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 poetry

A TURNING BACK TO POETRY

AN ANTHOLOGY OF CONTEMPORARY POEMS

SELECTED AND WITH AN INTRODUCTION BY

BILLY COLLINS
Poet Laureate of the United States
ABOUT THE EDITOR

billy COLLINS is the author of seven

collections of poetry, including Nine Horses;

Sailing Alone Around the Room; Questions

About Angels-, The Art of Drowning; and Picnic,

Lightning. He is a Distinguished Professor of

English at Lehman College of the City

University of New York. Collins is the Poet

Laureate of the United States.

Random House Tra&e Paperbacks New York
 poetry 18 o

TURN N C A C K T O POETRY

Selected and with an Introduction by

Billy Collins
A RANDOM HOUSE TRADE PAPERBACK ORIGINAL

Copyright © ?oo3 by Billy Collins

All rights reserved under International and

Pan-American Copyright Conventions. Published in the

United States by Random House Trade Paperbacks,

a division of Random House, Inc., New York, and
simultaneously in Canada by Random House of

Canada Limited, Toronto.

RANDOM HOUSE TRADE PAPERBACKS and colophon

are registered trademarks of Random House, Inc.

Owing to limitations of space, permission acknowledgments

begin on page 3i3.

LIBRARY OF CONCRESS CATALOGING- IN - PUBLICATION DATA

Poetry 180: a turning back to poetry/ selected and

with an introduction by Billy Collins.

p. cm. i

Includes index.

ISBN 0-8129-6887-5
I. American poetry— 21st century. I. Title: Poetry One
hundred eighty. II. Collins, Billy.

PS615 P6245 2003

81 1'. 608— dcai 2002036949

Random House website address: www.atrandom.com

Printed in the United States of America

6897

Book design by Barbara M. Bachman

contents

Introduction by Billy Collins xv

Introduction to Poetry |
001 Billy Collins 3

Selecting a Reader I
002 • Ted Kooser 4

Not Bad, Dad, Not Bad |

003 * Jan Heller Levi 5

Singing Back the World |

004 • Dorianne Laux 6

The Pink Car j

005 • Mark Halliday 8

Acting I
006 * Suzanne Cleary 10

The Cord |
007 • Leanne O'Sullivan 12

Ode: The Capris |

008 Mark Halliday 14

Bringing My Son to the Police Station to Be

Fingerprinted |
009 * Shoshauna Shy 17

On the Death of a Colleague |

010 • Stephen Dunn 19

The Space Heater j

011 • Sharon Olds 21

Numbers |
012 * Mary Cornish 23

Lines |
013 • Martha Collins 25

Listen |
014 Miller Williams 26

Unholy Sonnets |
015 • Mark Jarman 27

Poem for Salt |

016 * Leroy V. Quintana 28

The Hand |
017 • Mary Ruefle 29

Where I Was 018 |

• Dan Brown 30

CONTENTS I
vii
 hoop snake |
019 Rebecca Wee 32

Bestiary for the Fingers of My Right Hand |

ofco

Charles Simic 34

The Summer I Was Sixteen |

021 * Geraldine Connolly 36

Did I Miss Anything? |

022 Tom Wayman 37

Song of Smoke |
023 Kevin Young 39

Autobiographia |
024 • C. E. Patterson 41

White Towels |
025 * Richard Jones 42

To You I
026 * Kenneth Koch 43

It's Raining in Love |

027 • Richard Brautigan 44

Moderation Kills (Excusez-Moi, je Suis Sick

as a Dog) |
028 • David Kirby 46

Mrs Midas |
029 » Carol Ann Duffy 49

The Oldest Living Thing in L.A. |

030 * Larry Levis 53

Little Father |
031 Li-Young Lee 54

Alzheimer's |
032 Bob Hicok 55

The Book of Hand Shadows I

033 • Marianne Boruch 56

Sidekicks |
034 • Ronald Koertge 57

A Poetry Reading at West Point |

035 «

William Matthews 58

Only One of My Deaths 036 |

* Dean Young 60

I'm a Fool to Love You |

037 • Cornelius Eady 6i

Love Poem 1990 |

038 * Peter Meinke 63

Passer-by, these are words . . .

