Poems for the People

How can we serve poetry–raise its profile in society, give it love from more people, and spread its joy to more people? Poets and poetry lovers have grappled with this question in various ways over the years. From government and cultural leaders, to poet laureates and poets, to professors and teachers, to reviews and periodicals, to students and everyday citizens–everyone stands to benefit from the effort.

Poetry serves us in diverse and unique ways; so, too, can we reciprocate. How do we love it? Let us count the ways.

What is a poet laureate? What is the role of the laureate in the community served?

Originally, poet laureate was a title designated to an esteemed poet in the official service of the British monarch and royal household. Ben Jonson was the first poet laureate in 1616. The poet laureate would entertain the royals and nobility with their work and perform related services. The definition has evolved over centuries and oceans, but governments have tended to remain responsible–for designating a laureate, that is. The poetry is all on the poet. (source: http://www.dictionary.com/browse/poet-laureate?s=t)

Are U. S. poet laureates effective in their efforts? Judge for yourself. For example, among the Past Poet Laureate Projects on file at the U. S. Library of Congress that serve as gateways to and promoters of poetry, I’ve highlighted a few I found interesting.

Poetry 180. A project of former U. S. Poet Laureate Billy Collins providing a poem a day for the school year in American high schools. See the page listing 180 poems.

Favorite Poem Project. Twenty years ago, 18,000 Americans shared their favorite poems with U. S. Poet Laureate Robert Pinsky and the nation through video recitations, online resources, and this archive of favorite poems. http://www.favoritepoem.org/

La Casa de Colores. Juan Felipe Herrera, U. S. Poet Laureate 2015-2017, established two main projects for what he called “a house for all voices”: a massive crowdsourced poem, La Familia, and a monthly series, El Jardin, of the poet laureate’s experiences interacting with the Library of Congress’ bountiful archives.

Current and reappointed U. S. Poet Laureate Tracy K. Smith brought the poetry conversation and readings to the rural South and continues her work by connecting poetry to small-town America.

But you don’t have to be the top poet in the country to further the cause of poetry. Note the Academy of American Poets’ suggestions for 30 ways to celebrate the poem.

Along with attending local live poetry performances like this and competitive events like this, one of my favorite ways to spread the love is through Poem-in-Your-Pocket Day, coming this Thursday, April 26th. It’s so simple. Share a poem you love in any way imaginable at school, in your community, or at work. Most obvious: Bring printed copies everywhere you go, and hand them out or anonymously deposit them in random or strategic locations where someone will find them and be inspired, dazzled, cheered up, soothed, or intrigued. Check out the Academy’s official 2018 Poem-in-Your-Pocket-Day guide to more ways to share, along with the text of 15 poems ready to distribute from contemporary American poets, 15 from Canadian poets, and 15 from the public domain. 

Another method I like comes from Tweetspeak Poetry: Take Your Poet to School Week. But again, it need not be school; take them anywhere! See their article “Bring in the Cupcakes!” to learn how this works and locate the full list available here, with four new poets for 2018. Although the designated week (first of April) has passed, I’ll soon bring out my favorite poets–so happy to see them included!–to keep me company and assist the Muse. From the link to the full collection of poets, which includes a front and back for each poet’s likeness, I’m starting with Judith Wright, Edgar Allan Poe (especially fun with the raven!), Wislawa Szymborska, Rumi, and Walt Whitman.

Scrap the official, eschew the formal, and free poetry in the spirit of equal access. L. L. Barkat describes in this Huffington Post article how to liberate verse from traditional constraints that keep us from accessing and enjoying it.

How will you celebrate poetry or poets? Serve it up.

More opportunities abound on this blog–my 10 top-viewed posts in poetry:

  1. Adapted Bawdy Lyrics: Outlander TV Series, Episode 114, “The Search”
  2. Scotland’s Burns and Outlander rival Shakespeare’s bawdy
  3. Nature Poetry by Famous Poets
  4. Wild Verses, 5 of 10 / Writing 201: Poetry, Day 1 (Haiku, Water, Simile)
  5. Famous Poets’ Nature Poetry, 3: Wordsworth’s Daffodils
  6. Call of the Wild Poetry
  7. Famous Poets’ Nature Poetry, 2: Elizabeth Bishop
  8. Famous Poets’ Nature Poetry, 1a: “The Sunlight on the Garden”
  9. On Process: Verse Writing. Introduction and Part I: Motivation (involves writing an elegy for the late, great Leonard Nimoy/Spock)
  10. Writing 201: Poetry, Day 2 (Limerick, Journey, Alliteration)

