American Life in Poetry #216: Judy Loest.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Judy Loest lives in Knoxville and, like many fine Appalachian writers, her poems have a welcoming conversational style, rooted in that region's storytelling tradition. How gracefully she sweeps us into the landscape and the scene!


Faith

Leaves drift from the cemetery oaks onto late grass,
Sun-singed, smelling like straw, the insides of old barns.
The stone angel's prayer is uninterrupted by the sleeping
Vagrant at her feet, the lone squirrel, furtive amid the litter.

Someone once said my great-grandmother, on the day she died,
rose from her bed where she had lain, paralyzed and mute
For two years following a stroke, and dressed herself--the good
Sunday dress of black crepe, cotton stockings, sensible, lace-up shoes.

I imagine her coiling her long white braid in the silent house,
Lying back down on top of the quilt and folding her hands,
Satisfied. I imagine her born-again daughters, brought up
In that tent-revival religion, called in from kitchens and fields
To stand dismayed by her bed like the sisters of Lazarus,
Waiting for her to breathe, to rise again and tell them what to do.

Here, no cross escapes the erosion of age, no voice breaks
The silence; the only certainty in the crow's flight
Or the sun's measured descent is the coming of winter.
Even the angel's outstretched arms offer only a formulated
Grace, her blind blessings as indiscriminate as acorns,
Falling on each of us, the departed and the leaving.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2007 by Judy Loest. Poem reprinted from "After Appalachia," Finishing Line Press, 2007, by permission of Judy Loest and the publisher. Introduction copyright (c)2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #215: David Wojahn.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

To commemorate Mother's Day, here's a lovely poem by David Wojahn of Virginia, remembering his mother after forty years.


Walking to School, 1964

Blurring the window, the snowflakes' numb white lanterns.
She's brewed her coffee, in the bathroom sprays cologne
And sets her lipstick upright on the sink.
The door ajar, I glimpse the yellow slip,

The rose-colored birthmark on her shoulder.
Then she's dressed--the pillbox hat and ersatz fur,
And I'm dressed too, mummified in stocking cap
And scarves, and I walk her to the bus stop

Where she'll leave me for my own walk to school,
Where she'll board the bus that zigzags to St. Paul
As I watch her at the window, the paperback

Romance already open on her lap,
The bus laboring off into snow, her good-bye kiss
Still startling my cheek with lipstick trace.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)1990 by David Wojahn, whose most recent book of poems is "Interrogation Palace: New and Selected Poems 1982-2004," University of Pittsburgh Press, 2006. "Walking to School, 1964" is from the longer poem "White Lanterns," printed in "Poetry," Vol. 157, 1990, by permission of David Wojahn and the publisher. Introduction copyright (c)2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

POETS IN THE AGE OF OBAMA

Poet Elizabeth Alexander, who will read a poem at the 2009 Inauguration, discusses President-elect Barack Obama and his relationship with language.


By Elizabeth Alexander
Poetry Media Service

Poetry Media Service

The Joint Congressional Committee on Inaugural Ceremonies announced on 12.17.08 Alexander's place in the Inaugural Program. This interview is transcribed from a Poetry Foundation "Poetry Off the Shelf" podcast which aired on 11.25.08. Listen to the podcast at http://www.poetryfoundation.org/journal/audioitem.html?id=643

Curtis Fox: Elizabeth, where were you on election night?

Elizabeth Alexander: I was with my family, with my husband and my nine year-old and ten year-old sons, and two families--lovely friends with their young children as well--and we all let our kids stay up until midnight, because this is their reality and nothing could be more powerful than that. It was beautiful.

CF: How do you think the election of Obama, who seems to have gotten a lot of support from intellectuals and poets, is going to affect poetry?

