Monday, December 22, 2014

Christmas Day in the Workhouse

Note:  Normally the poems on our blog are by our members and friends.  This seasonal poem, however, was written by George R. Sims, an English journalist and poet, back in 1879.  Sims was a social reformer, and this Christmas poem--which has some of the appeal of a vintage melodrama--dramatizes the plight of the poor in Victorian England.


It is Christmas Day in the workhouse,
And the cold, bare walls are bright
With garlands of green and holly,
And the place is a pleasant sight;
For with clean-washed hands and faces,
In a long and hungry line
The paupers sit at the table,
For this is the hour they dine.
And the guardians and their ladies,
Although the wind is east,
Have come in their furs and wrappers,
To watch their charges feast;
To smile and be condescending,
Put pudding on pauper plates.
To be hosts at the workhouse banquet
They've paid for — with the rates.
Oh, the paupers are meek and lowly
With their "Thank'ee kindly, mum's!'"
So long as they fill their stomachs,
What matter it whence it comes!
But one of the old men mutters,
And pushes his plate aside:
"Great God!" he cries, "but it chokes me!
For this is the day she died!"
The guardians gazed in horror,
The master's face went white;
"Did a pauper refuse the pudding?"
"Could their ears believe aright?"
Then the ladies clutched their husbands,
Thinking the man would die,
Struck by a bolt, or something,
By the outraged One on high.
But the pauper sat for a moment,
Then rose 'mid silence grim,
For the others had ceased to chatter
And trembled in every limb.
He looked at the guardians' ladies,
Then, eyeing their lords, he said,
"I eat not the food of villains
Whose hands are foul and red:
"Whose victims cry for vengeance
From their dark, unhallowed graves."
"He's drunk!" said the workhouse master,
"Or else he's mad and raves."
"Not drunk or mad," cried the pauper,
"But only a haunted beast,
Who, torn by the hounds and mangled,
Declines the vulture's feast.
"I care not a curse for the guardians,
And I won't be dragged away;
Just let me have the fit out,
It's only on Christmas Day
That the black past comes to goad me,
And prey on my burning brain;
I'll tell you the rest in a whisper —
I swear I won't shout again.
"Keep your hands off me, curse you!
Hear me right out to the end.
You come here to see how paupers
The season of Christmas spend;.
You come here to watch us feeding,
As they watched the captured beast.
Here's why a penniless pauper
Spits on your paltry feast.
"Do you think I will take your bounty,
And let you smile and think
You're doing a noble action
With the parish's meat and drink?
Where is my wife, you traitors —
The poor old wife you slew?
Yes, by the God above me,
My Nance was killed by you!
'Last winter my wife lay dying,
Starved in a filthy den;
I had never been to the parish —
I came to the parish then.
I swallowed my pride in coming,
For ere the ruin came,
I held up my head as a trader,
And I bore a spotless name.
"I came to the parish, craving
Bread for a starving wife,
Bread for the woman who'd loved me
Through fifty years of life;
And what do you think they told me,
Mocking my awful grief,
That 'the House' was open to us,
But they wouldn't give 'out relief'.
"I slunk to the filthy alley —
'Twas a cold, raw Christmas Eve —
And the bakers' shops were open,
Tempting a man to thieve;
But I clenched my fists together,
Holding my head awry,
So I came to her empty-handed
And mournfully told her why.
"Then I told her the house was open;
She had heard of the ways of that,
For her bloodless cheeks went crimson,
and up in her rags she sat,
Crying, 'Bide the Christmas here, John,
We've never had one apart;
I think I can bear the hunger —
The other would break my heart.'
"All through that eve I watched her,
Holding her hand in mine,
Praying the Lord and weeping,
Till my lips were salt as brine;
I asked her once if she hungered,
And as she answered 'No' ,
The moon shone in at the window,
Set in a wreath of snow.
"Then the room was bathed in glory,
And I saw in my darling's eyes
The faraway look of wonder
That comes when the spirit flies;
And her lips were parched and parted,
And her reason came and went.
For she raved of our home in Devon,
Where our happiest years were spent.
"And the accents, long forgotten,
Came back to the tongue once more.
For she talked like the country lassie
I woo'd by the Devon shore;
Then she rose to her feet and trembled,
And fell on the rags and moaned,
And, 'Give me a crust — I'm famished —
For the love of God!' she groaned.
"I rushed from the room like a madman
And flew to the workhouse gate,
Crying, 'Food for a dying woman!'
And the answer came, 'Too late.'
They drove me away with curses;
Then I fought with a dog in the street
And tore from the mongrel's clutches
A crust he was trying to eat.
"Back through the filthy byways!
Back through the trampled slush!
Up to the crazy garret,
Wrapped in an awful hush;
My heart sank down at the threshold,
And I paused with a sudden thrill.
For there, in the silv'ry moonlight,
My Nance lay, cold and still.
"Up to the blackened ceiling,
The sunken eyes were cast —
I knew on those lips, all bloodless,
My name had been the last;
She called for her absent husband —
O God! had I but known! —
Had called in vain, and, in anguish,
Had died in that den — alone.
"Yes, there, in a land of plenty,
Lay a loving woman dead,
Cruelly starved and murdered
for a loaf of the parish bread;
At yonder gate, last Christmas,
I craved for a human life,
You, who would feed us paupers,
What of my murdered wife!"
'There, get ye gone to your dinners,
Don't mind me in the least,
Think of the happy paupers
Eating your Christmas feast;
And when you recount their blessings
In your smug parochial way,
Say what you did for me, too,
Only last Christmas Day."