Famous Poets’ Nature Poetry (6): Hugh MacDiarmid in Scots

Perhaps it is only when we are released from the stranglehold of the deep freeze that we can once again celebrate cold, snowy art. Today between Hogmanay (New Year’s) and Burns Night (Jan. 25), I bring you a Scottish, though autumnal, chill–the blizzard, the wind, the land, and their combined efforts to confound. Still, may your eyes and heart be open wide to the imagery, the sounds, and the impact that only poetry can deliver.

Recently, I rediscovered the work of a famous poet I was vaguely familiar with: Hugh MacDiarmid, celebrated Scottish poet of the 20th century (1892-1978). Again, I became so fascinated with the Scots language he used to effect his art that I started trying to translate the Scots of one of his poems into standard English. A bit more challenging than “To a Mouse” by Robert Burns, the poem is also more somber and contemplative. A novice in translation for personal interest alone, I am unsure of how well it came out and some of it I couldn’t parse, but I thought the poem interesting enough to share with you.

The poem’s title “The Eemis Stane” translates roughly as “The Unsteady Stone.” If you’ve been following my series on nature poetry, you may have realized by now that sometimes there is a fine line between nature poetry and poetry that uses nature imagery but operates through a different primary theme or mode. Although MacDiarmid’s poem also uses nature imagery, as with many poems, its true subject is more abstract and societal. I believe, though, that all nature poetry need not just celebrate nature; it can also lament it. In that sense, “The Eemis Stane” could legitimately bear the tag “nature poetry.” It would simply need other tags as well.

Following is a bit about Hugh MacDiarmid with a link to more information about the poet, and then the poem in full with my translation and analysis.

According to the Poetry Foundation,

“C. M. Grieve, best known under his pseudonym Hugh MacDiarmid, is credited with effecting a Scottish literary revolution which restored an indigenous Scots literature and has been acknowledged as the greatest poet that his country has produced since Robert Burns.”

“The Eemis Stane” by Hugh MacDiarmid

I’ the how-dumb-deid o’ the cauld hairst nicht
The warl’ like an eemis stane
Wags i’ the lift;
An’ my eerie memories fa’
Like a yowdendrift.

Like a yowdendrift so’s I couldna read
The words cut oot i’ the stane
Had the fug o’ fame
An’ history’s hazelraw

No’ yirdit thaim.

Translation and Analysis

I attempted my translation from Scots into standard English with the assistance of The Online Scots Dictionary and other sources. Brackets and parentheses indicate points of possible alternate meanings.

At the darkest point of the cold harvest night
The world like an unsteady stone
waggles in the sky;
And my eerie memories fall
Like a snow driven by the wind [or a blizzard].

Like a blizzard so that I couldn’t [(even) have] read
The words cut out in the stone
Had the smoky atmosphere [or moss] of foam [or fame]
and history’s lichen

not buried them.

Message of the poem

More about perhaps the nature of history and understanding than about nature itself, here is my interpretation: Truth in cultural identity and any peace of mind about one’s place in the world or cosmos are obscured both by personal perspective and the half-truths of history. In other words, not even personal memory and thought can rescue truth and justice from history’s muddled layers. Alternatively, though less likely, it could mean that only history’s obfuscation of events allows the observant man to see things clearly, as if transgression alone, however unintended, is what urges one’s keen attention to matters. Compounded by this confusion, or perhaps contributing to it, is the timing of the attempt: the darkest point of the night, a metaphor for the hardest moment in life, when you are shaken to your core and too discombobulated to make sense of it.

Means of the message

We can trust the reputable MacDiarmid to use the Scots language precisely, but ambiguity is the primary theme echoed by method across the poem. With compound images and multiple word meanings (fog/smoke/moss, fame/foam), unclear things masked in layers (darkness, fog, eerie memories, blizzard, lichen), and unexpected shifts in visual perspective (in total darkness, harvest night’s earth wobbling in the sky as seen from what vantage point?), the reader feels the speaker’s disorientation.

One example of a mysterious reference, the idea of the “words” cut out in the stone literally suggests either gravestone, monument, or ancient language, but figuratively calls to mind efforts to make one’s mark, the tantalizing nature of age-old mysteries, or a foundation marred or eroded by words and time. Then, stanza 2’s double negative (“couldna” plus “No’”) raises further questions of interpretation.

The speaker’s reaction to the confusion is a lament, with the consistent choice of words that collectively mourn: “how-dumb-deid” (darkest point), “cold,” “nicht” (night), “eemis” (unsteady, unstable, untethered, precarious, tenuous, unreliable), “wags” (wobbles, shakes, waggles, jars, dislocates, disorients), “eerie,” “fa'” (fall), “couldna” (could not), “cut oot” (cut out), “fug” (smoke, haze, fog, moss), and, most obviously, “yirdit” (buried). These account for our mood of sadness, solemnity, and empathetic bereavement.

Unlike the poem’s subject, with the help of such words, its overall impression proves firm, immutable by poem’s end. Although “The Eemis Stane” might be interpreted simply as an intimate human struggle, MacDiarmid, like many great poets, stretches his words beyond the individual into a more universal context. We can see this happening foremost in the introduction of the word “history.” Employing a distinct lexical heritage, the poem is likely best understood as a metaphorical portrait of a people and culture’s displaced memory and shaken identity, and the far too common resulting experience of loss, confusion, and emptiness.


Read more Hugh MacDiarmid, aloud for the music or for the challenge of deciphering, but always for the artfulness of poetry:

For more from my collection of famous nature poetry, see:

square-rock-lichen-Nether-Largie-stone_DSCN3484_eds-2017-12-20

Lichen grows on a rock at the base of a Nether Largie standing stone in Kilmartin Glen, at the heart of Argyll & Bute on Scotland’s west coast. Image © 2016 C. L. Tangenberg


Two weeks later . . .

My eureka moment: Famous Poets’ Nature Poetry, 6–Oh, NOW I Get It! Hugh MacDiarmid in Scots


The entire Famous Poets’ Nature Poetry series

  1. Nature Poetry by Famous Poets excerpting Thomas Hardy’s “The Darkling Thrush”
  2. Famous Poets’ Nature Poetry (1a): “The Sunlight on the Garden”
  3. Famous Poets’ Nature Poetry (2): Elizabeth Bishop
  4. Famous Poets’ Nature Poetry (3): Wordsworth’s Daffodils
  5. Famous Poets’ Nature Poetry (4): Promise of a Fruitful Plath
  6. Famous Poets’ Nature Poetry (5): Of Mice, Men and Rabbie Burns
  7. Famous Poets’ Nature Poetry (6): Hugh MacDiarmid in Scots
  8. Famous Poets’ Nature Poetry (6)–Oh, NOW I Get It!: Hugh MacDiarmid in Scots
  9. Famous Poets’ Nature Poetry (7): Black Legacies
  10. Famous Poets’ Nature Poetry (8): “Corsons Inlet” by A. R. Ammons
  11. Famous Poets’ Nature Poetry (9): “The Lake Isle of Innisfree”

Camp NaNoWriMo: Song of Spring

For this month’s Camp NaNoWriMo, the first of two annual camps (also in July), I continue and hope to reinvigorate the process of writing my 2016 NaNo novel based on Lewis Carroll’s Alice books.

Currently, I have a detailed plot outline, my main characters are taking shape, and I’m zeroing in on the kind of story I want to tell. I’ve drafted almost the first half of the story, but many of those scenes and especially several pieces of exposition probably will require significant rewriting to match the second half’s focus and character arcs.

My Camp NaNo goal is to finish the first draft of the whole story by April 30–however disjointed, incoherent, or mediocre it might be. Forward momentum! The summary and excerpt below represent my latest clues to what the final draft may become.

To see hints of the slow, unsteady development of the project since last summer, see this seed, a snapshot on the cusp of its germination, and the small bud of a key scene‘s rough draft.


Happy writing and reading this month, which is also National Poetry Month. For ideas on how to celebrate poetry, visit my list of suggestions from last year. Poem in Your Pocket Day is April 27th this year. Whatever you’ve got going, I wish you the best. Enjoy!

Plus, nature lovers, don’t forget to watch The Zoo tonight at 10pm EDT on Animal Planet, and Wild Scotland starting tomorrow at 8pm EDT on NatGeoWild. My post from earlier this week about TV nature programs and Scotland nature tourism can be found here.


