Laissez les bons temps roule
By Sterling Warner

For Hurricane Katrina’s Victims

Katrina’s torrent barely touched Vieux Carré.
It endures on high ground where the
Café Du Monte stands like a citadel,
Issues dark roasted Chicory Coffee 24/7,
Dusts powdered sugar on Beignet loving patrons;
No swampland crypt, the French Quarter presents
Pedestrians a sanctuary to suck down safe hurricanes
Chased with “Harry’s Huge Beers.”

Voodoo lovers slap legs together
Like alligator tails in brackish marshes;
Balcony flirts, evening ladies wear delicate masks
Fat Tuesday, last day before Lent’s forty day fast;
Mardi Gras magic exudes from every pore,
Elaborately costumed krewes toss beads off floats,
Give rise to fanciful celebrations of the dead,
Historic carnival steeped in Catholic doctrine.

Haitian halos encircle heads,
Bend minds, create
Sober motley moments among
Tarot card readings, psychic oracles
Jostling Bourbon Street crowds—
Backdrop for parading ramblers,
Mischievous, Puckish vagabonds,
Ragged marching saints.

Shuffling along as
Jazz bands blow Dixieland
Zydeco singers scrape wash boards, and
Street musicians mutter the blues,
Encouraged by two hands clapping,
Living dreams off guitar case offerings:
Copper tokens, silver coins,
Green paper gratitude.

Gris, Gris in my pocket, still
Scaling steps in New Orleans
Looking down Toulouse Street
Finding JAX Brewery gone
Replaced by Planet Hollywood. No
Mississippi miracle could heal Katrina survivors
Cleanse the river, recover such culture—
Foreboding yet enticing Gothic glamour.

Today is Mardi Gras, also known as Fat Tuesday or Shrove Tuesday. Mardi Gras is French for “Fat Tuesday,” reflecting the practice of the last night of eating rich, fatty foods before the ritual Lenten sacrifices and fasting of the Lenten season. Mardi Gras is a tradition that dates back thousands of years to pagan celebrations of spring and fertility, including the raucous Roman festivals of Saturnalia and Lupercalia. When Christianity arrived in Rome, religious leaders decided to incorporate these popular local traditions into the new faith, an easier task than abolishing them altogether. As a result, the excess and debauchery of the Mardi Gras season became a prelude to Lent, the 40 days of fasting and penance between Ash Wednesday and Easter Sunday.

While not observed nationally throughout the United States, a number of traditionally ethnic French cities and regions in the country have notable celebrations. Mardi Gras arrived in North America as a French Catholic tradition with the Le Moyne brothers, Pierre Le Moyne d’Iberville and Jean-Baptiste Le Moyne de Bienville, in the late 17th century, when King Louis XIV sent the pair to defend France’s claim on the territory of Louisiane, which included what are now the U.S. states of Alabama, Mississippi, Louisiana and part of eastern Texas.

The expedition, led by Iberville, entered the mouth of the Mississippi River on the evening of 2 March 1699, Lundi Gras. They did not yet know it was the river explored and claimed for France by René-Robert Cavelier, Sieur de La Salle in 1683. The party proceeded upstream to a place on the east bank about 60 miles (100 km) downriver from where New Orleans is today, and made camp on 3 March 1699, Mardi Gras. In honor of this holiday, Iberville named the spot Point du Mardi Gras and called the nearby tributary Bayou Mardi Gras. Bienville went on to found the settlement of Mobile, Alabama in 1702 as the first capital of French Louisiana. In 1703 French settlers in Mobile established the first organized Mardi Gras celebration tradition in what was to become the United States. The first informal mystic society, or krewe, was formed in Mobile in 1711, the Boeuf Gras Society. By 1720, Biloxi had been made capital of Louisiana. The French Mardi Gras customs had accompanied the colonists who settled there.

In 1723, the capital of Louisiana was moved to New Orleans, founded in 1718. The first Mardi Gras parade held in New Orleans is recorded to have taken place in 1837. The tradition in New Orleans expanded to the point that it became synonymous with the city in popular perception, and embraced by residents of New Orleans beyond those of French or Catholic heritage. Mardi Gras celebrations are part of the basis of the slogan Laissez les bons temps rouler (“Let the good times roll”).