EA: From the very beginning, in his public utterances we've seen that Obama is someone who takes great care with language, who understands that language is the medium that we travel in--it's what we have to communicate with each other. And so his words have always been unusually precise, unusually careful, and certainly beautiful, but not for beauty's sake. So I think that there's something that he really understands in his rhetoric about the twinning of form and function that has made him an extremely effective communicator.

CF: Do you think that this respect for language, which seems to be new in the political sphere, will take some of the edge off of poets' attitudes towards political power?

EA: I don't think so, because that is in part the very essential work that poets do. Poets are always looking from the outside. Poets are never in any significant way the center of power. Poetry is an art form that is not well compensated, which leaves poets in a wonderfully free place to be able to criticize constructively without any kinds of economic ties or incentives.

So I think that's where poets always reside in the society. But I think perhaps what I hear is a lot of poets taking heart, in that not only is this someone who takes care with his language, not only is this someone who is evidently a thinker--certainly we haven't had a president who's been a professor, that is to say, someone who spends at least a part of his professional life thinking about complicated ideas and trying to make them comprehensible and working them through with students--but also, this is someone who appears to care about poetry itself. As many people have noted, he was photographed three days after the election carrying Derek Walcott's Collected Poems. I mean, the inbox went wild!

Poets just absolutely couldn't believe that, with that gesture, he was saying that a few days after being elected president, [he was able] to find the time for the contemplation that poetry provides, to read one of the great poets of world poetry, Derek Walcott; that is to say, not to have a strictly nationalist view of where important art is found . . . it is utterly extraordinary.

We heard one of his refrains, "We are the ones we have been waiting for"--that's a line from June Jordan's "Poem for South African Women."

(From Barack Obama's acceptance speech, 11.04.08: "Change will not come if we wait for some other person, or if we wait for some other time. We are the ones we've been waiting for.")

CF: Do you think he self-consciously quoted that? Or is that just a coincidence?

EA: Well he certainly didn't invent it out of whole cloth; at least that's my guess. I think that there are probably other moments [from which] we could parse little hidden gems that suggest to us that this someone who appreciates the effective distillation that poetry offers.

CF: Can you imagine how it would electrify poets in this country if they thought that not only Barack Obama but other political leaders actually read what they wrote?

EA: Well, that would be electrifying indeed, and again not just because we don't sell very many books and we like for people to pay attention to our words; but rather, because we think what we do is important. Because we struggle to be precise and that is how human beings communicate across divides, communicate across difference. We take that work dead seriously, and that is the work that we want our leaders to be engaged with, with equal care.

CF: I think this particular cultural moment is pretty exciting for a lot of people; a lot of people have a sense of the country that's dramatically different. Do you have any recommendations for a poem that reflects that spirit?

EA: Yes--I have truly in my head been hearing lines from Walt Whitman's "I Hear America Singing."

I Hear America Singing
By Walt Whitman

I hear America singing, the varied carols I hear,
Those of mechanics, each one singing his as it should be blithe and strong,
The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or leaves off work,
The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter singing as he stands,
The wood-cutter's song, the ploughboy's on his way in the morning, or at noon intermission or at sundown,
The delicious singing of the mother, or of the young wife at work, or of the girl sewing or washing,
Each singing what belongs to him or her and to none else,
The day what belongs to the day--at night the party of young fellows, robust, friendly,
Singing with open mouths their strong melodious songs.

EA: So I think this campaign truly belonged to an extraordinary cross-section not only of Americans, certainly as a campaign to Americans, but of the world over. Everyone from their own particular is finding a way to sing of what this moment can be, to sing of what their hopes and aspirations and frustrations and needs are; and somehow, that can come together in one leader's vision.

Elizabeth Alexander is a professor of African American Studies at Yale, and her latest book of poems is American Sublime, published by Graywolf Press. This interview originally aired on the podcast series "Poetry Off the Shelf." Distributed by the Poetry Foundation. Read more about Elizabeth Alexander, and her poetry, at www.poetryfoundation.org

© 2008 by Elizabeth Alexander. All rights reserved.