"Winter in the Workhouse: The Penalty of London's Greatness"
from "The Graphic," December 21, 1907
Wikimedia Commons

Monday, December 1, 2014

Fifties Gal

In high heels and dresses that floated on the waves of her crinoline,
She'd saunter down Manhattan streets
As "fellas" whistled from around her
Because she decorated their views.

In skirts expanded by petticoats
Swirling her colors,
She'd dance the lindy 'cross party floors
As hopeful beaus
Stood in line waiting for a chance to partner her.

Fifties gals in flipped hair styles,
Their hair held back by colored bands—
Her mind remembers as she studies the mirror
For signs of a person left behind.

Still standing straight on her 70th birthday,
Hair blonde as it once was, 
Only a few gray streaks and lines
Telling the world she's no longer fifteen.


© Shelly Sitzer, 2014

"Women's fashion in the 1950s"
from "Fashion Pictures
Vintage fashion galleries from 1955-58"

Monday, November 3, 2014

Hands

Hands

You clench fists,
gripping us tightly,
dry and cracked,
in need of tlc.
You fling us around
wildly as you speak.
We spend days nurturing others,
nights making meals,
and you have never even dressed us in pretty jewels
(well maybe that occasional ring).
Our tips press letters and numbers
that keep us connected with loved ones 
in places far away.
Our enamel is never polished bright;
you tried it once 
and said it felt as though it were numb.
We feel the pins and needles
when the weight of you
becomes too much to bear
and you fall asleep
with us tucked under your head.
We remember that time in traffic
when you white-knuckled 
the steering wheel
for fear the other cars were too close.
We feel the aches as you hold tight the brush, 
struggling to get the knots 
out of your daughter’s hair.
You rarely thank us.
You hide us in pockets 
standing on sidewalks.
We could have been used
to create masterpieces of music,
years of guitar and piano lessons
stretching us,
but you chose an alternative,
giving the blood that flows to our ends 
to others.
We hold scars 
from moments 
that are too painful to speak of,
and we've never once complained.


© Suzanne Saxon, 2014

"A Woman's Arm," by Adolph Tidemand, Google Art Project
from Wikimedia



Wednesday, October 29, 2014

Suddenly Like Light

Time changed without his notice, suddenly more like light
tracing the tops of pines, spectrum of greens finer and more haunting
than tones of an Indian raga, mysteries in a needle's breath--
eyes ached against borders of being human, to know
this shade of a young fascicle at dawn compared to its late afternoon
hue, when the odor of baked pitch and resin presses up
to the canopy, or this night color, tantalizing, back-lit by autumnal half moon--
too delicate for his own receptors--green which forced his kneecaps to earthen debris,
drew out a prayer, lips fervent and wet, to just once see with eyes of an owl or hawk,
to divine from this ebony green how old the needle was, how much life
it contained, how long until a breeze would usher it from the branch
and fold it into the earth.  He began to think that if he watched closely,
the whole future might spread out before him in a ray of light. 
He couldn't remember when the thought first occurred
to him; it seemed now that he'd always believed it.


© Michael Mahoney, 2014

Long-leaf Pine
Photo by Tony Russell

Monday, October 20, 2014

Dream of the Seed-Bird

In my dream our young bodies prowled a warm night, 
a garden-park, vacant besides us.

As we ranged, breathing mist,
we saw a free parakeet with flowing ribbons clipped in his crown feathers. Bright comet descending, he stopped by the fountain, admired his new colors in reflection. 

I crept close. He was slow to react, so I caught him.