When I lived in southern Mississippi and later while a friend of mine lived in southern Louisiana, I attended a number of Mardi Gras parades. I would never go to the one in New Orleans again. While it was interesting, it was far too crowded for my taste. People were crammed in everywhere shoulder to shoulder. It was enough to induce a panic attack in anyone who dared to be sober. I’ve also attended Mardi Gras parades in Thibidoux, Houma and La Rose, Louisiana. When I lived in Mississippi, I used to love to watch the parades in Biloxi and Gulfport, Mississippi on WLOX, the ABC station in Biloxi.

Ironically, I have never attended the parade in Mobile. When I was growing up in Alabama, the parade in Mobile was considered crime ridden and dangerous. Only the most adventurous who threw caution to the wind in order to catch a few plastic beads and Moon Pies ventured to Mobile for Mardi Gras. New Orleans wasn’t much better. The parades of the Mississippi Gulf Coast and in Southern Louisiana were much more pleasant, and often safer, alternatives.

I also chose this poem, because I lived through Hurricane Katrina. While it devastated parts of New Orleans, southern Mississippi lay in ruins afterward. Complete sections of Gulfport and Biloxi were leveled, and the towns of Bay St. Louis and Waveland, Mississippi were nearly completely destroyed and they were largely cut off from the world due the collapse of the major bridge in and out of the towns. Katrina struck the Gulf Coast in August 2005, and it has never been the same since. Mardi Gras continues and is a festive occasion, but so much was lost because of Hurricane Katrina and so many people moved away from the Gulf Coast, that it has taken many years for those areas to recover.

Sterling Warner is a retired English Professor and author of fiction, non- fiction, and poetry. He received the Jim Herndon Award in 2013 and was a Pushcart Award nominee in 2014. He received a Hayward Award in 2000 and was named the Atherton Poet Laureate in 2014. Warner formerly taught a wide variety of Composition, Literature, Creative Writing, and Rhetoric courses in the English Department at Evergreen Valley College, where he served as the Creative Writing Program Director, EVC Author’s Series Organizer, and Chief Editor of the literary magazine Leaf by Leaf. Enjoying his Washington retirement, Warner continues to write and regularly hosts the Union of Writers Open Mike.

One Today
By Richard Blanco – 1968-

A Poem for Barack Obama’s Presidential Inauguration
January 21, 2013

One sun rose on us today, kindled over our shores,
peeking over the Smokies, greeting the faces
of the Great Lakes, spreading a simple truth
across the Great Plains, then charging across the Rockies.
One light, waking up rooftops, under each one, a story
told by our silent gestures moving behind windows.

My face, your face, millions of faces in morning’s mirrors,
each one yawning to life, crescendoing into our day:
pencil-yellow school buses, the rhythm of traffic lights,
fruit stands: apples, limes, and oranges arrayed like rainbows
begging our praise. Silver trucks heavy with oil or paper—
bricks or milk, teeming over highways alongside us,
on our way to clean tables, read ledgers, or save lives—
to teach geometry, or ring-up groceries as my mother did
for twenty years, so I could write this poem.

All of us as vital as the one light we move through,
the same light on blackboards with lessons for the day:
equations to solve, history to question, or atoms imagined,
the “I have a dream” we keep dreaming,
or the impossible vocabulary of sorrow that won’t explain
the empty desks of twenty children marked absent
today, and forever. Many prayers, but one light
breathing color into stained glass windows,
life into the faces of bronze statues, warmth
onto the steps of our museums and park benches
as mothers watch children slide into the day.

One ground. Our ground, rooting us to every stalk
of corn, every head of wheat sown by sweat
and hands, hands gleaning coal or planting windmills
in deserts and hilltops that keep us warm, hands
digging trenches, routing pipes and cables, hands
as worn as my father’s cutting sugarcane
so my brother and I could have books and shoes.

The dust of farms and deserts, cities and plains
mingled by one wind—our breath. Breathe. Hear it
through the day’s gorgeous din of honking cabs,
buses launching down avenues, the symphony
of footsteps, guitars, and screeching subways,
the unexpected song bird on your clothes line.

Hear: squeaky playground swings, trains whistling,
or whispers across café tables, Hear: the doors we open
for each other all day, saying: hello / shalom,
buon giorno / howdy / namaste / or buenos días
in the language my mother taught me—in every language
spoken into one wind carrying our lives
without prejudice, as these words break from my lips.

One sky: since the Appalachians and Sierras claimed
their majesty, and the Mississippi and Colorado worked
their way to the sea. Thank the work of our hands:
weaving steel into bridges, finishing one more report
for the boss on time, stitching another wound
or uniform, the first brush stroke on a portrait,
or the last floor on the Freedom Tower
jutting into a sky that yields to our resilience.

