— unpredictable thoughts

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Tag "poetry"

I have always loved poetry. It has drawn some of the most vivid pic­tures I have ever seen. In this case Ron­nie Bruce a film stu­dent at Tem­ple Uni­ver­sity visu­al­izes the words of poet Tay­lor Mali using typog­ra­phy and ani­ma­tion. In its’ exe­cu­tion we do not lose sight of the mean­ing or the pic­ture they draw — we gain new insight into the pac­ing and tone as the poet speaks. We read the words as the poet says them; bur­nish­ing them into our heart and mind.

This lit­tle film real­izes the poten­tial of com­mu­ni­ca­tors when they do good work. It is not spec­tac­u­lar. It is not just clever. It speaks, we think, and understand.

Typog­ra­phy from Ron­nie Bruce on Vimeo.

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a trou­ble

archaically fet­tered
to produce

E Pluribus Unum an
island

in the sea a Capi­tol
surmounted

by Armed Lib­erty—
painting

sculp­ture strad­dled by
a dome

eight mil­lion pounds
in weight

iron plates con­structed
to expand

and con­tract with
variations

of tem­per­a­ture
the folding

and unfold­ing of a lily.
And Congress

autho­rized and the
Commission

was entrusted was
entrusted!

a sculp­tured group
Mars

in Roman mail plac­ing
a wreath

of lau­rel on the brow
of Washington

Com­merce Min­erva
Thomas

Jef­fer­son John Han­cock
at

the table Mrs. Motte
presenting

Indian burn­ing arrows
to Generals

Mar­ion and Lee to fire
her mansion

and dis­lodge the British—
this scaleless

jum­ble is superb

and accu­rate in its
expression

of the thing they
would destroy—

Bap­tism of Poca–
hontas

with a lit­tle card
hanging

under it to tell
the persons

in the picture.

It climbs

it runs, it is Geo.
Shoup

of Idaho it wears
a beard

it fetches naked
Indian

women from a river
Trumbull

Var­num Hen­der­son
Frances

Willard’s corset is
absurd—

Banks White Colum­bus
stretched

in bed men felling trees

The Hon. Michael
C. Kerr

one­time Speaker of
the House

of Rep­re­sen­ta­tives
Perry

in a row­boat on Lake
Erie

chang­ing ships the
dead

among the wreck­age
sickly green

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Snow:
years of anger fol­low­ing
hours that float idly down —
the bliz­zard
drifts its weight
deeper and deeper for three days
or sixty years, eh? Then
the sun! a clut­ter of
yel­low and blue flakes —
Hairy look­ing trees stand out
in long alleys
over a wild soli­tude.
The man turns and there —
his soli­tary track stretched out
upon the world.

 

 

 

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It’s hard not

to jump out

instead of

wait­ing to be

found. It’s

hard to be

alone so long

and then hear

some­one come

around. It’s

like some form

of skin’s developed

in the air

that, rather

than have torn,

you tear.

(“Hide and Seek” was orig­i­nally pub­lished in “The Nia­gara River” by Kay Ryan, Grove Press Poetry Series, 2005.)

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In their excess, their blowsy dream­ing
and King Solomon-like tem­pers, the clouds
pos­sess the grandeur of eighteenth-century oils,

when a painter earned his pro­fes­sion
as an anatomist. Those artists of verdi­gris
and gam­boge, too gorged on joy, perhaps,

treated that blank pas­ture of the “heav­ens”
like some­thing that had lived.
Their crawly undo­ings remind us

of the mean curiosi­ties of sheep, the sea’s
half-remembered boil, or a few twisted bolls
of cotton—the morn­ing phosphorescent

or sun­set a dull, worn-out gilt.
The nights there were scum­bled with light.
How could we ever have taken them

for the absti­nence of art?

by William Logan

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Off rows of wind­shields
in the Amtrak lot
rain in sud­den
clumps like jacks. Parked cars
with peo­ple in them
await­ing peo­ple they imag­ine
hurtling through sub­urbs
of sil­ver woods
await­ing them. True
love needs inter­fer­ence,
a cer­tain bliz­zard dis­tance,
for the words to worm through.
Remem­ber Iowa?
August storms that would self-spark
as if our fights could trip
the finest wire beneath the side­walk.
And the sun­light, harder after.

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by Amiri Baraka

Who has ever stopped to think of the divin­ity of Lam­ont Cranston?
(Only jack Ker­ouac, that I know of: & me.
The rest of you prob­a­bly had on WCBS and Kate Smith,
Or some­thing equally unattractive.)

What can I say?
It is bet­ter to haved loved and lost
Than to put linoleum in your liv­ing rooms?

Am I a sage or some­thing?
Mandrake’s hyp­notic ges­ture of the week?
(Remem­ber, I do not have the heal­ing pow­ers of Oral Roberts…
I can­not, like F. J. Sheen, tell you how to get saved & rich!
I can­not even order you to the gascham­ber satori like Hitler or Goddy Knight)

& love is an evil word.
Turn it backwards/see, see what I mean?
An evol word. & besides
who under­stands it?
I cer­tainly wouldn’t like to go out on that kind of limb.