I’ll soon share some other projects seeking fertile soil.

Summary: Novel synopsis-in-progress (drafted 3/28/17, revised 4/1/17)

A fantasy tale based on Through the Looking-Glass, and What Alice Found There by Lewis Carroll, Hunted Song of Looking-Glass Land re-imagines the second of his two Alice books. Glimpses of original chapters and the use of characters provide a frame of reference for new adventures and insights about the true nature of heroics and villainy in Looking-Glass Land. The teenage girl Song Warber, a Jabberwock, or Wock, wields her singular music-making powers in the struggle of freedom and justice for all Looking-Glass Landers.

A little girl named Alice mysteriously arrives in Looking-Glass Land and stirs up trouble for Song’s family even as both her presence and Song’s threaten the monarchy. Yet, it is only by allying with this alien little girl that Song can fulfill a destiny she only begins to fathom when her family falls into the hands of those determined to tear them apart—the Royals, or chess pieces, of Looking-Glass Land. Alice’s destiny is also at stake as she awakens to the gritty realities of this ailing country. Her triumph will depend on new alliances, betrayals, comings of age, secret support, a bit of magic, open battle, overcoming tragedies, facing fears, and confronting the White King, the Red Queen, and a vengeful Humpty Dumpty.

Can two young girls of vastly different species, upbringings, and worlds ever hope to right the wrongs of the place they inhabit, however briefly, together? The good of parallel worlds may depend on it. And what will become of Song and Alice in the process? It’s a reversal across the chessboard of team loyalties and the realm’s purpose as a land of vivid dreams, uncommon reality, and infinite possibility. Will Looking-Glass Land survive the turmoil?

Hunted Song novel excerpt (3/28/17, rev 4/1/17):

A story was told. Another was told after that. A minimum of three short stories or two longer ones would always be spoken in any given sitting where storytellers and story hearers gathered together.

Every story told was a try on the part of a contestant. It was a storytelling contest. Each contestant was a member of the Looking-Glass Land community, a long-standing member of the fellowship of the realm. No one was new. No one was young. No one was particularly old. The Royals were an exception. The White Royals looked wizened. The Red Royals, middle aged.

Storytelling had once been merely a pastime as popular as baking and walking in Looking-Glass Land. As popular as tea time. In fact, stories were often told over hearths and tea tables and tea sets. Tea things were the natural scenery for a storytelling session. Like other pastimes, preoccupations, and cultural rituals, the tradition of storytelling in Looking-Glass Land came with many rules. There were particular steps to be taken in the telling of a story. Specific qualities each story must have. A certain size an audience must have in number, to represent a story telling properly. Like tea time in England, storytelling in Looking-Glass Land had a certain order of operations to it.

As times grew harder, the wizened, middle-aged and neither youthful nor old inhabitants of the land grew more serious, less playful, less tolerant of creativity, invention, new ideas, new characters, or, eventually, any new stories. The only stories permitted were stories that had been told many times before. Known stories. Stories people had heard over and over again. Stories that became in their telling like the reciting of a pledge each morning in school or the swearing of an oath for public office. Familiar, unoriginal, the same–always the same. Even the wording had become regimented so that each well-known story could only be told in exactly one way with exactly the same words from start to finish, every time.

The contest continued, however. It became a competition in style of delivery. The stories never changed, so contestants needed only to memorize the content, and the rest could take on a variety of bellowing, shrill screeching, whispering, and outrageous inflections, dramatic pauses, vibrations and other sound effects, as well as musical accompaniment of every kind. Even a technique such as ventriloquism had been a trend at one time, but eventually, the crowds began to crave more elaborate movements on the part of the storytellers and from any actors they chose to act out the events of the tale.

You may think, So what? Stories are popular because they are told over and over again. When a story is repeatedly shared, it means it is popular. This can be true. However, the people of Looking-Glass Land took repetition to a whole other level. There were never to be any new stories of any kind for any purpose. Even recounting the events of one’s day to one’s family came to carry with it very strict rules and restrictions. Such recollections could only be so long and would not be permitted to be repeated outside the family circle within hearing range of other families or anywhere in public.