One sky, toward which we sometimes lift our eyes
tired from work: some days guessing at the weather
of our lives, some days giving thanks for a love
that loves you back, sometimes praising a mother
who knew how to give, or forgiving a father
who couldn’t give what you wanted.

We head home: through the gloss of rain or weight
of snow, or the plum blush of dusk, but always—home,
always under one sky, our sky. And always one moon
like a silent drum tapping on every rooftop
and every window, of one country—all of us—
facing the stars
hope—a new constellation
waiting for us to map it,
waiting for us to name it—together

Watch Richard Blanco read “One Today” at President Obama’s inauguration in 2013:

About Richard Blanco

Born on February 15, 1968, in Madrid, Spain, Blanco grew up in Miami, where he received a Bachelor of Science degree in civil engineering as well as an MFA in creative writing from Florida International University.

He is the author of the poetry collections How to Love a Country (Beacon Press, 2019); Directions to the Beach of the Dead (University of Arizona Press, 2005), winner of the 2006 PEN/American Center Beyond Margins Award; and City of a Hundred Fires (University of Pittsburgh Press, 1998), winner of the 1997 Agnes Lynch Starrett National Poetry Prize, among others.

Blanco’s first book of poetry, City of a Hundred Fires, was published in 1998 to critical acclaim, winning the Agnes Lynch Starrett Poetry Prize from the University of Pittsburgh Press. The collection explored his cultural yearnings and contradictions as a Cuban American and captured the details of his transformational first trip to Cuba, his figurative homeland. After the success of his first book, Blanco took a hiatus from his engineering career and accepted a position at Central Connecticut State University as a professor of creative writing. While living in Connecticut, he met his current life-partner, Dr. Mark Neveu, a renowned research scientist.

Driven by a desire to examine the essence of place and belonging, Blanco traveled extensively through Spain, Italy, France, Guatemala, Brazil, Cuba, and New England. Eventually, in 2002, he and Mark moved to Washington, DC, where he taught at Georgetown and American universities, The Writers Center, and the Arlington County Detention Facility.

In 2004, Blanco returned to Miami and resumed his engineering career. Engineer by day, he designed several town revitalization projects; poet by night, he began working on another collection before moving once again, this time to Bethel, Maine, where he sought the peace and tranquility of nature. While in Maine, he completed his third book of poetry, Looking for The Gulf Motel (2012), which related Blanco’s complex navigation through his cultural, sexual, and artistic identities, and received the Paterson Poetry Prize, the 2012 Maine Literary Award for Poetry, and the Thom Gunn Award.

He is the recipient of two Florida Artist Fellowships, a Residency Fellowship from the Virginia Center for the Creative Arts, and the John Ciardi Fellowship from the Bread Loaf Writers Conference. Blanco has taught at various schools, including American University, Georgetown University, and Wesleyan University, and has been an artist in residence at Colby College’s Lunder Institute for American Art. He is currently a distinguished visiting professor at Florida International University.

Richard Blanco is first Latino, immigrant, and gay person to serve as an inaugural poet, Blanco read “One Today,” an original poem he wrote for the occasion, at Obama’s inauguration ceremony on January 21, 2013. I’m posting this poem today in honor of Presidents’ Day (officially Washington’s Birthday), which was yesterday. Since the inauguration, Blanco has been named a Woodrow Wilson Visiting Fellow and has received honorary doctorates from Macalester College, Colby College and the University of Rhode Island. His memoir, The Prince of Los Cocuyos: A Miami Childhood (Ecco Press, 2014), is a poignant, hilarious, and inspiring exploration of his coming-of-age as the child of Cuban immigrants and his attempts to understand his place in America while grappling with his burgeoning artistic and sexual identities. It received the 2015 Maine Literary Award for Memoir and the 2015 Lambda Literary Award for Gay Memoir. He is also the author of For All of Us, One Today: An Inaugural Poet’s Journey (Beacon Press, 2013). His inaugural poem, One Today, was also published as a children’s book illustrated by Dav Pilkey (Little, Brown, 2015).

Whether speaking as the Cuban Blanco or the American Richard, the homebody or the world traveler, the shy boy or the openly gay man, the engineer or the presidential inaugural poet, Blanco’s writings possess a story-rich quality that illuminates the human spirit. His work asks those universal questions we all ask ourselves on our own journeys: Where am I from? Where do I belong? Who am I in this world?