Sat­ur­day morn­ings we lis­tened to the Red Lantern & his under­sea folk.
At 11, Let’s Pre­tend
& we did
& I, the poet, still do. Thank God!

What was it he used to say (after the trans­for­ma­tion when he was safe
& invis­i­ble & the unbe­liev­ers couldn’t throw stones?) “Heh, heh, heh.
Who knows what evil lurks in the hearts of men? The Shadow knows.”

O, yes he does
O, yes he does
An evil word it is,
This Love.

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Who, who had only seen wings,
could extrap­o­late the
skinny sticks of things
birds use for land,
the back­ward way they bend,
the silly way they stand?
And who, only study­ing
bird­tracks in the sand,
could think those lit­tle forks
had decamped on the wind?
So many paired things seem odd.
Who ever would have dreamed
the broad winged raven of despair
would quit the air and go
bandy­legged upon the ground,
a com­mon crow?

Kay Ryan, 1994

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You that sang to me once sing to me now
let me hear your long lifted note
sur­vive with me
the star is fad­ing
I can think far­ther than that but I for­get
do you hear me

do you still hear me
does your air
remem­ber you
o breath of morn­ing
night song morn­ing song
I have with me
all that I do not know
I have lost none of it

but I know bet­ter now
than to ask you
where you learned that music
where any of it came from
once there were lions in China

I will lis­ten until the flute stops
and the light is old again

- W.S. MERWIN

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Inau­gural Poem

A Rock, A River, A Tree
Hosts to species long since departed,
Marked the mastodon.

The dinosaur, who left dry tokens
Of their sojourn here
On our planet floor,
Any broad alarm of their has­ten­ing doom
Is lost in the gloom of dust and ages.

But today, the Rock cries out to us, clearly, force­fully,
Come, you may stand upon my
Back and face your dis­tant des­tiny,
But seek no haven in my shadow.

I will give you no more hid­ing place down here.

You, cre­ated only a lit­tle lower than
The angels, have crouched too long in
The bruis­ing dark­ness,
Have lain too long
Face down in ignorance.

Your mouths spilling words
Armed for slaughter.

The Rock cries out today, you may stand on me,
But do not hide your face.

Across the wall of the world,
A River sings a beau­ti­ful song,
Come rest here by my side.

Each of you a bor­dered coun­try,
Del­i­cate and strangely made proud,
Yet thrust­ing per­pet­u­ally under siege.

Your armed strug­gles for profit
Have left col­lars of waste upon
My shore, cur­rents of debris upon my breast.

Yet, today I call you to my river­side,
If you will study war no more. Come,

Clad in peace and I will sing the songs
The Cre­ator gave to me when I and the
Tree and the stone were one.

Before cyn­i­cism was a bloody sear across your
Brow and when you yet knew you still
Knew nothing.

The River sings and sings on.

There is a true yearn­ing to respond to
The singing River and the wise Rock.

So say the Asian, the His­panic, the Jew
The African and Native Amer­i­can, the Sioux,
The Catholic, the Mus­lim, the French, the Greek
The Irish, the Rabbi, the Priest, the Sheikh,
The Gay, the Straight, the Preacher,
The priv­i­leged, the home­less, the Teacher.
They hear. They all hear
The speak­ing of the Tree.

Today, the first and last of every Tree
Speaks to humankind. Come to me, here beside the River.

Plant your­self beside me, here beside the River.

Each of you, descen­dant of some passed
On trav­eller, has been paid for.

You, who gave me my first name, you
Pawnee, Apache and Seneca, you
Chero­kee Nation, who rested with me, then
Forced on bloody feet, left me to the employ­ment of
Other seekers–desperate for gain,
Starv­ing for gold.

You, the Turk, the Swede, the Ger­man, the Scot …
You the Ashanti, the Yoruba, the Kru, bought
Sold, stolen, arriv­ing on a night­mare
Pray­ing for a dream.

Here, root your­selves beside me.

I am the Tree planted by the River,
Which will not be moved.

I, the Rock, I the River, I the Tree
I am yours–your Pas­sages have been paid.

Lift up your faces, you have a pierc­ing need
For this bright morn­ing dawn­ing for you.

His­tory, despite its wrench­ing pain,
Can­not be unlived, and if faced
With courage, need not be lived again.

Lift up your eyes upon
The day break­ing for you.

Give birth again
To the dream.

Women, chil­dren, men,
Take it into the palms of your hands.

Mold it into the shape of your most
Pri­vate need. Sculpt it into
The image of your most pub­lic self.
Lift up your hearts
Each new hour holds new chances
For new beginnings.

Do not be wed­ded for­ever
To fear, yoked eter­nally
To brutishness.

The hori­zon leans for­ward,
Offer­ing you space to place new steps of change.
Here, on the pulse of this fine day
You may have the courage
To look up and out upon me, the
Rock, the River, the Tree, your country.

No less to Midas than the mendicant.

No less to you now than the mastodon then.

Here on the pulse of this new day
You may have the grace to look up and out
And into your sister’s eyes, into
Your brother’s face, your coun­try
And say sim­ply
Very sim­ply
With hope
Good morning.

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