|
039 • Yves Bonnefoy 65

Wheels |
040 • Jim Daniels 66

Rain |
041 « Naomi Shihab Nye 68

A Myopic Child |
042 « Yannis Ritsos 69

At the Other End of the Telescope |

043 •

Ceorge Bradley 70

v i i i
praise song |
044 » Lucille Clifton 73

The Man into Whose Yard You Should Not Hit Your

Ball I
045 • Thomas Lux 74

The Farewell |
046 * Edward Field 76

The Partial Explanation |

047 • Charles Simic 77

Poem for Adlai Stevenson and Yellow jackets |

048 •

David Young 78

The Late Passenger |

049 C. S. Lewis 80

On a 372 Oz. Lesser Yellowlegs, Departed Boston

August 28, Shot Martinique September 3 |

050 •

Eamon Crennan 83

Tour I
051 • Carol Snow 84

After Us |
052 • Connie Wanek 85

Poetry |
053 • Don Paterson 87

The Fathers j
054 • Elizabeth Holmes 88

The High School Band |

055 * Reed Whittemore 89

The Bell |
056 • Richard Jones 90

Dearborn North Apartments Chicago, Illinois |

057 •

Lola Haskins 91

Gouge, Adze, Rasp, Hammer |

058 Chris Forhan 92

The Bruise of This |

059 * Mark Wunderlich 94

1-800-HOT-RIBS I
060 Catherine Bowman 95

The Printer's Error |

061 Aaron Fogel 97

Cartoon Physics, part 1 |

062 • Nick Flynn 101

Advice from the Experts |

063 * Bill Knott 103

She Didn't Mean to Do It |

064 • Daisy Fried 104

Snow 065 I
David Berman 105

Six One-Line Film Scripts |

066 * Tom Andrews 107

I Finally Managed to Speak to Her |

067 Hal Sirowitz 108

CONTENTS
 Before She Died |
068 « Karen Chase 109

In the Well \
069 1 Andrew Hudginst » no
The Sonogram |
070 • Paul Muldoon 111

Love Like Salt |

071 * Lisel Mueller 112

Through the Window of the Ail-Night

Restaurant |
072 • Nicholas Christopher 113

The Assassination of John Lennon as Depicted by the

Madame Tussaud Wax Museum, Niagara Falls,

Ontario, 1987 |
073 • David Wojahn 115

Barbie's Ferrari |
074 • Lynne McMahon 116

A Romance for the Wild Turkey |

075 • Paul Zimmer 118

Ye White Antarctic Birds |

076 • Lisa Jarnot 119

St. Francis and the Sow 077 |

• Calway Kinnell 120

Killing the Animals |

078 Wesley McNair 121

The Old Liberators |

079 Robert Hedin 122

Sentimental Moment or Why Did the Baguette Cross

the Road? |
080 • Robert Hershon 123

Grammar |
081 • Tony Hoagland 124

Plague Victims Catapulted over Walls into

Besieged City |
082 • Thomas Lux 125

In Tornado Weather |
083 • Judith Kerman 126

The Portuguese in Mergui |

084 * Ceorge Creen 127

No Return |
085 William Matthews 129

The Panic Bird |

086 Robert Phillips 130

A Hunger |
087 Benjamin Saltman 132

Otherwise |
088 * Jane Kenyon 133

Happy Marriage |
089 • Taslima Nasrin 134

At Navajo Monument Valley Tribal School |

090 •

Sherman Alexie 136

X
Hamlet Off-Stage: Laertes Cool |
091 • D. C. Berry 138

Lesson |
092 * Forrest Homer 139

Football I
093 ' Louis Jenkins 140

Fat Is Not a Fairy Tale |

094 • Jane Yolen 141

Sister Cat |
095 - Frances Mayes 142

The Bagel |
096 • David Ignatow 143

On Swimming 097 |
* Adam ZagaJewski 144

Song Beside a Sippy Cup |

098 Jenny Factor 145

Watching the Mayan Women 099 |

Luisa Villani 146

Queen Herod |