The White Rose
By John Boyle O’Reilly – 1844-1890

The red rose whispers of passion,
And the white rose breathes of love;
O, the red rose is a falcon,
And the white rose is a dove.

But I send you a cream-white rosebud
With a flush on its petal tips;
For the love that is purest and sweetest
Has a kiss of desire on the lips.

I was not going to post another poem today, since I posted several yesterday for Valentine’s Day, but, I came across the picture above and wanted to use it so I quickly searched poems about roses. (I didn’t want to use “Roses are red, Violets are blue, Sugar is sweet, And so are you.” It’s just too cliché.) as I was looking at poems, I came across the one above and liked it. Then, I read about the poet’s life, which I found fascinating. Hopefully, you will too.

I hope all of you had a wonderful Valentine’s Day, whether you were with a loved one, or like me, all by yourself. The only thing I think I really missed is I wish I had a box of chocolate caramels. I need to run to the grocery store this evening, maybe I can find a box half off in a post-Valentine’s Day sale.

 

About the Poet

John Boyle O’Reilly was born near Drogheda, Ireland, on June 24, 1844. His father, William David O’Reilly, directed the local school, and his mother, Eliza Boyle, managed an orphanage. After several years at his father’s school, he turned to journalism, taking apprenticeships first at the local paper Drogheda Argus and then at The Guardian in Preston, England, where he lived with his aunt and uncle.

In 1863, after four years in Preston, O’Reilly enlisted in the Tenth Hussars, a cavalry regiment stationed in Ireland. However, beginning in 1865 he was also an active member of the Irish Republican Brotherhood, or the Fenians, a revolutionary group planning an armed uprising against British rule. He was dedicated to recruiting other Irish soldiers to the cause, but in 1866 some of his recruits within the Hussars exposed his dual allegiance. Within the year he was court-martialed, convicted of treason, and sentenced to twenty years of penal servitude. After spending time in several English prisons, he was placed on the last ship transporting convicts to Australia.

O’Reilly escaped from the Penal Colony of Western Australia in 1869, slipping away from his convict camp and securing passage on an American whaling ship. He then spent eight months at sea, on a series of different vessels, before disembarking in Philadelphia. Once in America, he moved to Boston and began working at the country’s foremost Catholic newspaper, The Pilot, where he became editor in 1874. He remained editor for over twenty years.

Between 1873 and 1886, O’Reilly also published four poetry collections: In Bohemia (The Pilot Publishing Co., 1886), The Statues in the Block and other poems (Roberts Brothers, 1881), Songs, Legends, and Ballads (The Pilot Publishing Co., 1878), and Songs from the Southern Seas and other poems (Roberts Brothers, 1873). Despite his involvement in Boston’s literary scene, only a few of his poems were reprinted in anthologies. Of those few, the most popular was “A White Rose” from In Bohemia. He also penned a novel, Moondyne: a story from the under-world (The Pilot Publishing Co., 1879).

O’Reilly married another journalist, Mary Murphy, in 1872, and together they had four children. He died on August 9, 1890, after an overdose of sleeping medicine. He has been honored with a bronze sculpture on the Fenway in Boston and with several buildings and associations bearing his name.

Why I Love Thee?
By Sadakichi Hartmann

      Why I love thee?
  Ask why the seawind wanders,
Why the shore is aflush with the tide,
Why the moon through heaven meanders;
Like seafaring ships that ride
On a sullen, motionless deep;
  Why the seabirds are fluttering the strand
    Where the waves sing themselves to sleep
      And starshine lives in the curves of the sand!

Carl Sadakichi Hartmann was born on November 8, 1867, in Nagasaki Japan. His poetry collections include Naked Ghosts: Four Poems (Fantasia, 1925), Tanka and Haiku: 14 Japanese Rhythms (G. Bruno, 1915), and My Rubaiyat (Mangan, 1913). A dramatist, fiction writer, and art critic, he died in St. Petersburg, Florida, on November 21, 1944.

About the Poem: A “pictorial suggestion” of love.

_____♥️_____

The More Loving One
By W. H. Auden

Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.

How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.

Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.

Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.

W. H. Auden was admired for his unsurpassed technical virtuosity and ability to write poems in nearly every imaginable verse form; his incorporation of popular culture, current events, and vernacular speech in his work; and also, for the vast range of his intellect, which drew easily from an extraordinary variety of literatures, art forms, social and political theories, and scientific and technical information.

