American Life in Poetry: Column 070

By Ted Kooser,
U.S. poet laureate, 2004-2006
As a man I’ll never gain the wisdom Sharon Olds expresses in this poem about motherhood, but one of the reasons poetry is essential is that it can take us so far into someone else’s experience that we feel it’s our own.

My Son the Man

Suddenly his shoulders get a lot wider,
the way Houdini would expand his body
while people were putting him in chains. It seems
no time since I would help him to put on his sleeper,
guide his calves into the gold interior,
zip him up and toss him up and
catch his weight. I cannot imagine him
no longer a child, and I know I must get ready,
get over my fear of men now my son
is going to be one. This was not
what I had in mind when he pressed up through me like a
sealed trunk through the ice of the Hudson,
snapped the padlock, unsnaked the chains,
and appeared in my arms. Now he looks at me
the way Houdini studied a box
to learn the way out, then smiled and let himself be manacled.

“My Son the Man” from THE WELLSPRING by Sharon Olds. Copyright (c) 1996 by Sharon Olds. Used by permission of Alfred A. Knopf, a division of Random House, Inc. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.

American Life in Poetry: Column 066

By Ted Kooser,
U.S. poet laureate, 2004-2006
Some of the most telling poetry being written in our country today has to do with the smallest and briefest of pleasures. Here Marie Howe of New York captures a magical moment: sitting in the shelter of a leafy tree with the rain falling all around.

The Copper Beech

Immense, entirely itself,
it wore that yard like a dress,

with limbs low enough for me to enter it
and climb the crooked ladder to where

I could lean against the trunk and practice being alone.
One day, I heard the sound before I saw it, rain fell
darkening the sidewalk.

Sitting close to the center, not very high in the branches,
I heard it hitting the high leaves, and I was happy,

watching it happen without it happening to me.

Reprinted from “What the Living Do,” W. W. Norton & Co., 1997. Copyright (c) 1997 by Marie Howe. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln.

American Life in Poetry: Column 063
By Ted Kooser
U.S. poet laureate, 2004-2006
Remember those Degas paintings of the ballet dancers? Here is a similar figure study, in muted color, but in this instance made of words, not pigment. As this poem by David Tucker closes, I can feel myself holding my breath as if to help the dancer hold her position.

The Dancer
Class is over, the teacher
and the pianist gone,
but one dancer
in a pale blue
leotard stays
to practice alone without music,
turning grand jetes
through the haze of late afternoon.
Her eyes are focused
on the balancing point
no one else sees
as she spins in this quiet
made of mirrors and light–
a blue rose on a nail–
then stops and lifts
her arms in an oval pause
and leans out
a little more, a little more,
there, in slow motion
upon the air.

Reprinted from the 2005 Bakeless Prize winner “Late for Work”, by David Tucker, Houghton Mifflin, 2006, by permission of the author. “The Dancer” first appeared in “Visions International”, No. 65, 2001. Copyright (c) 2001 by David Tucker. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln.