One Today, Richard Blanco: Inauguration poem

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.

Richard Blanco

South Country: Hilaire Belloc

WHEN I am living in the Midlands
  That are sodden and unkind,
I light my lamp in the evening:
  My work is left behind;
And the great hills of the South Country          5
  Come back into my mind.
The great hills of the South Country
  They stand along the sea;
And it’s there walking in the high woods
  That I could wish to be,   10
And the men that were boys when I was a boy
  Walking along with me.
The men that live in North England
  I saw them for a day:
Their hearts are set upon the waste fells,   15
  Their skies are fast and grey;
From their castle-walls a man may see
  The mountains far away.
The men that live in West England
  They see the Severn strong,   20
A-rolling on rough water brown
  Light aspen leaves along.
They have the secret of the Rocks,
  And the oldest kind of song.
But the men that live in the South Country   25
  Are the kindest and most wise,
They get their laughter from the loud surf,
  And the faith in their happy eyes
Comes surely from our Sister the Spring
  When over the sea she flies;   30
The violets suddenly bloom at her feet,
  She blesses us with surprise.
I never get between the pines
  But I smell the Sussex air;
Nor I never come on a belt of sand   35
  But my home is there.
And along the sky the line of the Downs
  So noble and so bare.
A lost thing could I never find,
  Nor a broken thing mend:   40
And I fear I shall be all alone
  When I get towards the end.
Who will there be to comfort me
  Or who will be my friend?
I will gather and carefully make my friends   45
  Of the men of the Sussex Weald;
They watch the stars from silent folds,
  They stiffly plough the field.
By them and the God of the South Country
  My poor soul shall be healed.   50
If I ever become a rich man,
  Or if ever I grow to be old,
I will build a house with deep thatch
  To shelter me from the cold,
And there shall the Sussex songs be sung   55
  And the story of Sussex told.
I will hold my house in the high wood
  Within a walk of the sea,
And the men that were boys when I was a boy
  Shall sit and drink with me.   60

Hilaire Belloc

Praise song for the day

Praise song for the day.

Each day we go about our business, walking past each other, catching each others’ eyes or not, about to speak or speaking. All about us is noise. All about us is noise and bramble, thorn and din, each one of our ancestors on our tongues. Someone is stitching up a hem, darning a hole in a uniform, patching a tire, repairing the things in need of repair.

Someone is trying to make music somewhere with a pair of wooden spoons on an oil drum with cello, boom box, harmonica, voice.

A woman and her son wait for the bus.

A farmer considers the changing sky; A teacher says, “Take out your pencils. Begin.”

We encounter each other in words, words spiny or smooth, whispered or declaimed; words to consider, reconsider.

We cross dirt roads and highways that mark the will of someone and then others who said, “I need to see what’s on the other side; I know there’s something better down the road.”

We need to find a place where we are safe; We walk into that which we cannot yet see.

Say it plain, that many have died for this day. Sing the names of the dead who brought us here, who laid the train tracks, raised the bridges, picked the cotton and the lettuce, built brick by brick the glittering edifices they would then keep clean and work inside of.

Praise song for struggle; praise song for the day. Praise song for every hand-lettered sign; The figuring it out at kitchen tables.

Some live by “Love thy neighbor as thy self.”

Others by first do no harm, or take no more than you need.

What if the mightiest word is love, love beyond marital, filial, national. Love that casts a widening pool of light. Love with no need to preempt grievance.

In today’s sharp sparkle, this winter air, anything can be made, any sentence begun.

On the brink, on the brim, on the cusp — praise song for walking forward in that light.

— Elizabeth Alexander

Another Reason Why I Don't Keep A Gun In The House

The neighbors’ dog will not stop barking.
He is barking the same high, rhythmic bark
that he barks every time they leave the house.
They must switch him on on their way out.

The neighbors’ dog will not stop barking.
I close all the windows in the house
and put on a Beethoven symphony full blast
but I can still hear him muffled under the music,
barking, barking, barking,

and now I can see him sitting in the orchestra,
his head raised confidently as if Beethoven
had included a part for barking dog.

When the record finally ends he is still barking,
sitting there in the oboe section barking,
his eyes fixed on the conductor who is
entreating him with his baton

while the other musicians listen in respectful
silence to the famous barking dog solo,
that endless coda that first established
Beethoven as an innovative genius.

Billy Collins

Have Me

Have me in the blue and the sun.
Have me on the open sea and the mountains.

When I go into the grass of the sea floor, I will go alone.
This is where I came from—the chlorine and the salt are
     blood and bones.
It is here the nostrils rush the air to the lungs. It is
     here oxygen clamors to be let in.
And here in the root grass of the sea floor I will go alone.

Love goes far. Here love ends.
Have me in the blue and the sun.

Carl Sandburg

The addle-patedness of some would be writer.

I have taken the few night medicines that I am given these days, and do some general reading until the words start taking on a three dimensional look to them. When they can’t make any more sense to myself, and to write is to never make sense. Then you must go to sleep. I certainly will.

I’m putting in a woman named Rose Pogonia. The name comes from a Robert Frost poem:

Rose Pogonias

A Saturated meadow,
Sun-shaped and jewel-small,
A circle scarcely wider
Than the trees around were tall;
Where winds were quite excluded,
And the air was stifling sweet
With the breath of many flowers,–
A temple of the heat.

There we bowed us in the burning,
As the sun’s right worship is,
To pick where none could miss them
A thousand orchises;
For though the grass was scattered,
Yet every second spear
Seemed tipped with wings of color,
That tinged the atmosphere.

We raised a simple prayer
Before we left the spot,
That in the general mowing
That place might be forgot;
Or if not all so favored,
Obtain such grace of hours,
That none should mow the grass there
While so confused with flowers.