About the Poem: At once a celebration of unrequited love and a metaphysical poem about the difficulty of finding ‘love’ and meaning in a secular age.

_____♥️_____

Love Song for Love Songs
By Rafael Campo

A golden age of love songs and we still
can’t get it right. Does your kiss really taste
like butter cream? To me, the moon’s bright face
was neither like a pizza pie nor full;
the Beguine began, but my eyelid twitched.
“No more I love you’s,” someone else assured
us, pouring out her heart, in love (of course)—
what bothers me the most is that high-pitched,
undone whine of “Why am I so alone?”
Such rueful misery is closer to
the truth, but once you turn the lamp down low,
you must admit that he is still the one,
and baby, baby he makes you so dumb
you sing in the shower at the top of your lungs.

Rafael Campo was born in Dover, New Jersey, on November 24, 1964. He attended both Amherst College and Harvard Medical School before publishing his first collection of poems, The Other Man Was Me: A Voyage to the New World, which won the National Poetry Series Open Competition in 1993. Campo is a practicing physician at Harvard Medical School and the Beth Israel Deaconess Medical Center in Boston.

About the Poem: Love is within the two who feel the love, and no one else can change that.

_____♥️_____

I Needed Your Body Near Me
By Timothy Liu

An ocean is nothing, there is no separation
between two lovers. And I knew just what
it took: six hours, two meals with a movie
in between, blinders over eyes, plugs in ears
as I tried to get some sleep. When I awoke,
I knew I’d crossed more than a time zone
for my body was always nearer to yours
than anyone else’s still sleeping in your bed—

Timothy Liu’s most recent books of poems are Polytheogamy and Bending the Mind Around the Dream’s Blown Fuse. He lives in Manhattan.

About the Poem: A long distance relationship.

_____♥️_____

♥️HAPPY VALENTINE’S DAY♥️

Thank you, Susan, for the beautiful Valentine’s Day Card pictured above.

To America
By James Weldon Johnson (1871-1938)

How would you have us, as we are?
Or sinking ‘neath the load we bear?
Our eyes fixed forward on a star?
Or gazing empty at despair?

Rising or falling? Men or things?
With dragging pace or footsteps fleet?
Strong, willing sinews in your wings?
Or tightening chains about your feet?

Calling Dreams
By Georgia Douglas Johnson (1880-1966)

The right to make my dreams come true,
I ask, nay, I demand of life,
Nor shall fate’s deadly contraband
Impede my steps, nor countermand;
Too long my heart against the ground
Has beat the dusty years around,
And now at length I rise! I wake!
And stride into the morning break!

Each February, National Black History Month serves as both a celebration and a powerful reminder that Black history is American history, Black culture is American culture, and Black stories are essential to the ongoing story of America — our faults, our struggles, our progress, and our aspirations.  Shining a light on Black history today is as important to understanding ourselves and growing stronger as a Nation as it has ever been.  That is why it is essential that we take time to celebrate the immeasurable contributions of Black Americans, honor the legacies and achievements of generations past, reckon with centuries of injustice, and confront those injustices that still fester today.

—From “A Proclamation on National Black History Month, 2022,” Joseph R. Biden Jr.

As I read these poems, it invokes images of the hardships and discrimination faced by the African American community, but I also can’t help to also read them as a gay man. In “To America,” James Weldon Johnson writes, “How would you have us, as we are?” The world has treated the LGBTQ+ community, especially gay men (and even more so, black gay men), as wrong. They want us to be something that we are not. We have faced discrimination and hardships, not in the same way as African Americans, mainly because we can often hide our queerness, but minorities of color are not able to do so. While there were certainly gay African American slaves in antebellum America, gay men, no matter their race, have faced the fear of imprisonment or “tightening chains about” their feet for “lewd behavior and crimes against nature.”  One famous example is Oscar Wilde who was imprisoned for two years of hard labor for “sodomy and gross indecency” in 1895. Georgia Douglas Johnson begins “Calling Dreams” with the lines: “The right to make my dreams come true, / I ask, nay, I demand of life.” Isn’t this what all LGBTQ+ individuals, no matter their race, want?