Return to Poetry Foundation Column Index >>>

MICHAEL ROSEN

An interview with the Children's Laureate of Britain.


By Bruce Black
Poetry Media Service

Few of his legions of fans were surprised when Michael Rosen was appointed the fifth Children's Laureate of Britain--the first poet to win the honor. Adored for his tongue twisters, puns, rhymes, riddles, and nonsense verse, Rosen also subtly explores the emotional nuances of childhood, including its more serious subjects.

Bruce Black: It's the first time a poet has been selected as children's laureate. Why is this important?

Michael Rosen: I'm not sure that it's terribly important, but it does feel like an affirmation for poetry in general. The laureateship is becoming a post that is trying to represent different sectors of the children's book world. I thought it would get round to poetry one day, and I was a little surprised, but of course delighted, that it got there so soon.

BB: How does your post enable you to influence the attitudes of adults and children toward poetry?

MR: I'm not sure that it helps much more than before. That's to say, I spend a lot of time and energy expressing my point of view about the reading of poetry by children and have always done so. A really good thing coming up, though, is that Booktrust [the charity that administers the laureateship] is devoting a Web page to what I'm calling "How to make a poetry-friendly classroom." It's an extension of what I've been banging on about for some time. This time it will be a proper professional job, with the possibility of teachers exchanging views between each other.

BB: What's been your greatest pleasure so far as children's laureate?

MR: It's accelerated my thinking around using the Internet for the dissemination of ideas about children's books and the performance of poetry.

BB: How did you discover your own voice as a poet?

MR: Through reading D.H. Lawrence and Carl Sandburg in particular, but also the early pages of James Joyce's A Portrait of the Artist as a Young Man. These were the voices that I was interested in at first. I then became fascinated by Gerard Manley Hopkins. However, there were the voices in my life from my parents, my brother, and the people at my schools in northwest London. These all contributed to how I wrote--and still do, of course.

BB: Did schooling impede or enhance your understanding of poetry . . . and your voice?

MR: In primary school I enjoyed what was called "choral speaking"--a kind of choir that got together in order to recite poems. I didn't like the poetry we did in lesson time. It always seemed so mournful and sad. At secondary school, something fizzed when a teacher in my second year introduced us to dramatic monologues--Browning, mostly. I thought that was brilliant. The next time I remember something good going on was when I did GCE [General Certificate of Education, a secondary-level academic qualification], as it was called then. For that, my father and I read A Pageant of Modern Verse, and it has poems in [it] by Lawrence, Housman, Hopkins, and others.

BB: Once you found your voice, how did you know it was suitable for children?

MR: I think that came about because the moment my first book was published, I was invited into schools, libraries, and children's book groups to read my poems. I quickly found out which ones interested them and which ones didn't. This was crucial.

BB: So when did you first realize you might write for children?

MR: When Pam Royds at Andre Deutsch said that a group of poems I had written could be published as a children's book. I had thought that they were "adult" but that children might like them. To tell the truth, I hadn't really thought it through. I lived in a house where "adult" poetry was repackaged in anthologies and radio broadcasts and given to children--poems by Dylan Thomas, James Stephens, Robert Graves, and the like. So perhaps I thought I was doing that--being an "adult" poet whose poems might be taken up by anthologists putting books together for schools.

BB: Is writing poetry for children different than writing for adults?

MR: I think adults who like poetry have tremendous staying power. They will read and reread poems because they enjoy the effort of untangling them. I think there is a tiny minority of children like that, but in general, poems for children have to sound interesting on a first reading.

BB: Do you have any suggestions for adults who want to help children learn to love poetry?

MR: Just read poems out loud to children. If you know any by heart, then say them at odd times, like when you're walking down the street or doing the washing up. Leave poetry books lying around the house. Take children to see poets reading their poems.

BB: Would you like to offer any words of encouragement for children who want to become poets?