I removed his crippling decorations, then saw that his wing feathers were delicate sprays of millet, shedding seeds onto my palm. Surprise loosened my grip, and he flew.

I have failed as his righteous savior. He is too fragile, too delicious to live; he'll be giddily stripped at dawn by a dozen seed-crushing beaks. But that is Nature's way, and I am its student, so I must follow to see.  

We slunk after, feeling our midnight way across well-kept lawns by instinct and by science - 
we are hunters and scholars. Soon we saw him land on a roadside sign; he was not alone. 

Two more parakeets, a budgie, and a red Amazon parrot perched together, greeted and groomed, with beaks and claws gently setting each others' plumage right, tucking in the seed-bird's millet, so his wings showed just sleek feathers. 

They chattered on. Without translation I understood this convention of uncaged birds, sharing stories, commiserating, celebrating free life. I need not save them; I need not observe their bitter endings. 

So I learned. So we learned.

We turned to each other to celebrate free life. We set each other right with fingers and mouths, landed together for a while, then bounded apart into the dawn. 

   © Laura Seale, 2014

Malabar Parakeet
Photo by Suriyahumars
from Wikimedia Commons

Monday, October 13, 2014

Insomnia Ghazal

"What was your name again? When did your chair get so close?"
The voice of all tired women in bars with no close. 

His eyes found the checkered tile of the bathroom ceiling.
It's hot enough tonight, he muses, to forego clothes.

God, why did you deign to teach me the tongues of angels
When my weight of sin wouldn't let them dare to go close?

Counting Games: Sabbath is Seven. Victory. Seven.
Freedom. Seven. (She clenches her eyes, sleep is so close).

He traded baseball cards for a new glove, forgetting
The shears. The tangles of briar beyond the fence grow close. 

There is no sleeping here. No sheep to corral tonight. 
What hope is there without counting? The night knows no close. 

"When will you learn?" mother laments, brushing my wild hair. 
Like I'd care for style in treetops where the wind blows close. 

Again: Sin. Three. Hell. Four. Shame. Five. Submit. Six. Slumber.
Seven. Restful. Seven. Sarah. Two away-- so close. 


© Sarah Fletcher, 2014

"Complications of Insomnia"
Mikael Haggstrom from "Medical gallery of Mikael Haggstrom
Wikimedia Commons

Monday, October 6, 2014

Standing Proud

There are times when you drive 
a square peg into a round hole,
as a trunnel fastens
post to beam, but today it’s round into round,
and when I’m done, the pine panel
will hold fast to the frame
for a lifetime or more.

I touch the protruding head 
with a calloused thumb,
finding it stands just a little proud.
With a scrap of sandpaper
I smooth it and touch again,
all the time thinking of Dad’s words
as we sawed and hammered 
at something long-forgotten:
“It’s the proud nail that gets driven down.”

Another lesson from that country poet
that even now shapes what goes upon this page:

words that as I trim and sand these lines
remind me that brilliant phrases are given us, 
that what I leave behind is more debt than gift.


© David Black, 2014

Mid-19th C. post & beam barn with pegged joints
Whidbey Island, Washington
Photo by Anne E. Kidd for the National Park Servise

Sunday, September 28, 2014

Inspired

Inspired by two young women 
who at less than half my age 
already understand and articulate 
twice as much wisdom and knowledge
of the heart, 
and how we are all connected – 
or not —
to our own pain 
and the pain of others, 
to our goodness 
and the goodness of others, 
to the spirit within 
and to and from and back 
to us. 
Inspired by two young women 
whose words of poetry 
flow like song, 
assuring me, 
and starting somehow 
the continuing process 
of my own healing.
Even at more than twice their age. 
I take still small steps 
and gently peek beyond 
the curtain of my soul, 
once again daring
to look deep 
and connect — with 
God, 
self, 
and others;
allowing my pain to be expressed, 
knowing the peace that comes
with letting go and opening up
to be 
inspired by God.


© Anne Cressin, 2014


Jona Noelle and Flora Lark
"The Fire Tigers"

Monday, September 8, 2014

Praise Song

I praise the West Wind that blows down off the mountain
Whipping up waves and currents
On our back yard lake.
I praise the Sun as he reflects and shimmers
Bright diamonds moving across the water.
I praise the weeping willow as she
Waves her hair wildly in the wind
While the perfume scents of the blooming trees     
And flowers waft our way.
I praise the Seasons – turning on the wheel of time –
Each becoming more precious the longer I walk
This earthly journey.
Though darkness gathers and day draws to a close,
I Thank the Sun setting in all his revelry and
Bless the promise of another sunrise yet to come.