too * Carol Ann Duffy 148

Video Blues |
101 Mary Jo Salter 152

Smoking |
102 • Elton Closer 153

Old Men Playing Basketball |

103 • B. H. Fairchild 154

Gratitude to Old Teachers I

104 • Robert Bly 156

June 11 I
105 • David Lehman 157

Vegetarian Physics |
106 • David Clewell 158

My Life |
107 * Joe Wenderoth 159

Nuclear Winter |
108 • Edward Nobles 161

Message: Bottle #32 |

109 •
J. Allyn Rosser 162

Waves I
no • Robin Robertson 163

no. 6 I
111 • Charles Bukowski 164

Tuesday Morning, Loading Pigs |

112 • David Lee 166

For Mohammed Zeid, Age 15 |

113 • Naomi Shihab Nye 168

Small Comfort |
114 * Katha Pollitt 170

Skin I
115 • Lucia Perillo 171

Telephone Repairman |
116 • Joseph Millar 173

What I Would Do |
117 * Marc Petersen 175

The Meadow I
118 * Kate Knapp Johnson 177

Rotary |
119 * Christina Pugh 178

CONTENTS
 Sax's and Selves |
120 Mark Halliday 181

Black Leather Because Bumblebees L«ok Like* It |

121 «

Diane Wakoski 183

Beyond Recall |
122 * Sharon Bryan 185

Alley Cat Love Song |

123 • Dana Cioia 187

Goodbye to the Old Life |

124 Wesley McNair 188

For "Fiddle-De-De" |
125 • John Hollander 191

Country Fair |
126 • Charles Simic 194

Part of Eve's Discussion |

127 • Marie Howe 195

Birth Day |
128 • Elise Paschen 196

On Not Flying to Hawaii |

129 • Alison Luterman 197

The Poem of Chalk |

130 * Philip Levine 199

My Father's Hats |
131 * Mark Irwin 202

Of Politics & Art |

132 • Norman Dubie 203

Loud Music |
133 • Stephen Dobyns 205

Elevator Music |
134 • Henry Taylor 207

A Wreath to the Fish |

135 Nancy Willard 208

ballplayer |
136 • Evie Shockley 210

The Green One over There |

137 • Katia Kapovich 212

May I
138 Bruce Weigl 215

The Quest |
139 Sharon Olds 217

In Simili Materia |
140 * Timothy Russell 219

Words for Worry |

141 » Li-Young Lee 220

In Praise of BIC Pens |

142 David Hilton 221

The Other World |

143 • Robert Wrigley 223

The Grammar Lesson |

144 * Steve Kowit 225

Fast Break |
145 Edward Hirsch 226

The Invention of Heaven |

146 « Dean Young 228

Saturday at the Canal |

147 * Gary Soto 229

x i i
Doing Without |
148 David Ray 230

The Death of Santa Claus |

149 Charles Webb 231

Ladies and Gentlemen in Outer Space |

150

Ron Padgett 233

Thanksgiving |
151 • Mac Hammond 234

Dog's Death |
152 1 John Updike 235

Hound Song I

153 • Donald Finkel 236

A Metaphor Crosses the Road |

154 Martha McFerren 237

The Swan at Edgewater Park |

155 Ruth L. Schwartz 238

The Blizzard |
156 * Phillis Levin 239

Where Is She? |
157 • Peter Cherches 241

Coffee in the Afternoon |

158 * Alberto Rios 242

One Morning |
159 Eamon Crennan 243

Animals |
160 • Miller Williams 244

Cod Says Yes to Me |

161 Kaylin Haught 245

The Perfect Heart |

162 Shara McCallum 246

The Birthday |
163 • Elizabeth Seydel Morgan 247

Not Swans |
164 • Susan Ludvigson 248

I Wish in the City of Your Heart |

165 Robley Wilson 249

The Accompanist |
166 William Matthews 250

The Wolf of Cubbio I

167 William Matthews 252

49
th
Birthday Trip (What Are You On?) |
168 .