MR: Read and read and read poetry. Keep a notebook for putting down ideas, thoughts, and "snippings." A snipping is where you see or hear something that you find interesting or odd. You snip it and put it in your notebook. One day, these will turn up in your poems, or you'll change one or some so that they can be in your poems.

Bruce Black is a writer and editor of children's books. His stories for children have appeared in Cricket and Cobblestone magazines. This article originally appeared on www.poetryfoundation.org. Distributed by the Poetry Foundation at www.poetryfoundation.org.

© 2008 by Bruce Black. All rights reserved.

Return to Poetry Foundation Column Index >>>

American Life in Poetry #214: Susan Browne.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Sometimes I wonder at my wife's forbearance. She's heard me tell the same stories dozens of times, and she still politely laughs when she should. Here's a poem by Susan Browne, of California, that treats an oft-told story with great tenderness.


On Our Eleventh Anniversary

You're telling that story again about your childhood,
when you were five years old and rode your blue bicycle

from Copenhagen to Espergaerde, and it was night
and snowing by the time you arrived,

and your grandparents were so relieved to see you,
because all day no one knew where you were,

you had vanished. We sit at our patio table under a faded green
umbrella, drinking wine in California's blue autumn,

red stars of roses along the fence, trellising over the roof
of our ramshackle garage. Too soon the wine glasses will be empty,

our stories told, the house covered with pine needles the wind
has shaken from the trees. Other people will live here.

We will vanish like children who traveled far in the dark,
stars of snow in their hair, riding to enchanted Espergaerde.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2007 by Susan Browne, whose most recent book of poems is "Buddha's Dogs," Four Way Books, 2004. Poem reprinted from "Mississippi Review" Vol. 35, nos. 1-2, Spring 2007, and reprinted by permission of the author and publisher. Introduction copyright (c)2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #213: Bill Holm.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Bill Holm, one of the most intelligent and engaging writers of our northern plains, died on February 25th. He will be greatly missed. He and I were of the same generation and we shared the same sense of wonder, amusement, and skepticism about the course of technology. I don't yet own an Earbud, but I won't need to, now that we have Bill's poem.


Earbud

Earbud--a tiny marble sheathed in foam
to wear like an interior earring so you
can enjoy private noises wherever you go,
protected from any sudden silence.
Only check your batteries, then copy
a thousand secret songs and stories
on the tiny pod you carry in your pocket.
You are safe now from other noises made
by other people, other machines, by chance,
noises you have not chosen as your own.
To get your attention, I touch your arm
to show you the tornado or the polar bear.
Sometimes I catch you humming or talking to the air
as if to a shrunken lover waiting in your ear.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2008 by Bill Holm, whose most recent book of poems is "Playing the Black Piano," Milkweed Editions, 2004. Poem reprinted by permission of Bill Holm. Introduction copyright (c)2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #212: Regan Huff.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

We've published this column about American life for over four years, and we have finally found a poem about one of the great American pastimes, bowling. "The Big Lebowski" caught bowling on film, and this poem by Regan Huff of Georgia captures it in words.


Occurrence on Washburn Avenue

Alice's first strike gets a pat on the back,
her second a cheer from Betty Woszinski
who's just back from knee surgery. Her third--
"A turkey!" Molly calls out--raises everyone's eyes.
They clap. Teresa looks up from the bar.
At the fourth the girls stop seeing their own pins wobble.
They watch the little X's fill the row on Alice's screen--
That's five. That's six. There's a holy space
around her like a saint come down to bowl
with the Tuesday Ladies in Thorp, Wisconsin.
Teresa runs to get Al, and Fran calls Billy
at the Exxon. The bar crowds with silent men.
No one's cheering. No one's bowling now
except Alice's team, rolling their balls
to advance the screen around to Alice, who's stopped
even her nervous laugh, her face blank and smooth
with concentration. It can't go on
and then it does go on, the white bar
reading "Silver Dollar Chicken" lowering and clearing
nothing, then lowering and clearing nothing again.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2008 by Regan Huff and reprinted from the "Beloit Poetry Journal," Vol. 59, no. 1, by permission of Regan Huff and the publisher. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #211: Anne Marie Macari.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Some of you are so accustomed to flying that you no longer sit by the windows. But I'd guess that at one time you gazed down, after dark, and looked at the lights below you with innocent wonder. This poem by Anne Marie Macari of New Jersey perfectly captures the gauziness of those lights as well as the loneliness that often accompanies travel.