This was at first very difficult for people to comply with, as you might imagine. But over time, with practice, and a few minor adjustments to the rules, as with many things grown easier with habit, recitative storytelling in Looking-Glass Land came into its own. Upon visiting the land at such a time, you would note that it was as if no one had ever heard an original story, so much so that it mattered little who had originated the stories in the general repertoire. The creators had been forgotten, and no one mourned the loss of their memory. Memory instead became less and less important, and forgetfulness became au courant and du jour, as the French might say of more benign customs.

As a result, even short-term memory became devalued and less tenable among the people. This had reached a level of such ridiculousness that an outsider would find it absolutely comical how poorly the people held facts, events, even names in their memory, how few things they remembered while traveling from point A to point B, even just down the road from their houses. A side effect of this was that the Looking-Glass Landers were constantly getting lost in their own neighborhoods and villages, and needed help from a kindly neighbor they’d sought help from a thousand times before but whom at the moment they could not recognize. They could only hold so much information in those dry, unused brain muscles, you see.

The lack of need for invention, creativity, new ideas, or any kind of refreshing of activity had an even more devastating impact. It created scores of demented community members, folks with early onset Alzheimer’s, as it were, though they wouldn’t be able to spell that word let alone hold their own attention long enough to grasp its meaning. To try to remember the term? Forget it! And so they would.

This chronic, permanent forgetfulness applied to all things. There were occasional anomalies among the villagers in the thoughts they managed to commit to memory in their own clandestine ways, even while original storytelling became illegal, in both spoken and written form. Mainly, though, among most of the population, to forget was to comply, and to recite was patriotic. It was a way to pay homage to the stories the kingdom had declared the best, most worthy tales to be passed down from generation to generation in Looking-Glass Land. It could therefore hardly be noticed when the variation in delivery of these rote storytelling activities gradually lessened as well.

Like the flappers on the floating island world discovered by Gulliver, the people of Looking-Glass Land devised a means of support for their forgetfulness, to steer them aright and keep them from wandering forever aimlessly amidst their brooks, woods, and meadows. One of these devices was a system of concrete roads on which were painted in permanent pigments instructions to every destination known in the land to every other destination, as well as labels several points in advance of reaching a destination to remind the traveller that the arrival was imminent.

This worked even in cases where the person was in fact closer to their point of origin than they were to their designated destination. With abysmal short-term memory, the misguided could be guided best only by counter-factual signs and directions exaggerating the distance, the nearness, the direction, and the size of the places people sought to reach.

In fact, in our land, with our far superior short-term remembering skills (trust me, even you with poor short-term memory have nothing on these characters), we would interpret these overdone instructions as patently false, utter lies, and deep absurdities.

And who made such systems, you ask? Why, the government of course! They were naturally exempt from the restrictions they decreed. They became the parents, nurses, and shepherds of their people, and they could do very much as they liked, always, without challenge or correction or fear.

Such was the state of Looking-Glass Land in the years around the time Alice made her historic visit.

Actually, that would have been her second visit, if memory serves. Alice had been to Looking-Glass Land before, and the results of the first visit differed greatly from what that old fart Charles Dodgson professed them to be in his famous novel Through the Looking-Glass, and What Alice Found There. It’s really quite funny. For a man who treasured his memories of childhood and later friendships with children so dearly, he proved to have significant memory problems of his own when it came to the fictional worlds he himself had created.

As an outsider myself, from the next country of Wonderland, I saw what went on in Looking-Glass Land with my own eyes. I possess certain . . . powers that made these observations easier. Because of my unique circumstances and close investigation, I can tell you how it really happened, and I will very shortly. I only hope your memory is not so short. I hope that you will be able to learn and benefit from this history–for everyone’s sake. Perhaps having this written form to re-read and refer to will aid you in that endeavor. I bid you good luck and urge you to make an effort, if you can.

April is National Poetry Month

Small-Blue-RGB-National-Poetry-Month-Logo_0

It’s time to celebrate! Let us count the ways . . . .