Samuel Menashe 254

How Many Times I

169 Marie Howe 255

The History of Poetry I

170 Peter Cooley ' 256

The Dead |
171 • Susan Mitchell 258

Social Security |
172 • Terence Winch 259

The Student Theme |

173 * Ronald Wallace 261

Smell and Envy |

174 * Douglas Coetsch 262

CONTENTS I
xiii
 The Yawn |
175 • Paul Blackburn 263

Blue Willow I
176 Jody Cladding f * 264

Tuesday 9:00 AM |
177 • Denver Butson 265

Ordinance on Arrival |
178 • Naomi Lazard 267

96 Vandam |
179 • Ceroid Stern 268

What He Thought |
180 • Heather McHugh 269

Notes on the Contributors 273

Index of Contributors 305

Index of Titles 309

Permission Credits 313

x i v
poetry !80: AN INTRODUCTION

Billy Collins

FEW YEARS AGO I FOUND MYSELF ON A CIRCUIT OF

readings, traveling around the Midwest from podium to

podium. One stop was at an enormous high school south of

Chicago. Despite its daunting size— picture a row of lockers
receding into infinity— the school holds a "Poetry Day" every
year featuring an exuberant range of activities, including
poems set to music by students and performed by the high
school chorus and a ninety-piece orchestra. As featured poet
that year, I found myself caught up in the high spirits of the

day, which seemed to be coming directly from the students

themselves, rather than being faculty- imposed. After read-
ing to a crowded auditorium, I was approached by a student

who presented me with a copy of the school newspaper con-

taining an article she had written about poetry. In that arti-

cle, I found a memorable summary of the discomfort so

many people seem to experience with poetry. "Whenever I

INTRODUCTION
read a modern poem.*" this teenage girl wrote, "it's like my
brother has his foot on the back of*ny ne<?k in the swimming
pool."

Poetry 180 was inspired by the desire to remove poetrv

far from such scenes of torment. The idea behind this

printed collection, which is a version of the Librarv of Con-

gress "180" website, was to assemble a generous selection of

short, clear, contemporary poems which any listener could

basically "get** on first hearing— poems whose injection of
pleasure is immediate. The original website, which contin-
ues to be up and running strong, www.loc.gov/poetry/ 180, is

part of a national initiative I developed shortly after being

appointed United States Poet Laureate in 2001. The program
is called "Poetry 180: A Poem a Day for American High
Schools." In creating it, I had hoped the program would sug-
gest to young people the notion that poetrv* can be a part of

everyday life as well as a subject to be studied in the class-

room. On the website, I ask high school teachers and admin-

istrators to adopt the program by having a new poem read
every day—one for each of the roughly 180 days of the school

year— as part of the public announcements. Whether the

poems are read over a PA system or at the end of a school as-

sembly, students can hear poetry- on a daily basis without

feeling any pressure to respond. I wanted teachers to refrain

from commenting on the poems or asking students "liter-

ary" questions about them. No discussion, no explication, no

quiz, no midterm, no seven -page paper—just listen to a

poem every morning and off you go to your first class.

I might not have come up with such an ambitious na-
tional plan—or any plan at all—were it not for the energetic

efforts made bv previous laureates to spread the word of

poetry far and wide. Prior to the democratizing efforts of

Joseph Brodsky, who envisioned poetry being handed out at

supermarkets and planted in the bed tables of motel rooms

next to the Gideon Bible, the post of poet laureate was cen-

tered at the Library of Congress in Washington, specifically

in a spacious suite of rooms at the top of the magnificent Jef-

ferson Building, complete with a balcony and, as one visi-

tor put it, a "CNN view" of the Capitol. In those days, the
position was called "Consultant in Poetry to the Library

of Congress"— admittedly, a mouthful with a businesslike

sound. It was the habit of many Consultants to relocate to

Washington, go to the office a few days a week, and— I can

only imagine—wait for the phone to ring. You never knew
when some senator would be curious to know who wrote
"Two Tramps in Mud Time." According to Mary Jarrell's

memoir, she and Randall took advantage of his tenure in the

nation's capital by enjoying cultural offerings such as the

Budapest string quartet. Maxine Kumin invited Washington-

area schoolchildren to the Poetry Room. Robert Penn War-
ren wisely devoted one of his terms to the writing of All the
Kings Men. But by the time I took office, the laureateship had
evolved into a seat from which resourceful plans for the na-
tional dissemination of poetry were being launched. And so
Poetry 180 became my contribution.
High school is the focus of my program because all too

often it is the place where poetry goes to die. While poetry of-

fers us the possibility of modulating our pace, adolescence is

commonly driven by the wish to accelerate, to get from zero

to sixty in a heartbeat or in a speed-shop Honda. And de-
spite the sometimes heroic efforts of dedicated teachers,

many adolescents find poetry—to use their term of ultimate

INTRODUCTION
condemnation—boring. What some students experience when
they are made to confront a poem*mighti)e summed up in a
frustrating syllogism:

I understand English.
This poem is written in English.
I have no idea what this poem is saving.