From the Plane

It is a soft thing, it has been sifted
from the sieve of space and seems
asleep there under the moths of light.

Cluster of dust and fire, from up here
you are a stranger and I am dropping
through the funnel of air to meet you.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2008 by Anne Marie Macari and reprinted from "She Heads into the Wilderness," Autumn House Press, 2008, by permission of Anne Marie Macari. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #210: Joseph O. Legaspi.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

My father was the manager of a store in which chairs were strategically placed for those dutiful souls waiting and waiting and waiting and waiting for shoppers. Such patience is the most exhausting work there is, or so it seems at the time. This poem by Joseph O. Legaspi perfectly captures one of those scenes.


At the Bridal Shop

The gowns and dresses hang
like fleece in their glaring
whiteness, sheepskin-softness,
the ruffled matrimonial love in which the brides-
in-waiting dance around, expectantly,
hummingbirds to tulips. I was dragged here:
David's Bridal, off the concrete-gray arterial
highways of a naval town. I sink into the flush
bachelors' couch, along with other men sprinkled
throughout the shop, as my friend and her female compatriots parade
taffeta dresses in monstrous shades of pastels--persimmons,
lilacs, periwinkles--the colors of weddings and religious
holidays. Trains drag on the floor, sleeves drape
like limp, pressed sheets of candied fruits,
ribbons fluttering like pale leaves. I watch
families gathered together: the women, like worshippers,
circling around the smiling brides-to-be, as if they were
the anointed ones. The men, in turn, submerge
deeper into couches, into sleep, while the haloed,
veiled women cannot contain their joy,
they flash their winning smiles, and they are beautiful.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2007 by Joseph O. Legaspi, whose most recent book of poems is "Imago," Cavankerry Press, 2007. Poem reprinted from "Crab Orchard Review," Vol. 12, no. 2, 2007, by permission of Joseph O. Legaspi. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #209: Miller Williams.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

I've gotten to the age at which I am starting to strain to hear things, but I am glad to have gotten to that age, all the same. Here's a fine poem by Miller Williams of Arkansas that gets inside a person who is losing her hearing.


Going Deaf

No matter how she tilts her head to hear
she sees the irritation in their eyes.
She knows how they can read a small rejection,
a little judgment, in every What did you say?
So now she doesn't say What? or Come again?
She lets the syllables settle, hoping they form
some sort of shape that she might recognize.
When they don't, she smiles with everyone else,
and then whoever was talking turns to her
and says, "Break wooden coffee, don't you know?"
She pulls all she can focus into the face
to know if she ought to nod or shake her head.
In that long space her brain talks to itself.
The person may turn away as an act of mercy,
leaving her there in a room full of understanding
with nothing to cover her, neither sound nor silence.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)1995 by Miller Williams, whose most recent book of poems is "Time and the Tilting Earth," Louisiana State University Press, 2008. Poem reprinted from "Points of Departure: Poems by Miller Williams," by Miller Williams, University of Illinois Press, 1995, and reprinted by permission of the author and publisher. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #208: Gerald Fleming.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

To have a helpful companion as you travel through life is a marvelous gift. This poem by Gerald Fleming, a long-time teacher in the San Francisco public schools, celebrates just such a relationship.


