Category Archives: Poetry

Paul Revere’s Ride

Paul Revere’s Ride
By Henry Wadsworth Longfellow

Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-Five:
Hardly a man is now alive
Who remembers that famous day and year.

He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry-arch
Of the North-Church-tower, as a signal-light,—
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country-folk to be up and to arm.”

Then he said “Good night!” and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war:
A phantom ship, with each mast and spar
Across the moon, like a prison-bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.

Meanwhile, his friend, through alley and street
Wanders and watches with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers
Marching down to their boats on the shore.

Then he climbed to the tower of the church,
Up the wooden stairs, with stealthy tread,
To the belfry-chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,—
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town,
And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead,
In their night-encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel’s tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, “All is well!”
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,—
A line of black, that bends and floats
On the rising tide, like a bridge of boats.

Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride,
On the opposite shore walked Paul Revere.
Now he patted his horse’s side,
Now gazed on the landscape far and near,
Then impetuous stamped the earth,
And turned and tightened his saddle-girth;
But mostly he watched with eager search
The belfry-tower of the old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry’s height,
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns!

A hurry of hoofs in a village-street,
A shape in the moonlight, a bulk in the dark,
And beneath from the pebbles, in passing, a spark
Struck out by a steed that flies fearless and fleet:
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.

He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders, that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.

It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer’s dog,
And felt the damp of the river-fog,
That rises when the sun goes down.

It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, blank and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.

It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadows brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket-ball.

You know the rest. In the books you have read,
How the British Regulars fired and fled,—
How the farmers gave them ball for ball,
From behind each fence and farmyard-wall,
Chasing the red-coats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.

So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.

About the Poem

“Paul Revere’s Ride” commemorates the actions of American patriot Paul Revere on April 18, 1775, although with significant inaccuracies. It was first published in the January 1861 issue of The Atlantic Monthly. It was later retitled “The Landlord’s Tale” in Longfellow’s 1863 collection Tales of a Wayside Inn.

The poem is spoken by the landlord of the Wayside Inn and tells a partly fictionalized story of Paul Revere. In the poem, Revere tells a friend to prepare signal lanterns in the Old North Church (North End, Boston) to inform him whether the British will attack by land or sea. He would await the signal across the river in Charlestown and be ready to spread the alarm throughout Middlesex County, Massachusetts. The unnamed friend climbs up the steeple and soon sets up two signal lanterns, informing Revere that the British are coming by sea. Revere rides his horse through Medford, Lexington, and Concord to warn the patriots.

Longfellow’s poem is credited with creating the national legend of Paul Revere, a previously little-known Massachusetts silversmith.  Upon Revere’s death in 1818, for example, his obituary did not mention his midnight ride but instead focused on his business sense and his many friends. The fame that Longfellow brought to Revere, however, did not materialize until after the Civil War amidst the Colonial Revival Movement of the 1870s. In 1875, for example, the Old North Church mentioned in the poem began an annual custom called the “lantern ceremony” recreating the action of the poem. Three years later, the Church added a plaque noting it as the site of “the signal lanterns of Paul Revere.” Revere’s elevated historical importance also led to unsubstantiated rumors that he made a set of false teeth for George Washington. Revere’s legendary status continued for decades and, in part due to Longfellow’s poem, authentic silverware made by Revere commanded high prices. Wall Street tycoon J. P. Morgan, for example, offered $100,000 for a punch bowl Revere made. 

Here is the “The Real Story of Paul Revere’s Ride” as told by the Paul Revere House.

In 1774 and 1775, the Boston Committee of Correspondence and the Massachusetts Committee of Safety employed Paul Revere as an express rider to carry news, messages, and copies of important documents as far away as New York and Philadelphia.

On the evening of April 18, 1775, Dr. Joseph Warren summoned Paul Revere and gave him the task of riding to Lexington, Massachusetts, with the news that British soldiers stationed in Boston were about to march into the countryside northwest of the town. According to Warren, these troops planned to arrest Samuel Adams and John Hancock, two leaders of the Sons of Liberty, who were staying at a house in Lexington. It was thought they would then continue on to the town of Concord, to capture or destroy military stores — gunpowder, ammunition, and several cannon — that had been stockpiled there. In fact, the British troops had no orders to arrest anyone — Dr. Warren’s intelligence on this point was faulty- but they were very much on a major mission out of Boston. Revere contacted an unidentified friend (probably Robert Newman, the sexton of Christ Church in Boston’s North End) and instructed him to hold two lit lanterns in the tower of Christ Church (now called the Old North Church) as a signal to fellow Sons of Liberty across the Charles River in case Revere was unable to leave town.

The two lanterns were a predetermined signal stating that the British troops planned to row “by sea” across the Charles River to Cambridge, rather than march “by land” out Boston Neck.

Revere then stopped by his own house to pick up his boots and overcoat and proceeded the short distance to Boston’s North End waterfront. There two friends rowed him across the river to Charlestown. Slipping past the British warship HMS Somerset in the darkness, Revere landed safely. After informing Colonel Conant and other local Sons of Liberty about recent events in Boston and verifying that they had seen his signals in the North Church tower, Revere borrowed a horse from John Larkin, a Charlestown merchant, and a patriot sympathizer. While there, a member of the Committee of Safety named Richard Devens warned Revere that there were a number of British officers in the area who might try to intercept him. 

At about eleven o’clock Revere set off on horseback. After narrowly avoiding capture just outside of Charlestown, Revere changed his planned route and rode through Medford, where he alarmed Isaac Hall, the captain of the local militia, of the British movements. He then alarmed almost all the houses from Medford, through Menotomy (today’s Arlington) — carefully avoiding the Royall Mansion whose property he rode through (Isaac Royall was a well-known Loyalist) — and arrived in Lexington sometime after midnight.

In Lexington, as he approached the house where Adams and Hancock were staying, Sergeant Monroe, acting as a guard outside the house, requested that he not make so much noise. “Noise!” cried Revere, “You’ll have noise enough before long. The regulars are coming out!” According to tradition, John Hancock, who was still awake, heard Revere’s voice and said “Come in, Revere! We’re not afraid of you”. He entered the house and delivered his message.

About half past twelve, William Dawes, who had traveled the longer land route out of Boston Neck, arrived in Lexington carrying the same message as Revere. After both men “refreshed themselves” (i.e., had something to eat and drink), they decided to continue on to Concord, Massachusetts to verify that the military stores were properly dispersed and hidden away. A short distance outside of Lexington, they were overtaken by Dr. Samuel Prescott, who they determined was a fellow “high Son of Liberty.” A short time later, a British patrol intercepted all three men. Prescott and Dawes escaped; Revere was held for some time, questioned, and let go. Before he was released, however, his horse was confiscated to replace the tired mount of a British sergeant. Left alone on the road, Revere returned to Lexington on foot in time to witness the latter part of the battle on Lexington Green.

This story comes from several accounts written by Paul Revere after his Midnight Ride. To see one of them in his own handwriting, with a transcription, visit “Revere’s Own Words.”

About the Poet

Henry Wadsworth Longfellow was born in Portland, Maine—then still part of Massachusetts—on February 27, 1807, the second son in a family of eight children. His mother, Zilpah Wadsworth, was the daughter of a Revolutionary War hero. His father, Stephen Longfellow, was a prominent Portland lawyer and later a member of Congress.

After graduating from Bowdoin College, Longfellow studied modern languages in Europe for three years, then returned to Bowdoin to teach them. In 1831, he married Mary Storer Potter of Portland, a former classmate, and soon published his first book, a description of his travels called Outre Mer (“Overseas”). But, in November 1835, during a second trip to Europe, Longfellow’s life was shaken when his wife died during a miscarriage. The young teacher spent a grief-stricken year in Germany and Switzerland.

Longfellow took a position at Harvard in 1836. Three years later, at the age of thirty-two, he published his first collection of poems, Voices of the Night, followed in 1841 by Ballads and Other Poems. Many of these poems (“A Psalm of Life,” for example) showed people triumphing over adversity, and in a struggling young nation that theme was inspiring. Both books were very popular, but Longfellow’s growing duties as a professor left him little time to write more. In addition, Frances Appleton, a young woman from Boston, had refused his proposal of marriage.

Frances finally accepted Longfellow’s proposal the following spring, ushering in the happiest eighteen years of Longfellow’s life. The couple had six children, five of whom lived to adulthood, and the marriage gave him new confidence. In 1847, he published Evangeline, a book-length poem about what would now be called “ethnic cleansing.” The poem takes place as the British drive the French from Nova Scotia, and two lovers are parted, only to find each other years later when the man is about to die.

In 1854, Longfellow decided to quit teaching to devote all his time to poetry. He published Hiawatha, a long poem about Native American life, and The Courtship of Miles Standish and Other Poems. Both books were immensely successful, but Longfellow was now preoccupied with national events. With the country moving toward civil war, he wrote “Paul Revere’s Ride,” a call for courage in the coming conflict.

A few months after the war began in 1861, Frances Longfellow was sealing an envelope with wax when her dress caught fire. Despite her husband’s desperate attempts to save her, she died the next day. Profoundly saddened, Longfellow published nothing for the next two years. He found comfort in his family and in reading Dante’s Divine Comedy. (Later, he produced its first American translation, which led to American universities realizing the importance of modern languages, like Italian. Previously, the majority of colleges and universities in the United States only taught Latin, Greek, and Hebrew.) Tales of a Wayside Inn, largely written before his wife’s death, was published in 1863.

When the Civil War ended in 1865, the poet was fifty-eight. His most important work was finished, but his fame kept growing. In London alone, twenty-four different companies were publishing his work. His poems were popular throughout the English-speaking world, and they were widely translated, making him the most famous American of his day. His admirers included Abraham Lincoln, Charles Dickens, and Charles Baudelaire.