What is "the misfit witch blocks mv quantum path?" a reader

might well ask. What's up with "a waveform leaps in mv
belly*"? What's a reader to do in the face of such unyielding
obtuseness?
But let us hear from the other side of the room. If there is

no room in poetry- for difficulty, where is difficulty to go?

Just as poetry provides a home for ambiguity, it offers diffi-

culty a place to be dramatized if not solved. "Even in our

games." asserts John Ciardi. "we demand difficulty." Which
explains why hockey is played on ice and why chess involves
more than two warring queens chasing each other around
the board. During the heyday of Pound. Eliot. Stevens, and

Crane—that Mount Rushmore of modernism—difficulty be-

came a criterion for appraising poetic value. The difficulty of
composition was extended to the compass of the reader's ex-
perience. Opacity became so closely associated with mod-
ernist poetry that readers fled in droves into the waiting

arms of novelists, where they could relax in the familiar sur-

roundings of social realism. Of course, the conceptual de-

mands some poems make on their reader can provide an

essential pleasure, but this is hardly a recommended starting

place for readers interested in reclaiming their connection

to poetry. Lacking the experience to distinguish between le-

gitimate difficulty and obscurity for its own sake, some read-
ers give up entirely. Randall Jarrell said that poetry was so
difficult to write, why should it be difficult to read. Clarity is

the real risk in poetry. To be clear means openingyourself up

to judgment. The willfully obscure poem is a hiding place

where the poet can elude the reader and thus make appraisal
impossible, irrelevant— a bourgeois intrusion upon the

poem. Which is why much of the commentary on obscure

poetry produces the same kind of headache as the poems
themselves.
Of course, the more difficult the poem, the more de-
pendent students are on their teachers. Knotty poems give
teachers more to explain; but the classroom emphasis on
what a poem means can work effectively to kill the poetry

spirit. Too often the hunt for Meaning becomes the only
approach; literary devices form a field of barbed wire that
students must crawl under to get to "what the poet is try-

ing to say," a regrettable phrase which implies that every

poem is a failed act of communication. Explication may
dominate the teaching of poetry, but there are other ways
to increase a reader's intimacy with a poem. A reader can
write the poem out, just as Keats or Frost did, or learn how
to say a poem out loud, or even internalize a poem by
memorizing it. The problem is that none of these activities

requires the presence of a teacher. Ideally, interpretation

should be one of the pleasures poetry offers. Unfortu-
nately, too often it overshadows the other pleasures of
meter, sound, metaphor, and imaginative travel, to name
a few.

INTRODUCTION | xix
POETRY 180 WAS ALSO* MEANT TO EXPOSE HIGH SCHOOL
students to the new voices in contemporary poetry. Even if

teachers try to keep up with the poetry of the day, textbooks

and anthologies typically lag behind the times. My rough

count of one popular introductory text has dead authors
beating out living ones at a ratio of nine to one. And oddly
enough, many of the poems that are still presented as exam-
ples of "modern" poetry— Eliot's "The Love Song of J. Alfred
Prufrock" or Williams's "The Red Wheelbarrow"—were writ-
ten more than seventy-five years ago. With a few exceptions,
the poems selected for the Poetry 180 website and this book
were chosen with the idea of catching the sounds, rhythms,
and attitudes of poetry written much more recently. Some of

the poems culled from literary magazines are no more than a

year or two old. I ruled out any poem that had become a stan-
dard offering in textbooks and anthologies. I wanted also to

include voices that were not well known. Quite a few of these

poems were written by poets I had not heard of before I

started scouting for the poems that would suit the purposes
of Poetry 180. Assembling this anthology gave me a chance to
further the cause of some of my favorite poems and also to

discover poets who were new to me. The more I searched for
poems, the more I became convinced that regardless of what

other kinds of poems will be written in years to come, clear,

reader- conscious poems are the ones that will broaden the

audience of poetry beyond the precincts of its practitioners.

ADMITTEDLY. SOME OF THESE POEMS WERE SELECTED TO

appeal to the interests of high school students. Mark Hal-
liday and Jim Daniels both have poems about cars. Nick
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