Long Marriage

You're worried, so you wake her
& you talk into the dark:
Do you think I have cancer, you
say, or Were there worms
in that meat, or Do you think
our son is OK, and it's
wonderful, really--almost
ceremonial as you feel
the vessel of your worry pass
miraculously from you to her--
Gee, the rain sounds so beautiful,
you say--I'm going back to sleep.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2005 by Gerald Fleming. Reprinted from "Swimmer Climbing onto Shore," by Gerald Fleming, Sixteen Rivers Press, San Francisco, 2005, by permission of the author. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #207: Sebastian Matthews.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

People singing, not professionally but just singing for joy, it's a wonderful celebration of life. In this poem by Sebastian Matthews of North Carolina, a father and son happen upon a handful of men singing in a cafe, and are swept up into their pleasure and community.


Barbershop Quartet,
East Village Grille

Inside the standard lunch hour din they rise, four
seamless voices fused into one, floating somewhere
between a low hum and a vibration, like the sound
of a train rumbling beneath noisy traffic.
The men are hunched around a booth table,
a fire circle of coffee cups and loose fists, leaning in
around the thing they are summoning forth
from inside this suddenly beating four-chambered
heart. I've taken Avery out on a whim, ordered quesadillas
and onion rings, a kiddy milk with three straws.
We're already deep in the meal, extra napkins
and wipes for the grease coating our faces
and hands like mid-summer sweat. And because
we're happy, lost in the small pleasures of father
and son, at first their voices seem to come from inside
us. Who's that boy singing? Avery asks, unable
to see these men wrapped in their act. I let him
keep looking, rapt. And when no one is paying
attention, I put down my fork and take my boy's hand,
and together we dive into the song. Or maybe it pours
into us, and we're the ones brimming with it.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2008 by Sebastian Matthews, whose collection of poems, "We Generous," was published by Red Hen Press, 2007. Poem reprinted from "The Chattahoochee Review," V. 28, no. 2,3, 2008 by permission of Sebastian Matthews. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
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American Life in Poetry #206: Matthew Vetter.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Ah, yes, the mid-life crisis. And there's a lot of mid-life in which it can happen. Jerry Lee Lewis sang of it so well in "He's thirty-nine and holding, holding everything he can." And here's a fine poem by Matthew Vetter, portraying just such a man.


Wild Flowers

At fifty-six, having left my mother,
my father buys a motorcycle.
I imagine him because
it is the son's sorrowful assignment
to imagine his father: there,
hunched on his mount,
with black boots, with bad teeth,
between shifts at the mill,
ripping furrows in the backroads,
past barn and field and silo,
past creek and rock,
past the brown mare,
sleek in her impertinence,
never slowing until he sees
the bull. He stops, pulls
his bike to the side of the road,
where golden rod and clover grow,
walks up to the fence, admires
its horns, its wet snout snorting and blowing
its breath, its girth, its trampling
of small wild flowers.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2008 by Matthew Vetter. Reprinted from "The Louisville Review," No. 63, Spring 2008, by permission of Matthew Vetter. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #205: George Bilgere.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Memories have a way of attaching themselves to objects, to details, to physical tasks, and here, George Bilgere, an Ohio poet, happens upon mixed feelings about his mother while slicing a head of cabbage.


Corned Beef and Cabbage

I can see her in the kitchen,
Cooking up, for the hundredth time,
A little something from her
Limited Midwestern repertoire.
Cigarette going in the ashtray,
The red wine pulsing in its glass,
A warning light meaning
Everything was simmering
Just below the steel lid
Of her smile, as she boiled
The beef into submission,
Chopped her way
Through the vegetable kingdom
With the broken-handled knife
I use tonight, feeling her
Anger rising from the dark
Chambers of the head
Of cabbage I slice through,
Missing her, wanting
To chew things over
With my mother again.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c) 2002 by George Bilgere, whose most recent book of poetry is "Haywire," Utah State University Press, 2006. Poem reprinted from "The Good Kiss," published by The University of Akron Press, 2002, by permission of the author and publisher. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #204: Cecilia Woloch.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Memories form around details the way a pearl forms around a grain of sand, and in this commemoration of an anniversary, Cecilia Woloch reaches back to grasp a few details that promise to bring a cherished memory forward, and succeeds in doing so. The poet lives and teaches in southern California.