From 1866 to 1880, Longfellow published seven more books of poetry, and his seventy-fifth birthday in 1882 was celebrated across the country. But his health was failing, and he died the following month, on March 24. When Walt Whitman heard of the poet’s death, he wrote that, while Longfellow’s work “brings nothing offensive or new, does not deal hard blows,” he was the sort of bard most needed in a materialistic age: “He comes as the poet of melancholy, courtesy, deference—poet of all sympathetic gentleness—and universal poet of women and young people. I should have to think long if I were ask’d to name the man who has done more and in more valuable directions, for America.”


The Star Dial

The Star Dial
By Willa Cather

Δέδυκε μὲν ἀ σελάννα
καὶ Πληΐαδες
          —Sappho*

When the moon was high I waited,
  Pale with evening’s tints it shone;
When its gold came slow, belated,
  Still I kept my watch alone

When it sank, a golden wonder,
  From my window still I bent,
Though the clouds hung thick with thunder
  Where our hilltop roadway went.

By the cypress tops I’ve counted
  Every golden star that passed;
Weary hours they’ve shone and mounted,
  Each more tender than the last.

All my pillows hot with turning,
  All my weary maids asleep;
Every star in heaven was burning
  For the tryst you did not keep.

Now the clouds have hushed their warning,
  Paleness creeps upon the sea;
One star more, and then the morning—
  Share, oh, share that star with me!

Never fear that I shall chide thee
  For the wasted stars of night,
So thine arms will come and hide me
  From the dawn’s unwelcome light.

Though the moon a heav’n had given us,
  Every star a crown and throne,
Till the morn apart had driven us—
  Let the last star be our own.

Ah! the cypress tops are sighing
  With the wind that brings the day;
There my last pale treasure dying
  Ebbs in jeweled light away;

Ebbs like water bright, untasted;
  Black the cypress, bright the sea;
Heav’n’s whole treasury lies wasted
  And the dawn burns over me.

* He showed up with a seal and Pleiades

About this Poem

“The Star Dial” appeared in McClure’s, vol. 30, no. 2 (December 1907). In “‘The Thing Not Named’: Willa Cather as a Lesbian Writer,” published in Signs, vol. 9, no. 4, (Summer 1984), Sharon O’Brien, adjunct faculty in creative writing at Dickinson College, argues that “[i]n Sappho, [Willa Cather] found a poet who celebrated the delights and agonies of love between women. Cather read Sappho during her college years and in 1907 wrote ‘The Star Dial,’ a poem revealing her identification with this literary and sexual foremother as she assumes Sappho’s voice [. . .]. Evidently Sappho’s poetry formed a bond between Cather and Louise [Pound], for Cather refers to her verse in one of [their] letters; understandably the two young women were drawn to this poet of ‘love and maidens’ where they found their own experience of romantic love mirrored.” Expanding on O’Brien’s argument in his book Sappho: ]fragments (Punctum Books, 2018), Jonathan Goldberg, former Arts and Sciences Distinguished Professor Emeritus of English at Emory University, writes, “Fragment 168B [in Eva-Maria Voigt’s edition of Sappho’s poetry] lies behind the poem: ‘Moon has set / and Pleiades: middle / night, the hour goes by, / alone I lie.’ In Cather’s poem, her speaker waits for a lover who never appears as a dawn arises that would, in any case, have necessitated their separation. Theirs is a secret love; although no gender is explicit, the fourth stanza of Cather’s light-drenched nocturne is particularly sapphic [. . .]. She burns to the end of the poem.”

About this Poet

Willa Cather was born in Virginia on December 7, 1873. Her family moved to Nebraska in 1883, ultimately settling in the town of Red Cloud, where the National Willa Cather Center is located today. She attended the University of Nebraska–Lincoln.

Cather moved to Pittsburgh in 1896 to pursue a career in journalism and work for the women’s magazine Home Monthly. After a few years, she took a break to teach high school English and focus on her creative writing. In 1903, she published her first book, April Twilights (The Gorham Press), a collection of poems, and began writing and publishing short stories. In 1906, she moved to New York City to take an editorial position at McClure’s Magazine, where she worked until 1911, then left to focus again on her creative writing. 

Cather is the author of twenty books and best known for her works of fiction, including Death Comes for the Archbishop (Alfred A. Knopf, 1927); One of Ours (Alfred A. Knopf, 1922), which won the Pulitzer Prize; My Antonia (Houghton Mifflin, 1918); and O, Pioneers! (Houghton Mifflin, 1913).Cather was awarded a gold medal in fiction by the National Institute of Arts and Letters in 1944. She died in New York City on April 24, 1947, and is memorialized at the American Poets’ Corner at the Cathedral Church of St. John the Divine. 


Trees

Trees
By Joyce Kilmer

I think that I shall never see
A poem lovely as a tree.

A tree whose hungry mouth is prest
Against the earth’s sweet flowing breast;

A tree that looks at God all day,
And lifts her leafy arms to pray;

A tree that may in summer wear
A nest of robins in her hair;

Upon whose bosom snow has lain;
Who intimately lives with rain.

Poems are made by fools like me,
But only God can make a tree.

About the Poem

Joyce Kilmer’s reputation as a poet is staked largely on the widespread popularity of one poem—”Trees” (1913). It was first published in the August 1913 issue of Poetry: A Magazine of Verse which had begun publishing the year before in Chicago, Illinois and was included as the title poem in a collection of poems Trees and Other Poems (1914). According to Kilmer’s oldest son, Kenton, the poem was written on February 2, 1913, when the family resided in Mahwah, New Jersey.

It was written in the afternoon in the intervals of some other writing. The desk was in an upstairs room, by a window looking down a wooded hill. It was written in a little notebook in which his father and mother wrote out copies of several of their poems, and, in most cases, added the date of composition. On one page the first two lines of ‘Trees’ appear, with the date, February 2, 1913, and on another page, further on in the book, is the full text of the poem. It was dedicated to his wife’s mother, Mrs. Henry Mills Alden, who was endeared to all her family.

Many locations including Rutgers University (where Kilmer attended for two years), University of Notre Dame, as well as historians in Mahwah, New Jersey and in other places, have boasted that a specific tree was the inspiration for Kilmer’s poem. However, Kenton Kilmer refutes these claims, remarking that,

Mother and I agreed, when we talked about it, that Dad never meant his poem to apply to one particular tree, or to the trees of any special region. Just any trees or all trees that might be rained on or snowed on, and that would be suitable nesting places for robins. I guess they’d have to have upward-reaching branches, too, for the line about ‘lifting leafy arms to pray.’ Rule out weeping willows.” 

The popular appeal of this simple poem is likely the source of its endurance despite the continuing negative opinion of the poem’s merits from scholars and critics. According to Robert Holliday, Kilmer’s friend and editor, “Trees” speaks “with authentic song to the simplest of hearts” and that “(t)he exquisite title poem now so universally known, made his reputation more than all the rest he had written put together. That impeccable lyric which made for immediate widespread popularity.” Its popularity has also led to parodies of the poem—some by noted poets and writers. The pattern of its first lines (I think that I shall never see / A poem lovely as a tree.) is of seemingly simple rhyme and meter and easy to mimic along with the poem’s choice of metaphors. One of the best-known parodies is “Song of the Open Road” by American humorist and poet Ogden Nash (1902–1971):

I think that I shall never see
A billboard lovely as a tree.
Indeed, unless the billboards fall,
I’ll never see a tree at all.

About the Poet

Joyce Kilmer was born on December 6, 1886, in New Brunswick, New Jersey. Kilmer attended Rutgers Preparatory School and graduated in 1904. He attended Rutgers College from 1904 to 1906, then transferred to Columbia University, where he completed his bachelor’s degree in journalism in 1908. That same year, he married poet Aline Murray.

After Kilmer graduated college, he took a job teaching Latin at a high school in Morristown, New Jersey, and wrote features for The Literary DigestThe NationTown & Country, and The New York Times. From 1909 to 1912, he worked for Funk and Wagnalls, writing definitions for The Standard Dictionary, and continued to write magazine articles for publication.

In 1911, Kilmer published his first poetry collection, A Summer of Love (The Baker & Taylor Company). Two years later, he published what would become his most famous poem, “Trees,” in Poetry magazine. The poem was included in his second collection, Trees and Other Poems (Doubleday, Doran & Company, 1914). 

Kilmer published his last poetry collection, Main Street and Other Poems (George H. Doran Company, 1917), the same year he enlisted in the U.S. Army to serve in World War I, during which time he continued to write poems while fighting in the Sixty-Ninth Regiment. He died of a gunshot from a German sniper on July 30, 1918.


Undressing You

Undressing You
By Witter Bynner

Fiercely I remove from you
All the little vestiges—
Garments that confine you,
Things that touch the flesh,
The wool and the silk
And the linen that entwine you,
Tear them all away from you,
Bare you from the mesh.
And now I have you as you are,
Nothing to encumber you—
But now I see, caressing you,
Colder hands than mine.
They take away your flesh and bone,
And, utterly undressing you,
They tear you from your beauty
And they leave no sign.

About the Poet

Witter Bynner was born in Brooklyn, New York in 1881. He graduated from Harvard University in 1902. After college, he worked as a newspaper reporter and, later, as the assistant editor of McClure’s magazine.

Bynner published his first poetry collection, An Ode to Harvard (Small, Maynard, & Co.), in 1907. He was also the author of New Poems (Alfred A. Knopf, 1960); Take Away the Darkness (Alfred A. Knopf, 1947); The Beloved Stranger (Alfred A. Knopf, 1919); Tiger (M. Kennerley, 1913); and several other poetry collections.

In 1922, Bynner settled in Santa Fe, New Mexico with his partner, Robert Hunt. He died there on June 1, 1968.


We Two, How Long We Were Fool’d

We Two, How Long We Were Fool’d
By Walt Whitman

We two, how long we were fool’d,
Now transmuted, we swiftly escape as Nature escapes,
We are Nature, long have we been absent, but now we return,
We become plants, trunks, foliage, roots, bark,
We are bedded in the ground, we are rocks,
We are oaks, we grow in the openings side by side,
We browse, we are two among the wild herds spontaneous as any,
We are two fishes swimming in the sea together,
We are what locust blossoms are, we drop scent around lanes mornings and evenings,
We are also the coarse smut of beasts, vegetables, minerals,
We are two predatory hawks, we soar above and look down,
We are two resplendent suns, we it is who balance ourselves orbic and stellar, we are as two comets,
We prowl fang’d and four-footed in the woods, we spring on prey,
We are two clouds forenoons and afternoons driving overhead,
We are seas mingling, we are two of those cheerful waves rolling over each other and interwetting each other,
We are what the atmosphere is, transparent, receptive, pervious, impervious,
We are snow, rain, cold, darkness, we are each product and influence of the globe,
We have circled and circled till we have arrived home again, we two,
We have voided all but freedom and all but our own joy.

About the Poem

M. Jimmie Killingsworth sees in this poem a significant shift in Whitman’s attitude on sexual acceptance. Whereas in 1855 Whitman wanted men and women to accept their own bodies so that they might be vehicles for contact with others, in a “Children of Adam” poem like “We Two, How Long We were Fool’d,” Whitman turns inward and stresses the need for his unwilling female readers to accept his male body and his poem as given, even though it is separate from his readers’ desires. Although E.H. Miller understands the two to be a modern Adam and Eve in search of a new spirit, he finds the poem actually celebrates male-male attraction, and Allen notes that the theme of the poem stresses that the pair were gulled by abstinence. In a sequence of poems that stresses elemental imagery with water and earth predominating over air and fire, the poem “We Two” mixes images of nature.

About the Poet

Born on May 31, 1819, Walt Whitman is the author of Leaves of Grass and, along with Emily Dickinson, is considered one of the architects of a uniquely American poetic voice. 

Though biographers continue to debate Whitman’s sexuality, he is usually described as either gay or bisexual in his feelings and attractions. Whitman’s sexual orientation is generally assumed on the basis of his poetry, though this assumption has been disputed. His poetry depicts love and sexuality in a more earthy, individualistic way common in American culture before the medicalization of sexuality in the late 19th century. Though Leaves of Grass was often labeled pornographic or obscene, only one critic remarked on its author’s presumed sexual activity: in a November 1855 review, Rufus Wilmot Griswold suggested Whitman was guilty of “that horrible sin not to be mentioned among Christians.”

Whitman had intense friendships with many men and boys throughout his life. Some biographers have suggested that he did not actually engage in sexual relationships with males, while others cite letters, journal entries, and other sources that they claim as proof of the sexual nature of some of his relationships. I tend to believe he was gay and did have sexual relations with other men.


Shall I compare thee to a summer’s day? (Sonnet 18)

Shall I compare thee to a summer’s day? (Sonnet 18)
By William Shakespeare – 1564-1616

Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate.
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date.
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance, or nature’s changing course, untrimmed;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st,
Nor shall death brag thou wand’rest in his shade,
When in eternal lines to Time thou grow’st.
    So long as men can breathe, or eyes can see,
    So long lives this, and this gives life to thee.

Since Memorial Day marks the unofficial start of summer, I thought I’d post what is arguably the most well-known use of summer in a poem. “Shall I compare thee to a summer’s day” is one of my favorite of Shakespeare’s sonnets.

“Sonnet 18” is perhaps the best known of all of Shakespeare’s 154 sonnets, primarily due to the opening line, “Shall I compare thee to a summer’s day,” which every true romantic knows by heart. But there is much more to this line than meets the eye. “Sonnet 18” focuses on the loveliness of a friend or lover, with the speaker initially asking a rhetorical question about comparing their subject to a summer’s day. He then goes on to introduce the pros and cons of the weather, mentioning both an idyllic English summer’s day and the less-welcome dim sun and rough winds of autumn. In the end, it is insinuated this very piece of poetry will keep the lover—the poem’s subject—alive forever and allow them to defy even death.

When I would teach “Sonnet 18,” I loved to compare it with “Sonnet 130,” also known as, “My mistress’ eyes are nothing like the sun.” “Sonnet 130” is an unusual poem because it turns the idea of female beauty on its head and offers the reader an alternative view of what it’s like to love a woman, warts and all, despite her shortcomings. It is basically the opposite of the more famous “Sonnet 18.”

It parodies other sonnets of the Elizabethan era, which were heavily into Petrarchan ideals, where the woman is continually praised and seen as beyond reproach. In this sense, ‘Sonnet 130’ is an anomaly, a unique poem that flouts the rules of convention and breaks new ground in the process. Shakespeare must have known what he was doing when he wrote this sonnet, because he ridicules an art form he himself had mastered.

