoon --
The minster-clock has just struck two,
And yonder is the moon!"

At this the Father raised his hook,
And snapped a fagot-band;
He plied his work; -- and Lucy took
The lantern in her hand.

Not blither is the mountain roe:
With many a wanton stroke
Her feet disperse the powdery snow,
That rises up like smoke.

The storm came on before its time:
She wandered up and down;
And many a hill did Lucy climb:
But never reached the town.

The wretched parents all that night
Went shouting far and wide;
But there was neither sound nor sight
To serve them for a guide.

At day-break on a hill they stood
That overlooked the moor;
And thence they saw the bridge of wood,
A furlong from their door.

They wept -- and, turning homeward, cried,
"In Heaven we all shall meet;"
-- When in the snow the mother spied
The print of Lucy's feet.

Then downwards from the steep hill's edge
They tracked the footmarks small;
And through the broken hawthorn hedge,
And by the long stone-wall;

And then an open field they crossed:
The marks were still the same;
They tracked them on, nor ever lost;
And to the bridge they came.

They followed from the snowy bank
Those footmarks, one by one,
Into the middle of the plank;
And further there were none!

-- Yet some maintain that to this day
She is a living child;
That you may see sweet Lucy Gray
Upon the lonesome wild.

O'er rough and smooth she trips along,
And never looks behind;
And sings a solitary song
That whistles in the wind.

Crow's Fall - Ted Hughes

When Crow was white he decided the sun was too white.
He decided it glared much too whitely.
He decided to attack it and defeat it.

He got his strength up flush and in full glitter.
He clawed and fluffed his rage up.
He aimed his beak direct at the sun's centre.

He laughed himself to the centre of himself

And attacked.

At his battle cry trees grew suddenly old,
Shadows flattened.

But the sun brightened—
It brightened, and Crow returned charred black.

He opened his mouth but what came out was charred black.

"Up there," he managed,
"Where white is black and black is white, I won."


-----------------
It can be done as a stand alone poem for lower secondary, and perhaps as a collection with the other Crow poems for Upper Sec/JC level.

The Melancholy Death of Oyster Boy - Tim Burton

He proposed in the dunes,

they were wed by the sea,

Their nine-day-long honeymoon
was on the isle of Capri.

For their supper they had one specatular dish-
a simmering stew of mollusks and fish.
And while he savored the broth,
her bride's heart made a wish.

That wish came true-she gave birth to a baby.
But was this little one human
Well, maybe.

Ten fingers, ten toes,
he had plumbing and sight.
He could hear, he could feel,
but normal?
Not quite.
This unnatural birth, this canker, this blight,
was the start and the end and the sum of their plight.

She railed at the doctor:
"He cannot be mine.
He smells of the ocean, of seaweed and brine."

"You should count yourself lucky, for only last week,
I treated a girl with three ears and a beak.
That your son is half oyster
you cannot blame me.
... have you ever considered, by chance,
a small home by the sea?"

Not knowing what to name him,
they just called him Sam,
or sometimes,
"that thing that looks like a clam"

Everyone wondered, but no one could tell,
When would young Oyster Boy come out of his shell?

When the Thompson quadruplets espied him one day,
they called him a bivalve and ran quickly away.

One spring afternoon,
Sam was left in the rain.
At the southwestern corner of Seaview and Main,
he watched the rain water as it swirled
down the drain.

His mom on the freeway
in the breakdown lane
was pouding the dashboard-
she couldn't contain
the ever-rising grief,
frustration,
and pain.

"Really, sweetheart," she said
"I don't mean to make fun,
but something smells fishy
and I think it's our son.
I don't like to say this, but it must be said,
you're blaming our son for your problems in bed."

He tried salves, he tried ointments
that turned everything red.
He tried potions and lotions
and tincture of lead.
He ached and he itched and he twitched and he bled.

The doctor diagnosed,
"I can't quite be sure,
but the cause of the problem may also be the cure.
They say oysters improve your sexual powers.
Perhaps eating your son
would help you do it for hours!"

He came on tiptoe,
he came on the sly,
sweat on his forehead,
and on his lips-a lie.
"Son, are you happy? I don't mean to pry,
but do you dream of Heaven?
Have you ever wanted to die?

Sam blinked his eye twice.
but made no reply.
Dad fingered his knife and loosened his tie.

As he picked up his son,
Sam dripped on his coat.
With the shell to his lips,
Sam slipped down his throat.

They burried him quickly in the sand by the sea
-sighed a prayer, wept a tear-
and they were back home by three.

A cross of greay driftwood marked Oyster Boy's grave.
Words writ in the sand
promised Jesus would save.

But his memory was lost with one high-tide wave.

--------
The poem comes with illustrations. There're mini versions of the images on this website if anyone's interested: http://homepage.eircom.net/~sebulbac/burton/oysterboy.html

The Jaguar - Ted Hughes

The Jaguar
The apes yawn and adore their fleas in the sun.
The parrots shriek as if they were on fire, or strut
Like cheap tarts to attract the stroller with the nut.
Fatigued with indolence, tiger and lion

Lie still as the sun. The boa-constrictor’s coil
Is a fossil. Cage after cage seems empty, or
Stinks of sleepers from the breathing straw.
It might be painted on a nursery wall.