Anniversary

Didn't I stand there once,
white-knuckled, gripping the just-lit taper,
swearing I'd never go back?
And hadn't you kissed the rain from my mouth?
And weren't we gentle and awed and afraid,
knowing we'd stepped from the room of desire
into the further room of love?
And wasn't it sacred, the sweetness
we licked from each other's hands?
And were we not lovely, then, were we not
as lovely as thunder, and damp grass, and flame?


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c) 2008 by Cecilia Woloch. Reprinted from "Narcissus," by Cecilia Woloch, Tupelo Press, Dorset, VT, 2008, by permission of Cecilia Woloch. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #203: Charles Harper Webb.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

To read in the news that a platoon of soldiers has been killed is a terrible thing, but to learn the name of just one of them makes the news even more vivid and sad. To hold the name of someone or something on our lips is a powerful thing. It is the badge of individuality and separateness. Charles Harper Webb, a California poet, takes advantage of the power of naming in this poem about the steady extinction of animal species.


The Animals are Leaving

One by one, like guests at a late party
They shake our hands and step into the dark:
Arabian ostrich; Long-eared kit fox; Mysterious starling.

One by one, like sheep counted to close our eyes,
They leap the fence and disappear into the woods:
Atlas bear; Passenger pigeon; North Island laughing owl;
Great auk; Dodo; Eastern wapiti; Badlands bighorn sheep.

One by one, like grade school friends,
They move away and fade out of memory:
Portuguese ibex; Blue buck; Auroch; Oregon bison;
Spanish imperial eagle; Japanese wolf; Hawksbill
Sea turtle; Cape lion; Heath hen; Raiatea thrush.

One by one, like children at a fire drill, they march
outside,
And keep marching, though teachers cry, "Come back!"
Waved albatross; White-bearded spider monkey;
Pygmy chimpanzee; Australian night parrot;
Turquoise parakeet; Indian cheetah; Korean tiger;
Eastern harbor seal; Ceylon elephant; Great Indian
rhinoceros.

One by one, like actors in a play that ran for years
And wowed the world, they link their hands and bow
Before the curtain falls.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c) 2006 by Charles Harper Webb. Reprinted from "Amplified Dog," by Charles Harper Webb, published by Red Hen Press, 2006, by permission of the author and publisher. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #202: David Wagoner;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #202: David Wagoner.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

David Wagoner, who lives in Washington state, is one of our country's most distinguished poets and the author of many wonderful books. He is also one of our best at writing about nature, from which we learn so much. Here is a recent poem by Wagoner that speaks to perseverance.


The Cherry Tree

Out of the nursery and into the garden
where it rooted and survived its first hard winter,
then a few years of freedom while it blossomed,
put out its first tentative branches, withstood
the insects and the poisons for insects,
developed strange ideas about its height
and suffered the pruning of its quirks and clutters,
its self-indulgent thrusts
and the infighting of stems at cross purposes
year after year. Each April it forgot
why it couldn't do what it had to do,
and always after blossoms, fruit, and leaf-fall,
was shown once more what simply couldn't happen.

Its oldest branches now, the survivors carved
by knife blades, rain, and wind, are sending shoots
straight up, blood red, into the light again.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2008 by David Wagoner, whose most recent book of poetry is "Good Morning and Good Night," University of Illinois Press, 2005. Reprinted from "Crazyhorse," No. 73, Spring 2008, by permission of David Wagoner. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #165: Robert Bly;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #201: Don Welch.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Don Welch lives in Nebraska and is one of those many talented American poets who have never received as much attention as they deserve. His poems are distinguished by the meticulous care he puts into writing them, and by their deep intelligence. Here is Welch's picture of a 14-year-old, captured at that awkward and painfully vulnerable step on the way to adulthood.