My mistress’ eyes are nothing like the sun (Sonnet 130)
By William Shakespeare – 1564-1616

My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress when she walks treads on the ground.
    And yet, by heaven, I think my love as rare
    As any she belied with false compare.


I Am No Good at Love

I Am No Good at Love
By Noël Coward

I am no good at love
My heart should be wise and free
I kill the unfortunate golden goose
Whoever it may be
With over-articulate tenderness
And too much intensity.

I am no good at love
I batter it out of shape
Suspicion tears at my sleepless mind
And, gibbering like an ape,
I lie alone in the endless dark
Knowing there’s no escape.

I am no good at love
When my easy heart I yield
Wild words come tumbling from my mouth
Which should have stayed concealed;
And my jealousy turns a bed of bliss
Into a battlefield.

I am no good at love
I betray it with little sins
For I feel the misery of the end
In the moment that it begins
And the bitterness of the last good-bye
Is the bitterness that wins.

Noël Coward was an English playwright, composer, director, actor, and singer. What some might not realize is that he was also a poet. He was known for his wit, flamboyance, and what Time magazine called “a sense of personal style, a combination of cheek and chic, pose and poise.”

Coward was gay but, following the convention of his times, this was never publicly mentioned. Coward firmly believed his private business was not for public discussion, considering “any sexual activities when over-advertised” to be tasteless. Even in the 1960s, Coward refused to acknowledge his sexual orientation publicly, wryly observing, “There are still a few old ladies in Worthing who don’t know.” Despite this reticence, he encouraged his secretary Cole Lesley to write a frank biography once Coward was safely dead.

Coward’s most important relationship, which began in the mid-1940s and lasted until his death, was with the South African stage and film actor Graham Payn. Coward featured Payn in several of his London productions. Payn later co-edited with Sheridan Morley a collection of Coward’s diaries, published in 1982. Coward’s other relationships included the playwright Keith Winter, actors Louis Hayward and Alan Webb, his manager Jack Wilson and the composer Ned Rorem, who published details of their relationship in his diaries. Coward had a 19-year friendship with Prince George, Duke of Kent, but biographers differ on whether it was platonic. Payn believed that it was, although Coward reportedly admitted to the historian Michael Thornton that there had been “a little dalliance.” Coward said, on the duke’s death, “I suddenly find that I loved him more than I knew.”


Forget Me Not

Forget Me Not
By Ann Plato

When in the morning’s misty hour,
When the sun beams gently o’er each flower;
When thou dost cease to smile benign,
And think each heart responds with thine,
When seeking rest among divine,
                        Forget me not.

When the last rays of twilight fall,
And thou art pacing yonder hall;
When mists are gathering on the hill,
Nor sound is heard save mountain rill,
When all around bids peace be still,
                        Forget me not.

When the first star with brilliance bright,
Gleams lonely o’er the arch of night;
When the bright moon dispels the gloom,
And various are the stars that bloom,
And brighten as the sun at noon,
                        Forget me not.

When solemn sighs the hollow wind,
And deepen’d thought enraps the mind;
If e’er thou doest in mournful tone,
E’er sigh because thou feel alone,
Or wrapt in melancholy prone,
                        Forget me not.

When bird does wait thy absence long,
Nor tend unto its morning song;
While thou art searching stoic page,
Or listening to an ancient sage,
Whose spirit curbs a mournful rage,
                        Forget me not.

Then when in silence thou doest walk,
Nor being round with whom to talk;
When thou art on the mighty deep,
And do in quiet action sleep;
If we no more on earth do meet,
                        Forget me not.

When brightness round thee long shall bloom,
And knelt remembering those in gloom;
And when in deep oblivion’s shade,
This breathless, mouldering form is laid,
And thy terrestrial body staid,
                        Forget me not.

“Should sorrow cloud thy coming years,
And bathe thy happiness in tears,
Remember, though we’re doom’d to part,
There lives one fond and faithful heart,
                        That will forget thee not.”

Little is known about the life of Ann Plato. Apparently, she was a free black in Hartford, Connecticut, at a time when the city’s free black residents outnumbered the town’s slave population. She was also a member of Hartford’s Colored Congregational Church. Knowledge about her is limited to the one book that she published, most likely when she was 16. Entitled Essays: Including Biographies and Miscellaneous Pieces of Prose and Poetry (1841), it contains four biographical compositions, sixteen very short essays, and twenty poems. She was one of the earliest African American women to publish a collection of poems and essays. 

Not a lot is known about Ann Plato. Her minister, the Reverend James W. C. Pennington, wrote an introductory notice, “To the Reader.” After identifying Ann Plato as one of his parishioners, he repeatedly says she is young but does not make clear exactly how old she is. He says nothing about her family except to indicate that she is “of modest worth.” Neither does he tell how long she had been a member of his church, but he does record she is “of pleasing piety.”