But who runs like the rest past these arrives
At a cage where the crowd stands, stares, mesmerized,
As a child at a dream, at a jaguar hurrying enraged
Through prison darkness after the drills of his eyes

On a short fierce fuse. Not in boredom—
The eye satisfied to be blind in fire,
By the bang of blood in the brain deaf the ear—
He spins from the bars, but there’s no cage to him

More than to the visionary his cell:
His stride is wildernesses of freedom:
The world rolls under the long thrust of his heel.
Over the cage floor the horizons come.

Ted Hughes

Metaphors

I'm a riddle in nine syllables,
An elephant, a ponderous house,
A melon strolling on two tendrils.
O red fruit, ivory, fine timbers!
This loaf's big with its yeasty rising.
Money's new-minted in this fat purse.
I'm a means, a stage, a cow in calf.
I've eaten a bag of green apples,
Boarded the train there's no getting off.

Sylvia Plath (1959)

- This poem was given to me in a very scary PC session one to one with my professor, where I frantically tried to decipher the metaphor. I did finally figure it out :( and I still do think its a nice one to try to take apart with your students and see if they can figure it out. Coupled with 'You're' also by Plath these poems are alot of fun!

The Dunce

The Dunce (from the original 'Le Cancre' in French)

He says no with his head
but he says yes with his heart
he says yes to what he loves
he says no to the teacher
he stands
he is questioned
and all the problems are posed
sudden laughter seizes him
and he erases all
the words and figures
names and dates
sentences and snares
and despite the teacher's threats
to the jeers of infant prodigies
with chalk of every colour
on the blackboard of misfortune
he draws the face of happiness.

Jacques Prévert (1900-1977)

- I have mixed feelings about using poems in translation, but I wonder if this one will resonate with students who struggle with academic work. It might be a good piece for language arts to discuss if there is ever anyone who should be labelled as 'dunce' and what the poet is trying to convey about true happiness.
-

Love Without Hope

Love without hope, as when the young bird-catcher
Swept off his tall hat to the Squire's own daughter,
So let the imprisoned larks escape and fly
Singing about her head, as she rode by.

Robert Graves (1925)

- This one is probably a hit with students (short and sweet) but it was the first time I really felt the difference between poetry and prose. If I has to choose, this one would be my favourite poem. ST Coleridge said poetry is the 'best words in the best order' and I think it should be able to capture a little of the intangible emotion in between language and emotion! This one has no clear metre and some attempts to rhyme, but the imagery here is the important feature. Very beautiful parallelism and a sense of poignancy captured in stark simplicity. An instance where an image conveys and emotion - I recommend using this to get thoughts started on imagery!

One Art

Elizabeth Bishop

The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.

--Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.

- This poem is an example of a Villanelle and I recall doing PC on it at Uni, even though I think its very accessible to younger readers. If you've ever watched 'In Her Shoes' (Cheeks and I had this very excited conversation when we realised we loves both the poems used in the film), there is this amazing scene where one of the sisters who cannot read despite being an adult finally learns to read due to an elderly patient who has lost his sight due to a stroke. This patient used to be a Lit Professor and he really misses poetry, and she reads this poem to him very hesitantly. Then he asks her a few really simple questions which eventually leads to an amazingly poignant PC on the spot. Its a great clip to show in order to reflect what PC and appreciating poetry is about and how poetry can capture an emotion through a specific configuration of images and words. The other poem used is cumming's 'I carry your heart with me' which made me cry! Watch the film and use the poems! This one is a good example of an unreliable narrator.

in Just-

in Just-
spring when the world is mud-
luscious the little lame baloonman


whistles far and wee


and eddyandbill come
running from marbles and
piracies and it's
spring


when the world is puddle-wonderful


the queer
old baloonman whistles
far and wee
and bettyandisbel come dancing


from hop-scotch and jump-rope and


it's
spring
and
the
goat-footed


baloonMan whistles
far
and
wee

- For some reason I can't locate the date of composition for this poem! This one is characteristic of e e cummings style and his use of compound words. I think cummings is a master of sound (if you need a good example try 'anyone lived in a pretty how town' which sounds beautiful musically but makes no sense to me) and uses run on lines to great advantage. I love sending this one to friends when its going to be spring because it reflects a little of the childlike anticipation everyone feels. I can't reflect how it looks on the page that clearly here (especially the last three words which actually get smaller and further apart) but its a great example also for the visual effect of text and the use of capitalisation etc.

Time does not bring Relief

Edna St. Vincent Millay (1892–1950). Renascence and Other Poems. 1917.

19. “Time does not bring relief; you all have lied”

Sonnet II


TIME does not bring relief; you all have lied
Who told me time would ease me of my pain!
I miss him in the weeping of the rain;
I want him at the shrinking of the tide;
The old snows melt from every mountain-side, 5
And last year’s leaves are smoke in every lane;
But last year’s bitter loving must remain
Heaped on my heart, and my old thoughts abide!

There are a hundred places where I fear
To go,—so with his memory they brim! 10
And entering with relief some quiet place
Where never fell his foot or shone his face
I say, “There is no memory of him here!”
And so stand stricken, so remembering him!

- This is an easy poem to teach the sonnet form from, and also a very seductive read. I'm not very sentimental and I don't get heartbroken, but I had a good friend who would come and cry in my room after her break up. I read poetry to people to come and visit me and it just happened that I read this one only for her to find it strangely cathartic. I also really like the volta after the octet which is cleverly crafted and a perfect example of love poetry which is sickeningly cliche. This poem has a particularly musicality to it which makes it very nice to read aloud and the vocabulary is relatively simple!