Gay African Americans have made “immeasurable contributions” to the history of the United States. The Harlem Renaissance of the 1920s and 1930s was as much about the burden of representation and sexual dissidence. There were several queer men who made up the core of the Harlem Renaissance: Countée Cullen, whose ” virtues are many; his vices unheard of”; Langston Hughes, who was a “true people’s poet”; Claude McKay was the “enfant terrible of the Negro Renaissance”; and Richard Bruce Nugent, who is called “Gay Rebel of the Harlem Renaissance.” However, the Harlem Renaissance did not have monopoly on black queer trailblazers. Bayard Rustin organized the 1963 March on Washington, where Martin Luther King, Jr. gave his “I Have A Dream Speech.” The writer and social critic, Baldwin is perhaps best known for his 1955 collection of essays, “Notes of a Native Son,” and his groundbreaking 1956 novel, Giovanni’s Room,which depicts themes of homosexuality and bisexuality. (Giovanni’s Room was the first gay work of fiction I ever read.) 

Queer black representation had not been limited to men either. Audre Lorde, a self-described “Black, lesbian, feminist, mother, poet, warrior,” made lasting contributions in the fields of feminist theory, critical race studies and queer theory through her pedagogy and writing. Barbara Jordan, a civil rights leader and attorney, became the first African American elected to the Texas Senate in 1966, and the first woman and first African American elected to Congress from Texas in 1972. Marsha P. Johnson, who would cheekily tell people the “P” stood for “pay it no mind,” was an outspoken transgender rights activist and is reported to be one of the central figures of the historic Stonewall uprising of 1969.

About the Poets

James Weldon Johnson, born in Florida in 1871, was a national organizer for the NAACP and an author of poetry and nonfiction. Perhaps best known for the song “Lift Every Voice and Sing,” he also wrote several poetry collections and novels, often exploring racial identity and the African American folk tradition.

Georgia Douglas Johnson was born in Atlanta, Georgia, in the late nineteenth century. A member of the Harlem Renaissance, her poetry collections include Bronze: A Book of Verses (B.J. Brimmer Company, 1922) and The Heart of a Woman and Other Poems (The Cornhill Company, 1918). She died in 1966.

Stopping by Woods on a Snowy Evening
By Robert Frost – 1874-1963

Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.

The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

---

“Stopping by Woods on a Snowy Evening” s one of Robert Frost’s most known poems. It was written in 1922, and published in 1923 in his New Hampshire volume. In a letter to the poet Louis Untermeyer, Frost called it “my best bid for remembrance.”

The poem is simple and straightforward and reflects the thoughts of a lone wagon driver (the narrator), pausing at night in his travel to watch snow falling in the woods. It ends with some of the most memorable lines of any Frost poem, that of the narrator reminding himself that, despite the loveliness of the view, “I have promises to keep, / And miles to go before I sleep.”

Frost wrote the poem in June 1922 at his house in Shaftsbury, Vermont. He had been up the entire night writing the long poem “New Hampshire” and had finally finished when he realized morning had come. He went out to view the sunrise and suddenly got the idea for “Stopping by Woods on a Snowy Evening.” He wrote the new poem “about the snowy evening and the little horse as if I’d had a hallucination” in just “a few minutes without strain.”

In the early morning of November 23, 1963, Sid Davis of Westinghouse Broadcasting reported the arrival of President John F. Kennedy’s casket at the White House. Since Frost was one of the President’s favorite poets, Davis concluded his report with a passage from this poem but was overcome with emotion as he signed off.

At the funeral of former Canadian prime minister Pierre Trudeau, on October 3, 2000, his eldest son Justin, who is the current Prime Minister of Canada, rephrased the last stanza of this poem in his eulogy: “The woods are lovely, dark and deep. He has kept his promises and earned his sleep.”

Why I Can’t Leave Vermont
By Anonymous

It’s winter in Vermont
And the gentle breezes blow
72 miles per hour at 52 below.

Oh how I love Vermont
When the snow’s up to your butt
You take a breath of winter air
And your nose, it freezes shut.

Yes, the weather here is wonderful
So I guess I’ll hang around.
I could never leave Vermont
Cause I’m frozen to the ground.

I don’t know who wrote this poem, though it’s been posted in several places on the internet, including the Vermont Country Store’s Facebook page. I initially saw it elsewhere on Facebook, and it made me laugh when I read it.

While the “ 72 miles per hour at 52 below” is an exaggeration, we did have real temperatures of -21 degrees with a windchill of -30 or lower. During our last snow storm, we got 11” of snow, while that’s not up to my butt, the snow drifts did make up to my knees. The most accurate lines in this poem are:

You take a breath of winter air
And your nose, it freezes shut.

I have had the wind blowing so hard and the temperature so low that my nose did feel like it froze shut.