We get even less information from her. There is some evidence that she was either a young teacher or preparing to be one. Her essays are conventional. Designed as instructive interpretations of issues she found important, they focus primarily on religious and educational matters. Her attitude toward Africa appears in an essay entitled “Education,” in which she commends those Christian missionaries who were willing to forsake the comforts of home in order to take “a message of love to the burning clime of Africa.” In keeping with an eighteenth-century tendency to eulogize one’s friends, Plato mourns—in the four biographies—the early deaths of some friends, one of whom was apparently a slave.

Although Plato’s poetry seldom deals with racial issues, she apparently was not totally oblivious to the concerns of her day. She occasionally emphasized the equality of people, regardless of race, a few times in the Essays. One of her poems, “To the First of August,” celebrates the ending of slavery in the British West Indies and may have been written shortly after that law went into effect on 1 August 1838. At the time, there were a number of poems written by a variety of poets on the subject, and she presumably joined this contemporaneous group. “The Natives of America” is a dramatic poem that relates her consideration of the plight of Native Americans in the United States. But for the most part, her subjects seem to have little to do with the specific problems faced by African Americans in everyday life.

Some scholars might dismiss her merely as a link between Phillis Wheatley (the first African-American author of a published book of poetry), whose work she apparently knew, and later women writers. On the other hand, Plato shows in Essays some tendencies toward a lyricism not associated with Phillis Wheatley. For example, her “Reflections, Written on Visiting the Grave of a Venerated Friend” goes beyond the expected neoclassical tradition and shows real feelings about death. Her love poem “Forget Me Not” is another example of a stylized lyric that conveys a sense of emotion. In the essay “Benevolence,” Plato wrote, “Although there are many nations, and many stations in life, yet He watches over us, He has given us immortal souls. Some have white complexions, some are red, like our wandering natives, others have sable or olive complexions. But God hath made of one blood all who dwell upon the face of the earth.”

Following neoclassical conventions, she did not write about herself. As a result, much about Ann Plato has—so far—been lost to history. Though her poems “On Examination for a Teacher,” “I Have No Brother,” or “The Residence of My Fathers” may be autobiographical. Nothing is known about Plato’s life after her book was published in 1841. 

I was looking for a poem about nostalgia, which is what the picture above brought to mind when I saw it. I can see the man at the window thinking, “Forget Me Not,” as he watches a lover walk away. This poem touched my heart. Most of us will not leave a great legacy after we are gone. We will not be written in history books. We will only be remembered by those who knew us, and that may not last past their lifetime. Our gravestones will tell when we were born when we died, and may even give a clue about our family. The poem above is sentimental and, while long, is also simple. Its style, rhyming scheme, and lack of cynical sarcasm are out of fashion with most modern poetry as I said last week is “mostly nonsense, the type of poems that the title claims are about one thing, and while it may start out following what you expect from the title, it just goes off into leftfield.” Often there is no “rhyme or (apparent) reason,” nor does it have any structure or lyricism to it.

Near Middlebury in the town of Ripton, in Addison Country, Vermont, the U.S. Department of Agriculture’s Forestry Service maintains the Robert Frost Interpretive Trail. This National Recreation Trail commemorates Robert Frost’s poetry, and several of his poems are mounted along the trail in the woods and fields. The trail is said to be an easy walk along the Middlebury. I had considered going this last weekend, but I wasn’t feeling great mentally, just a case of the blahs, nothing major. Also, Addison County is not the easiest place to get to from where I live. At best, it’s an hour and a half away, even if you brave going over the mountain pass, which I have done before, and it scared the ever-loving hell out of me. The road is basically a somewhat maintained dirt path with just enough width for two cars to pass, with the mountain on one side and a drop-off of trees on the other. My point is I was not up for it last weekend. Maybe this weekend will be different. Saturday is looking like nice weather.

I got a little sidetracked. I was thinking of poems that fit the bill of the type I like, and Robert Frost’s poems usually do. In turn, that had me thinking of the Robert Frost Interpretive Trail, how I’d like to visit it, and how far away and inconvenient it is. There are several places in that part of the state I like to visit, Manchester and Middlebury being two of them. I’d also like to see Bennington. I’m getting off track and babbling again, so let’s just leave it there….

I hope you enjoyed this week’s poem.


Short-Order Cook

Short-Order Cook
By Jim Daniels

An average joe comes in
and orders thirty cheeseburgers and thirty fries.

I wait for him to pay before I start cooking.
He pays.
He ain’t no average joe.

The grill is just big enough for ten rows of three.
I slap the burgers down
throw two buckets of fries in the deep frier
and they pop pop, spit spit. . .
pssss. . .
The counter girls laugh.
I concentrate.
It is the crucial point–
they are ready for the cheese:
my fingers shake as I tear off slices
toss them on the burgers/fries done/dump/
refill buckets/burgers ready/flip into buns/
beat that melting cheese/wrap burgers in plastic/
into paper bags/fries done/dump/fill thirty bags/
bring them to the counter/wipe sweat on sleeve
and smile at the counter girls.
I puff my chest out and bellow:
Thirty cheeseburgers! Thirty fries!
I grab a handful of ice, toss it in my mouth
do a little dance and walk back to the grill.
Pressure, responsibility, success.
Thirty cheeseburgers, thirty fries.

