
“April is the cruelest month, breeding lilacs out of the dead land....” So wrote T.S. Eliot, probably thinking about Tax Day. April is also National Poetry Month, Garrison Keillor reminded me in his latest column for Salon. A column in which he referred to Eliot as “that small dark cloud of a poet.” Yeowch!
Anyway, I miss poetry. I miss reading it, which I rarely think of doing, and I miss talking about it. My buddy, Alicia Rasley, started a poetry discussion group, and I’d be in it except for that pesky commute between Coronado and Indianapolis. Maybe we can have a Poetry Discussion during our jaunt to England this fall. Four writers, all former or current academics, and a lot of wine. Sounds good to me.
Poetry is born in us. Happily, it is actively nurtured in the early years of life.
Nonsense verses: “If called by a panther, Don’t anther.”
Mother Goose. I bet you can still remember some of those.
Even prayers : “Now I lay me down to sleep; I pray the Lord my soul to keep.”
Best of all are the songs of childhood, where rhythm and rhyme and sounds and metaphors all come together: “Twinkle, twinkle, little star. How I wonder what you are.”
Most young boys and girls, absorbed with pop music (and pop idols), never stop to think about the poetry in their favorite songs. But the same “beat” they love is captured in the lyrics and enhanced by them. Those who write their own songs, good or not so much, are poets.
But then we get these youngsters into high school and meticulously set about destroying their natural love of poetry. How? By choosing complex, sometimes turgid poems from the canon of Litrachure and analyzing the music and the spirit right out of them. The teens begin to think of literature as borrring, the kiss of death where they are concerned. They never transfer their inherent love of poetry to those scary Great Poems. They build up a wall of resistance that often endures the rest of their lives.
I used to be a teacher of literature, college level, but while in grad school, I taught some classes at a tony Catholic school for girls. The students were earnest, eager to please, and well-trained to toe the line. I had to tell them quite firmly that they could not mention God in their papers unless God was a character in the poem. I guess they’d been sucking up to the nuns with all those godly references.

Which reminds me of an odd thing that happened when I was a college student. Our truly excellent teacher, a nun, apparently found Yeats’s “Leda and the Swan” more than she could handle. A Petrachan sonnet about the rape of Leda by Zeus, who had assumed the form of a swan, the poem has the classic fourteen lines written in iambic pentamenter. It is also charged with eroticism. The nun believed, as I do, that poetry should be read aloud, so we were all following along as she read it to us. Well, some of it. As smooth as the finest scotch, her recital glided right past the words and phrases she could not bring herself to say. She must have practiced for hours. We students were looking at one another, trying not to laugh and wondering why she chose to teach the poem at all. After all these years, the incident still puzzles me. I love the poem, by the way. You should read it. Aloud!
Back to my high school students. Even when we discussed a great poem like one of the best Shakespeare sonnets, I could see their eyes glazing over. They just weren’t ready to open that door. They understood poetry, really they did, but they couldn’t associate their visceral understanding with the poems in their textbooks.
So I assigned them to choose the lyrics of a favorite song and write an analysis. Their papers came alive, and so did they. We put aside the sonnets and studied Renaissance-era ballads, which they enjoyed. I even brought in my guitar and sang some of them, along with songs by blues artists and folk musicians. They particularly loved the poetry in Leonard Cohen’s Suzanne, one of my own favorites. Here’s the last verse:
Now Suzanne takes your hand
And she leads you to the river
She is wearing rags and feathers
From Salvation Army counters
And the sun pours down like honey
On our lady of the harbour
And she shows you where to look
Among the garbage and the flowers
There are heroes in the seaweed
There are children in the morning
They are leaning out for love
And they will lean that way forever
While Suzanne holds the mirror
The kids might not know the names of poetic meters and rhyme schemes, but they easily grasp how the rhythm and the sounds of the words themselves help create the “meaning.” That’s how music works.
Poetry is in our DNA. From earliest days, people have joined rhythm, sounds, images, and stories with music. Long ago, barbequing his latest catch, a primitive hunter doubtless grunted the equivalent of:
I’ve brought you this here mastodon.
You owe me, babe. Let’s get it on.”
Some males have not evolved much beyond that “I provide, you put out” mentality!
But the story, or some version of it, is still being told. I’ll end this meandering post with the evocative lyrics of a Tim Buckley song. If you download music, check out the glorious rendering of the song by Tim’s son, Jeff Buckley.

Once I was a soldier
And I fought on foreign sands for you
Once I was a hunter
And I brought home fresh meat for you
Once I was a lover
And I searched behind your eyes for you
And soon there’ll be another
To tell you I was just a lie
And sometimes I wonder
Just for a while
Will you ever remember me?
Though you have forgotten
All of our rubbish dreams
I find myself searching
Through the ashes of our ruins
For the days when we smiled
And the hours that ran wild
With the magic of our eyes
And the silence of our words
And sometimes I wonder
Just for a while
Will you ever remember me? . . . . Ever remember me?