At 14

To be shy,
to lower your eyes
after making a greeting.

to know
wherever you go
you'll be called on,

to fear
whoever you're near
will ask you,

to wear
the softer sides of the air
in rooms filled with angers,

your ship
always docked
in transparent slips

whose wharves
are sheerer than membranes.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c)2008 by Don Welch. Reprinted from "When Memory Gives Dust a Face," by Don Welch, published by Lewis-Clark Press, 2008, by permission of Don Welch and the publisher. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #165: Robert Bly;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #200: Chris Forhan.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Here's a fine poem by Chris Forhan of Indiana, about surviving the loss of a parent, and which celebrates the lives that survive it, that go on. I especially like the parachute floating up and away, just as the lost father has gone up and away.


What My Father Left Behind

Jam jar of cigarette ends and ashes on his workbench,
hammer he nailed our address to a stump with,
balsa wood steamship, half-finished--

is that him, waving from the stern? Well, good luck to him.
Slur of sunlight filling the backyard, August's high wattage,
white blossoming, it's a curve, it comes back. My mother

in a patio chair, leaning forward, squinting, threading
her needle again, her eye lifts to the roof, to my brother,
who stands and jerks his arm upward--he might be

insulting the sky, but he's only letting go
a bit of green, a molded plastic soldier
tied to a parachute, thin as a bread bag, it rises, it arcs

against the blue--good luck to it--my sister and I below,
heads tilted back as we stand in the grass, good
luck to all of us, still here, still in love with it.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c) 2008 by Chris Forhan from his most recent book of poetry "Black Leapt In," Barrow Street Press, 2009, and reprinted by permission of Chris Forhan and the publisher. Poem first appeared in "Pleiades," Vol. 28, no. 1, 2008. Introduction copyright (c) 2009 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #165: Robert Bly;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>

American Life in Poetry #199: Anne Pierson Wiese.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

I'd guess that most of us carry in our memories landscapes that, far behind us, hold significant meanings for us. For me, it's a Mississippi River scenic overlook south of Guttenberg, Iowa. And for you? Here's just such a memoryscape, in this brief poem by New Yorker Anne Pierson Wiese.


Inscrutable Twist

The twist of the stream was inscrutable.
It was a seemingly run-of-the-mill
stream that flowed for several miles by the side
of Route 302 in northern Vermont--
and presumably does still--but I've not
been back there for what seems like a long time.

I have it in my mind's eye, the way
one crested a rise and rounded a corner
on the narrow blacktop, going west, and saw
off to the left in the flat green meadow
the stream turning briefly back on itself
to form a perfect loop--a useless light-filled
water noose or fragment of moon's cursive,
a sign or message of some kind--but left behind.


American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c) 2007 by Anne Pierson Wiese, whose most recent book of poetry is "Floating City," Louisiana State University Press, 2007. Poem reprinted from "Ploughshares," Vol. 33, no. 4, Winter 2007-08 by permission of Anne Pierson Wiese. Introduction copyright (c) 200p by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.



Also at Virtual Grub Street by/about Ted Kooser:

• The Ted Kooser Page: Links to online Interviews, Recordings, Poetry, Prose, Reviews, Photos and more;
• American Life in Poetry #199: Cornelius Eady;
• American Life in Poetry #166: R. S. Gwynn;
• American Life in Poetry #165: Robert Bly;
• American Life in Poetry #164: Ellen Bass;
• American Life in Poetry #146: Marvin Bell;
• American Life in Poetry #107: Naomi Shihab Nye;
• American Life in Poetry #70: Sharon Olds;
• American Life in Poetry #68: Wendell Berry;
• American Life in Poetry #26: Claudia Emerson;
• More from American Life in Poetry >>>