About the Poem

This poem is pretty straightforward. I was trying to come up with something to post and thought I’d check out poems about cooking. Most of the poems I read were mostly nonsense, the type of poems that the title claims are about one thing, and while it may start out following what you expect from the title, it just goes off into leftfield. This was not that type of poem. “Short-Order Cook” is a pretty straightforward poem. There may be a deeper meaning, but sometimes, I just enjoy a poem for what it actually says instead of trying to figure out all of the subtext, metaphors, form, cadence, etc. This one, I just liked it for its simplicity. 

Poetry can mean so much, but at the heart of it, the question is: do you like it? If the answer is no, then it’s the wrong poem for you. If the answer is yes, then savor the words, just as you’d savor one of these burgers made by a short-order cook. We all know the greasy spoons have the best hamburgers, and if you don’t, go out and find one. If you don’t know what a greasy spoon is, it’s a small, cheap restaurant – either an American diner or coffee shop – typically specializing in fried foods.

About the Poet

Jim Daniels is the author of numerous collections of poetry, most recently The Middle Ages (Red Mountain Press, 2018) and Street Calligraphy (Steel Toe Books, 2017). His third collection, Places/Everyone (University of Wisconsin Press, 1985), won the inaugural Brittingham Prize in Poetry in 1985. He lives in Pittsburgh and is the Thomas Stockham University Professor of English at Carnegie Mellon University.


In Public

In Public
By John Wieners – 1934-2002

Promise you wont forget
each time we met
we kept our clothes on
despite obvious intentions
to take them off,
seldom kissed or even slept,
talked to spend desire,
worn exhausted from regret.

Continue our relationship apart
under surveillance, torture, persecuted
confinement’s theft; no must or sudden blows
when embodied spirits mingled
despite fall’s knock
we rode the great divide
of falsehood, hunger and last year

About the Poem

Reading this poem, I think we all know what John Wieners is talking about: gay sex in public. When the poem was written in 1968, Wieners had been in and out of psychiatric hospitals. In the 1960s, homosexuality was still illegal and considered a mental illness. Wieners was institutionalized again in 1969, and at least once more in 1972. Massachusetts law justified involuntary hospitalization for those who conducted themselves “in a manner which clearly violates the established laws, ordinances, conventions, or morals of the community.” Gay men became a scapegoat for mental health experimentation. The torture and persecution he alludes to in the poem included insulin coma therapy, electroshock treatment, and the experimental use of barbiturates and sedatives. 

Living with his parents in Massachusetts in the later 1960s, Wieners had no access to private property where he could engage in sex. His only recourse was to have sex in public places and try not to get caught. In Michael Rumaker’s memoir of his time in San Francisco with a literary crowd which included Wieners, he makes clear the dangers in 1958–1959:

…the Morals Squad was everywhere, and the entrapment of gay males in the streets, the parks, and in numerous public places was a constant fear and common occurrence. Often the most handsome, hung, desirable-looking cops were used for the plainclothes operations. I often wondered who did the selecting. 

While the above passage is about San Francisco, life for gay men was not much different in New York City or Boston in the late 1960s.

About the Poet

John Wieners was born on January 6, 1934, in Milton, Massachusetts. After graduating from Boston College in 1954, Wieners heard Charles Olson give a reading at the Charles Street Meeting House in Boston. Inspired by Olson’s work, Wieners spent a year at Black Mountain College in North Carolina, where he studied with Olson, Robert Creeley, and Robert Duncan.

After the closing of Black Mountain College in 1956, Wieners briefly returned to Boston and founded the small magazine Measure (published from 1957–62) before relocating to San Francisco in 1958. It was there that he published his first book, The Hotel Wentley Poems (Auerhahn Press, 1958). The book became known for its frankness, as it openly addressed homosexuality and drug use, subjects Wieners became known for writing about in his later works as well.

Wieners, who worked at City Lights and became acquainted with poets as diverse as Allen Ginsberg and Frank O’Hara, lived on the periphery of several movements from the 1950s—the Beat Generation, the Black Mountain School, the New York School, and the San Francisco Renaissance—and would be granted cult status in the poetry community.

In 1960, Wieners returned to the East Coast, and for the next few years he spent time in both Boston and New York City, where he shared an apartment with Beat poet Herbert Huncke and managed and acted in the production of three of his plays at the Judson Poets Theater. At the invitation of Olson, then the Chair of Poetics at SUNY Buffalo, Wieners enrolled in the school’s graduate program before eventually returning to Boston.

In the 1970s, Wieners continued to write, despite periods of institutionalization. Throughout his life, Wieners was in and out of institutions due to his drug abuse. His 1969 collection, Asylum Poems (Angel Hair Books), was written while he was in an institution. Wieners lived and wrote in Boston’s Beacon Hill for over thirty years, until his death on March 1, 2002.