© Diane Harner, 2014

Sunset
Photo by NOAA from Wikimedia Commons

Monday, September 1, 2014

If Only They Knew

Who are we to think that we’re any more alive than the stars,
Who spend their days burning, exploding, screaming their innermost selves to one another across the mute emptiness of day to day void,
Livers of a continuous present,
Residents of an oceanic nothingness with the bigness to hold them, now and forevermore, face to face in an unyielding embrace,
Dancers of a billion years’ dance,
Runners of an eternal race,
Giving birth with their final act of death,
Legions of celestial mothers patrolling heavenly haunts?

And we, spectral sparks cast carelessly from the surface of our tumbling ember,
Have the audacity to name them.


© Axel Cooper, 2014

Van Gogh's The Starry Night
from Wikimedia Commons

Tuesday, August 26, 2014

On My Way to My Muse

On my way to my Muse
I must clean off the kitchen table
And put the dishes in the dishwasher
And load clothes in the washing machine.
On my way to my Muse
I must get my favorite pen
And find a special journal
And finish writing out the bills
And pick up my messages
So I can have silence.
On my way to my Muse
I must get rid of all my doubts
And my share of not being good enough
And not being organized
And not being ready for success.
And so on my way to my Muse
I must call for a session to remove my doubts
And get a massage to relieve my tensions
So I know that I am the best I can be.
Then I reach out again to my Muse
And I find my hands aren’t quite clean enough
And my space isn’t clear
And I haven’t finished my chores,
And so I write her a letter
And ask her to forgive me
And to come again when I am ready.


© Hilda Ward, 2014

The Muse of Poetry by Konsantin Makovsky
from Wikimedia Commons

Monday, August 11, 2014

THOREAU’S BELIEF (REALLY!): A SONG (HE SAID, “WHY SHOULD NOT A POET’S CAT AS WELL AS HIS HORSE HAVE WINGS?”)


Winged cats exist.
Must exist!
Sublimely promiscuous,
They can’t not exist!
They don’t regard difference
Between earth, air, and light.
Borne up by silliness,
By faith, by similitude,
By their analogy to any shape,
They are lazily limitless
And may further their fur
Into petal or wings
Pluming through fable.
If winged cats don’t exist,
Clouds won’t blossom,
Grass won’t be kissed,
Water won’t be gardened,
And rocks, once curvaceous,
Will refuse affection.
Fire won’t be sinuous
If winged cats can’t exist.
Thoreau thoroughly knows
Winged cats must exist,
Uplifted by the hybrid
Serene weddings of wildness.
Furry wings are allowed
A unique perfume:
Earth, air and light insist
This trespass is wisdom.

© Stephen Margulies, 2014

Cat Graffiti in Prishtina
Photo by WikiPri
from Wikimedia Commons

Tuesday, August 5, 2014

Seeb Road by Night


Not far from the sea
In the north of Oman
A dreary two-lane road
Winds through the gravelled sand flats
Dark and heavily trafficked
Lined by a few scraggly dusty palms
A scene unworthy of a painter’s brush
And yet
And yet
Each night on this darkened stage
A tiny drama worthy of our time

Two boys, all of eight years old
Fan a makeshift charcoal grill
With a piece of cardboard
Grease-laced smoke rises from the grill 
And flames sometimes hover
Above the glowing gray-black coals
Lighting up their earnest faces

Cheap cuts of skewered lamb
Darken and sizzle on the grill
And cars pass by
This little stand
Between two palms
So dark it isn’t seen
So cars pass by

For more than one hour 
I watched them brown the lamb 
And set it aside
Waiting and hoping
Their obscure labor
Would cause a car or two to stop
Their expectations low

Sent out by their parents
Who knows how much they count on 
This hopeless, little stand
Who does their marketing?
Their advertising? 

© Bill Sypher, 2014

"Street Urchins"
oil on canvas
by Karl Witkowski
from Wikimedia Commons


Wednesday, July 23, 2014

Minesweeping


Picking through now: my
god I was running so fast then, leaving behind time bombs and land mines as I fled
to make sure I would never look back or slow down or god forbid turn around and try to walk sanely again through this madwoman's minefield, now grown over with goldenrod and meadowsweet. 

I ran a slick path toward other choices, to hide in the city, to pretend among fumes and pavements that I was fresh and ready, that there was nothing behind me but the wide ocean... 
That there was no home waiting... 

Within a day I missed soft green under foot and soft eyes of family, so I soon returned to them,
but stayed apart from this field, walked only the perimeter, monitoring, until I trusted my eyes and my footing. 