  • Download, print and display this year’s poster.
  • List and find your group’s or area’s poetry-related events.
  • Attend a poetry open mic or poetry slam event.
  • Put on your poetry-writing contest face for the local library or calls for poems from literary and news publications.
  • Learn how to read and study poetry like a pro!
  • Track down and read the work of that poet you keep hearing about.
  • Students and teachers, check out Poetry 180, the Library of Congress project of former U.S. Poet Laureate Billy Collins.
  • Learn about the national recitation contest Poetry Out Loud.
  • Empty your pockets so they may be blessed with the bounty of beautiful verse on April 21, Poem-in-Your-Pocket Day.
  • Get out and poeticize (it’s a word, I swear! poets can make up words, too) nature, politics, facebook, school, the arts, work, your wardrobe, jelly beans, your car, that bad hair day, dust bunnies, March Madness, tattoos gone wrong–whatever!
  • Pen a song, write a rap, craft a poetic recipe, or make your own poetry crossword puzzle.
  • And if you’re ready to publish, check out guides such as 2016 Poet’s Market.

Worship words, savor sounds, lather up your language, make music, praise poetry.

Gear up for the verses.

Access all the awesomeness!

#rhymingoptional


Here are my blog’s 10 top-viewed posts in poetry.

  1. Adapted Bawdy Lyrics: Outlander TV Series, Episode 114, “The Search”
  2. Scotland’s Burns and Outlander rival Shakespeare’s bawdy
  3. Nature Poetry by Famous Poets
  4. Wild Verses, 5 of 10 / Writing 201: Poetry, Day 1 (Haiku, Water, Simile)
  5. Famous Poets’ Nature Poetry, 3: Wordsworth’s Daffodils
  6. Call of the Wild Poetry
  7. Famous Poets’ Nature Poetry, 2: Elizabeth Bishop
  8. Famous Poets’ Nature Poetry, 1a: “The Sunlight on the Garden”
  9. On Process: Verse Writing. Introduction and Part I: Motivation (involves writing an elegy for the late, great Leonard Nimoy/Spock)
  10. Writing 201: Poetry, Day 2 (Limerick, Journey, Alliteration)

Originally posted March 21st, International Day of Poetry, as “Poetry Month–It’s Coming!”

Poetry Month–It’s Coming!

Small-Blue-RGB-National-Poetry-Month-Logo_0

April is National Poetry Month, time to celebrate. Let us count the ways . . . .

  • Download, print and display this year’s poster.
  • List and find your group’s or area’s poetry-related events.
  • Attend a poetry open mic or poetry slam event.
  • Put on your poetry-writing contest face for the local library or calls for poems from literary and news publications.
  • Learn how to read and study poetry like a pro!
  • Track down and read the work of that poet you keep hearing about.
  • Students and teachers, check out Poetry 180, the Library of Congress project of former U.S. Poet Laureate Billy Collins.
  • Learn about the national recitation contest Poetry Out Loud.
  • Empty your pockets so they may be blessed with the bounty of beautiful verse on April 21, Poem-in-Your-Pocket Day.
  • Get out and poeticize (it’s a word, I swear! poets can make up words, too) nature, politics, facebook, school, the arts, work, your wardrobe, jelly beans, your car, that bad hair day, dust bunnies, March Madness, tattoos gone wrong–whatever!
  • Pen a song, write a rap, craft a poetic recipe, or make your own poetry crossword puzzle.
  • And if you’re ready to publish, check out guides such as 2016 Poet’s Market.

Worship words, savor sounds, lather up your language, make music, praise poetry.

Gear up for the verses.

Access all the awesomeness!

#rhymingoptional


Here are my blog’s 10 top-viewed posts in poetry.

  1. Adapted Bawdy Lyrics: Outlander TV Series, Episode 114, “The Search”
  2. Scotland’s Burns and Outlander rival Shakespeare’s bawdy
  3. Nature Poetry by Famous Poets
  4. Wild Verses, 5 of 10 / Writing 201: Poetry, Day 1 (Haiku, Water, Simile)
  5. Famous Poets’ Nature Poetry, 3: Wordsworth’s Daffodils
  6. Call of the Wild Poetry
  7. Famous Poets’ Nature Poetry, 2: Elizabeth Bishop
  8. Famous Poets’ Nature Poetry, 1a: “The Sunlight on the Garden”
  9. On Process: Verse Writing. Introduction and Part I: Motivation (involves writing an elegy for the late, great Leonard Nimoy/Spock)
  10. Writing 201: Poetry, Day 2 (Limerick, Journey, Alliteration)

 

 

Nature Poetry by Famous Poets

Verse writing, like other writing, can greatly benefit from the poetry we read. An overview of the evolution of the Western tradition in nature poetry might be a good place to start getting to know existing nature poems and poets, along with what it’s all about.

