sharing my love of books with you

Author: Cadie (Page 30 of 46)

The Spider, by Emily Dickinson

The spider as an artist
Has never been employed
Though his surpassing merit
Is freely certified

By every broom and Bridget
Thought a Christian land.
Neglected son of genius,
I take thee by the hand.

(Selected Poems of Emily Dickinson, printed 2016)

A Narrow Fellow in the Grass, by Emily Dickinson

A narrow fellow in the grass
Occasionally rides;
You may have met him, - did you not?
His notice sudden is.

The grass divides as with a comb,
A spotted shaft is seen;
And then it closes at your feet
And opens further on.

He likes a boggy acre,
A floor too cool for corn,
Yet when a child, and barefoot,
I more than once, at morn,

Have passed, I thought, a whip-lash
Unbraiding in the sun, - 
When, stooping to secure it, 
It wrinkled, and was gone.

Several of nature's people
I know, and they know me;
I feel for them a transport
Of cordiality;

But never met this fellow,
Attended or alone,
Without a tighter breathing,
And zero at the bone.

(Selected Poems of Emily Dickinson, printed 2016)

I believe she is talking about a snake. Don’t you?

Finished: Selected Poems of Emily Dickinson

I finished the Selected Poems of Emily Dickinson yesterday. This is small book, but it has about 175 poems in it. I still say that Emily Dickinson is not my favorite poet. Many of her works feel smashed together with sentences twisted to make the rhymes. But, then I read (or, rather, listened to) a small portion of her biography and realized that she never intended for most of her poems to be published. She could smash and twist words and sentences because she wan’t going to let anyone read her scribbles. She probably did not do much editing or rewriting either.

Emily Dickinson was a recluse and lived most of her life voluntarily shut in her room. Though she was never ungracious to visitors, she preferred solitude instead. You can tell from several of her poems, like these three, that she had quite a vivid imagination.

“I know some lonely houses off the road a robber’d like the look of…”

“Hope is the thing with feathers that perches in the soul…”

“I started early, took me dog, and visited the sea…”

However, it is definitely worth your time to become aquatinted with Emily Dickinson’s poetry, especially if you would like to be a writer or poet. Though you may find some of her poems harder to understand, look for little one or two line phrases that catch your fancy. I think that is what I enjoyed most – looking for those little phrases that stood out to me, caught my eye, and made my imagination go, “Wow, how neat!”

The subjects Emily Dickinson wrote about were nature, life, death, eternity, and love. If you think about, are there any other subjects? Perhaps that is why she is loved by so many readers. She has a line or two for everyone. I’ve shared some of my favorites here on the blog (you can click the Emily Dickinson tag to find them). But I encourage you to read Dickinson’s poems and decide which ones are your own favorites.

Poems Are

“For poems are not words, after all, but fires for the cold, ropes let down to the lost, something as necessary as bread in the pockets of the hungry. Yes, indeed.”

Mary Oliver, A Poetry Handbook, 1994

Catkins

Here is a strange word that I found in “Wisteria Lodge”, one of The Greatest Adventures of Sherlock Holmes. Based on the context, I thought it might be a bird, so I looked it up to share it with you. I was wrong – it’s not a bird.

Catkins – a spike of flowers with scaly bracts and no petals, as on the willow or birch

Usage: “I’m sure, Watson, a week in the country will be invaluable to you,” [Holmes] remarked. “It is very pleasant to see the first green shoots upon the hedges and the catkins on the hazels once again.”

Here is a picture of Hazel Catkins from BBC Countryfile. I can see how these yellow flowers would bring joy and hope for the approaching spring.

© Kevin Parr, located on BBC Countryfile website

Insuperable

Don’t misread this. It is not insufferable, it is insuperable, and before posting this, I had no idea what it meant. And the context didn’t help me guess at the meaning. I found the word in “Wisteria Lodge”, one of The Greatest Adventures of Sherlock Holmes.

Insuperable – incapable of being passed over, overcome, or surmounted

Usage: “I have not all my facts yet, but I do not think there are any insuperable difficulties.”

Mystification

Usually when I read this word, I imagine it is related to mystify or mystery, which something secret or puzzling. But the way it was used in The Greatest Adventures of Sherlock Holmes, in the story “Wisteria Lodge”, I decided to look it up. I thought I was wrong about the definition for some time. But, apparently, mystification is the noun version of the verb mystify, so I was right.