Picking through now: in my treacherous meadow of old mines,
I am stepping, guessing, testing disturbed spots one by one. 
Slow work, careful work, through thick sedge that shadows and tangles my feet, that hides the triggers and trip lines. 
I am fearless, though, and slow.
As I find each snare I choose my fate, knowing that blowing everything open is the only way to be whole. 

© Laura Seale, 2014

Click link below to watch brief video of land mine explosion:

Land mine from World War II
from Wikimedia Commons




Wednesday, July 16, 2014

Simile and Metaphor


On the dance floor,
holding you at arm’s length,
Simile, with one finger,
will twirl you like the last leaf
spinning in Autumn wind.
When the song ends,
he is content with a quick hug, 
a tiny peck on the cheek.

Metaphor, on the other hand,
holds you tightly enough
to take your breath,
gives you the deepest French kiss.
It all happens so fast
that before you can say “stop!”
you find yourself in an unfamiliar bed,
pregnant with images
ready to be born.

© Jean Sampson, 2014

A couple dancing tango
Photo by Jorge Lascar
from Wikimedia commons

Monday, July 7, 2014

First Breath


At the Bang
there is breath
a singular point
God willed into being
inhales into consciousness
cosmic vibrations now manifest
nature's cycles unfold

At the moment of creation
the universe awakens
darkness recedes
across space and time
evolutionary forces unleashed
life exhales deeply
and exits silence's fertile door

© Bill Vollrath, 2014

The Phillip Medhurst Picture Torah 3. Creation. Genesis cap 1 v 10
from Wikimedia Commons

Monday, June 30, 2014

Martha and Mary


Martha in the kitchen...
The practical one.
Mary more the maid of thought,
The contemplative,
Maybe the lazier of the two.
But nevertheless,
Her mind was on matters
Other than pots and pans,
Food and drink,
The necessary things of life.

It would be nice to be Mary,
Seated on the cool floor,
Away from the kitchen's heat,
The bubbling pots,
Listening to the teacher,
Who had come to visit,
That once in a lifetime chance
To hear and sense
The mystery of the rabbi
Claiming to have come from God.

© Peggy Latham, 2014

Johannes Vermeer's "Christ in the House of Martha and Mary"
at the Scottish National Gallery
from Wikimedia Commons

Tuesday, June 24, 2014

Death and Poetry


for Penny Holt

1

I think dying is a lot like writing poetry.
There is some fear when you approach each,
but you don’t let that stop you.
You notice how death and poetry
only deal with what is essential,
the essence of yourself, your spirit.
You see your flesh as a thin membrane,
separating you from that ladder of light
you must climb
to weave words together 
or to die.

I expect there will be kind angels
to help you climb, and others
who will wrestle hard with you until dawn
so you will become strong enough
to bear blessings
that flow from their hands.

2

I know that when you write
it is a sort of death,
a birth into a new world
you have been creating
since the day you were born.
It is probably the same
when you die.
You will bring your own 
loves, fears, dreams
with you, creating your own Heaven,
bearing it like the shell
a sea creature forms
from ordinary bits of life.

Then, there is light.
Both dying and poetry
are all about light,
how it leads you through shadows
you think you might drown in,
how it is the thread
that ties together
your past, present, and future selves
so you can write or die
with your whole self,
a plant with buds, flowers,
and seed pods bursting.

3

To write poems, you must trust
the path to appear before you,
but only as you plant your feet.
Dying, I think, is much the same,
an act of faith,
or maybe a wild leap
into invisible arms,
that like the earth,
have always held you up.

© Jean Sampson, 2014

Hearts-a-bursting
Photo by Tony Russell

Monday, June 16, 2014

There's some sort of anthropomorphism in there...       upon his diagnosis


There were sunflowers in my mailbox
after work today, and no don't go there.
There is no lover with gumption enough. 

Rather, they were packed in a cardboard
box and shipped the breadth of a country
which is 15,840,000 times laid cut to bloom. 

You aren't supposed to send flowers
until the loved one is gone, and I 
wonder if she knows something I don't

but I free them anyway. Yellow-
tipped and new and never for scent
but for a straight back and bold smile.

So there they sit in 7 o'clock light
with cut cords, better for both our breathing.
I set them in water and wait and

watch (want) for them to stretch
their limbs a little because nothing with so
much life in it should be put in a wooden box

so soon. 

© Sarah Fletcher, 2014

Three Sunflowers in the field
Photo by 3268zauber
from Wikimedia Commons