Featured on the Academy of American Poets‘ list of notable nature poems, English writer Thomas Hardy’s poem “The Darkling Thrush” serves as a good example for its formal meter and rhyme, gradual conceptual revelation, and descriptive beauty.

As perhaps an antidote to the horrors associated with nature’s dangers, recalled to us by Shark Week and SharkFest on TV this week, Hardy’s poem offers an infusion of hope and tranquillity.

The first two stanzas establish the atmosphere of the scene. Here is the second half of stanza 1:

The tangled bine-stems scored the sky
    Like strings of broken lyres,
And all mankind that haunted nigh
    Had sought their household fires.

The iambic meter creates rhythm with alternating lines of tetrameter (4 iambs, or beats of one unstressed syllable followed by a stressed syllable) and trimeter (3 iambs), the use of simile in the second line, and the selective word choice of verbs like “scored” and “haunted” exemplify some of this poem’s treasures. Read on for more.

Exact end rhyme in a traditional ABAB pattern adds to the lyrical effect of the rhythm. The journey of the poem portrayed is one of dwelling in darkness and being surprised by a sudden “light” of sorts. The animal, a bird, serves as the source of that light.

Famous poems can inspire, are useful models to imitate, and are worth reading for the sheer pleasure of it. There are so many options for subject, form, and style with nature poetry, as with many types of writing, that the number of different accepted approaches has greatly increased over time.

Whether you choose a formal or informal style, rhymed or free verse, animals or elements as your nature subjects, you too have open access to writing nature poetry for yourself and others.

Take advantage of the outdoors and the beauty of the seasons, bring along a pen and paper, observe what comes, and try your hand at some nature verse. Celebrate your world.

song thrush, northern Europe

song thrush, northern Europe


The famous nature poetry series (famous poetry, not so much the series–yet)

  1. Famous Poets’ Nature Poetry (1): Sun Spots – lines from poems in the sun
  2. Famous Poets’ Nature Poetry (1a): “The Sunlight on the Garden” by Louis MacNeice
  3. Famous Poets’ Nature Poetry (2): Elizabeth Bishop – featuring fish and moose
  4. Famous Poets’ Nature Poetry (3): Wordsworth’s Daffodils – compare to Ammons (8)
  5. Famous Poets’ Nature Poetry (4): Promise of a Fruitful Plath – “Blackberrying”
  6. Famous Poets’ Nature Poetry (5): Of Mice, Men and Rabbie Burns – “To a Mouse”
  7. Famous Poets’ Nature Poetry (6): Hugh MacDiarmid in Scots – “The Eemis Stane”
  8. Famous Poets’ Nature Poetry (6)–Oh, NOW I Get It!: Hugh MacDiarmid in Scots
  9. Famous Poets’ Nature Poetry (7): Black Legacies – on Black and African American poetry, featuring an excerpt of “Blessing the Animals” by Yusef Komunyakaa
  10. Famous Poets’ Nature Poetry (8): “Corsons Inlet” by A. R. Ammons – compare to Wordsworth (3)
  11. Famous Poets’ Nature Poetry (9): “The Lake Isle of Innisfree” – shared on Poem-in-Your-Pocket Day 2018

Also, if you enjoy writing for the birds, this blog has the goods.

  1. Poem “Hawk Side” Wins Contest – an original poem on the red-tailed hawk
  2. Wild Verses: Bits of Nature Poetry, 8 of 10 – starlings and a canine
  3. Five-Phrase Friday (12): Call It Bird Song – on the phonetics of bird calls
  4. Five-Phrase Friday (23): Cool Creatures – a bird of paradise, among others
  5. Five-Phrase Friday (26): The Poet’s Paradox – reference to poems about birds
  6. Backyard Brief: Mystery Bird Unveiled – identifying what I thought was a sparrow
  7. Backyard Brief: The Yellow Eye – Dickinson meets a special winter goldfinch
  8. Backyard Brief: What’s New – new friends make their first visits to our feeder
  9. Backyard Brief: Little White King – the white-crowned sparrow
  10. Backyard Brief: The Front Porch & Backyard Brief: Great Blue Birthday – blue heron
  11. Famous Poets’ Nature Poetry, 8: “Corsons Inlet” by A. R. Ammons – shorebirds jab
  12. Buddha, bird – an original poem – a pondering with links to some answers