Mystification – the state of feeling confused by something impossible to understand (and mystify is to perplex or bewilder)

Usage: “I can make nothing of this mystification of Scott Eccles.”

I Just Wanted to Write Today

Have you ever had the desire to set aside your book and just try to write something? That was how I felt all day today. I finished A Poetry Handbook (I can’t remember if that was today or yesterday), and I just wanted to sit in my library and try my hand at a few poems. So, that’s what I did after supper tonight.

And it really feels good.

I’m not ready to share my poetry yet – I need a lot of practice – but what I do want to share is a few of the tips that Mary Oliver offered in the Handbook. Maybe you will take a few and try to write something for yourself.

  • If you want to write poetry, you need to read poetry. A lot and intensely.
  • Gain practice by imitation. She uses the illustration of a young artist imitating a Van Gogh in a museum. We don’t think ill of the artist trying to learn in this fashion. Imitation is one of the ways to learn and develop different styles and techniques. Just don’t get so caught up in imitating one poet that you ignore the many others that are out there.
  • Learn some of the technical aspects of poetry. Study terms. For example, become familiar with the meters: iambic, pentameter, tetrameter, couplet, enjambment, etc.
  • Listen to your language. There is a chapter that breaks the alphabet down into sounds. Of course beginning with consonant and vowel, but then there are more: mutes, aspirates, semivowels, etc. She uses a poem by Robert Frost to demonstrate how sounds can change the feeling of a poem. She also uses the words rock and stone to demonstrate this concept. The words might mean the same thing, but what mental picture do you get when you say Rock? And when you say Stone?
  • Write, revise, and then revise again. Do not be afraid or ashamed of your early work. Revise until you love it. Revise as the author, and then, step back and try to revise as an unbiased party. It is an exercise that takes practice.

These are some of my main “take-aways” from the Handbook, some of the big things that really stuck out to me. I decided as soon as I finished it that I needed to reread it, so I turned back to page one and began again.

I know A Poetry Handbook by Mary Oliver isn’t the only poetry-writing aid out there, and I’m sure if I stick with it, I’ll find plenty more books with tips and pointers and technicals. But I really love Oliver’s style, and if I were to imitate anyone, it would be her. She has a unique sweetness to her style. She loves nature, even the parts that can be painful, and she always manages to find some good or some beauty in the world around her. Then, she draws the reader into her world through her poem, so that they can commune together in their mutual love for nature.

So, I’m going back to try my hand at another poem. I hope one day I can be even half as good as Mary Oliver. And if you haven’t read it, I definitely recommend A Poetry Handbook by Mary Oliver.

It Sifts From Leaden Sieves, by Emily Dickinson

It sifts from leaden sieves, 
It powders all the wood,
It fills with alabaster wool
The wrinkles of the road.

It makes an even face
Of mountain and of plain, - 
Unbroken forehead from the east
Unto the east again.

It reaches to the fence, 
It wraps it, rail by rail,
Till it is lost in fleeces;
It flings a crystal veil

On stump and stack and stem, - 
The summer's empty room,
Acres of seams where harvests were,
Recordless, but for them.

It ruffles wrists of poets,
As ankles of a queen, - 
Then stills its artisans like ghosts,
Denying they have been.

(from Selected Poems by Emily Dickinson, printed 2016)

She doesn’t really say, but I think Emily Dickinson is writing about fog. The poem seems to drift into the consciousness like a fog – wafting, rolling, billowing. My favorite part is how it engulfs the fence, “wraps it, rail by rail”. What do you think she is writing about in this poem?

Holmes on Grotesque

“I suppose, Watson, we must look upon you as a man of letters,” said [Sherlock Holmes]. “How do you define the word ‘grotesque’?”

“Strange – remarkable,” I suggested.

He shook his head at my definition.

“There is surely something more than that,” said he; “some underlying suggestion of the tragic and the terrible. If you cast your mind back to some of those narrative with which you have afflicted a long-suffering public, you will recognize how often the grotesque has been deepened into the criminal. Think of that little affair of the red-headed men. That was grotesque enough in the outset, and yet it ended in a desperate attempt at robbery. Or, again, there was that most grotesque affair of the five orange pips, which led straight to a murderous conspiracy. The word puts me on alert.”

Sherlock Holmes and Dr Watson, “Wisteria Lodge”, The Greatest Adventures of Sherlock HOlmes, circa 1908
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