noting with marilyn hacker

One of the things to note about this week’s poem, “A Note Downriver” by Marilyn Hacker, is its use of Sapphic stanzas to evoke longing via nuanced meditations. A Sapphic stanza, named after the Greek love poet Sappho, consists of three lines of eleven syllables each (with stresses on the first, fifth, and tenth syllables) and a truncated fourth line of five syllables (stresses here on the first and fourth).

Through_the_wilds;_a_record_of_sport_and_adventure_in_the_forests_of_New_Hampshire_and_Maine_(1892)_(14586696278)In light of the complexity of this stanzaic structure, I can’t help but marvel at Hacker’s use of it here in a poem essentially about a hangover. The stress on the first syllable of each line adds a troubled conviction to the speaker’s voice; their ruminations come off in a controlled yet shaky manner. This shakiness is augmented by the form, leading to such lyrical utterances as: “I feel muggy-headed and convalescent, / barely push a pen across blue-lined paper.”

The leap in phrasing and logic here evoke a struggle beyond language. At the precipice of articulation, articulation feels hindered; “push” is echoed by the nearby “scowl” and the later “grouse” and “growl.” This reading of echoes is furthered by the ending metaphor of rivers speaking, literally having the last, troubled word.

A Note Downriver – Marilyn Hacker 

Afternoon of hangover Sunday morning
earned by drinking wine on an empty stomach
after I met Tom for a bomb on Broadway:
done worse; known better.

I feel muggy-headed and convalescent,
barely push a pen across blue-lined paper,
scowl at envelopes with another country’s
stamps, and your letter.

Hilltop house, a river to take you somewhere,
sandwiches at noon with a good companion:
summer’s ghost flicked ash from the front porch railing,
looked up, and listened.

I would grouse and growl at you if you called me.
I have made you chamomile tea and rye bread
toast, fixed us both orange juice laced with seltzer
similar mornings.

We’ll most likely live in each other’s houses
like I haunted yours last July, as long as
we hear rivers vacillate downstream. They say
“always”; say “never.”

from Winter Numbers: poems (W.W. Norton)

raining with Martorell & Pizarnik

Earlier this week, I had the opportunity to do a small reading at Linfield College’s Miller Fine Arts Center. The Linfield Gallery is in its last week of hosting Antonio Martorell’s solo exhibit “Rain/Lluvia.” In talking about the origins of the exhibit, Martorell told Linfield Gallery: “When the opportunity came my way to bring an exhibition to Oregon, a place that I had never visited before, I candidly asked: ‘¿Qué pasa en Oregon?’ (What happens in Oregon?) I received an equally candid answer: ‘It rains every day.’”

Antonio-Martorell-Linfield-06_webIn this spirit, I selected poems from my own work that dealt with rain in one way or another, in Oregon and rains elsewhere as well. Along with “Thinking About the Poet Larry Levis One Afternoon in Late May” by Charles Wright, I read two poems by Alejandra Pizarnik, both in the original Spanish and in English translations I did specifically for this reading. I share both poems and translations below as well as a clip of my reading of “L’obscurité des eaux.” Pizarnik’s work felt appropriate for the space as it interrogates the ways meaning is made, engaging with the ephemeral nature of words.

Rain works with a similar ephemerality. There is only something we can call rain when water is in motion between sky and earth; similarly, poetry lives in the space between set words and the motion of reading.

Special thanks to Brian Winkenweder for the invitation to read and to all those who attended!

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Despedida – Alejandra Pizarnik

Mata su luz un fuego abandonado.
Sube su canto un pájaro enamorado.
Tantas criaturas ávidas en mi silencio
y esta pequeña lluvia que me acompaña.

*

Farewell
— translated by José Angel Araguz

An abandoned fire kills its light.
A bird in love raises its song.
So many avid creatures in my silence
and this little rain that accompanies me.

umbrella2

 

L’obscurité des eaux – Alejandra Pizarnik

Escucho resonar el agua que cae en mi sueño.
Las palabras caen como el agua yo caigo. Dibujo
en mis ojos la forma de mis ojos, nado en mis
aguas, me digo mis silencios. Toda la noche
espero que mi lenguaje logre configurarme. Y
pienso en el viento que viene a mí, permanece
en mí. Toda la noche he caminado bajo la lluvia
desconocida. A mí me han dado un silencio
pleno de formas y visiones (dices). Y corres desolada
como el único pájaro en el viento.

*

The darkness of the waters
— translated by José Angel Araguz

I hear the water that falls in my dream resound.
The words fall like water I fall. I draw
in my eyes the shape of my eyes, I swim in my
waters, I tell myself my silences. All night
I hope my language manages to configure me. And
I think about the wind that comes to me, remains
in me. All night I walked in the unknown rain.
I have been given a silence
full of forms and visions (you say). And you run desolate
as the only bird in the wind.

*

photo credit: Linfield Gallery