Tag Archives: memorable

Poetry Resources: “Best Remembered Poems”

578776Perfectly competent, and with interesting trivia and useful background notes by Martin Gardner, this selection of “Best Remembered Poems” is pedestrian almost by definition: these are the ones that are best remembered by Americans, so there will be very little that is new and exciting–and honestly, a lot of the poems best remembered from high school English lessons on the 19th and early 20th century… are downright boring.

But if you’re looking for a book that contains most poems that most non-poets vaguely remember… that contains both ‘The Charge of the Light Brigade’ and ‘Casey at the Bat’… then this is the one for you!

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Poetry Resources: The Norton Book of Light Verse

The single best anthology of light verse that I know. Over 500 poems selected by Pulitzer Prize winning commentator Russell Baker (and with an excellent introduction by him). Everything from ‘Summer is y-comen in’ and its modern parodies, to Shakespeare and Marlowe, Noel Coward and Cole Porter, Don Marquis and Phyllis McGinley, Allen Ginsberg and John Lennon.

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Light verse lends itself to the use of form, and most of the poems are formal. Rhyme and meter make it easier to remember verse word for word, but there are bits that I remember, have known since my school days, that don’t share those attributes. For example, Cummings’ ‘Nobody loses all the time’

(and down went
my Uncle
Sol

and started a worm farm).

But such pieces are the exception. By the far the majority of light verse is going to rhyme and scan, and that is part of its charm.

As most poets only get one or two poems in this anthology, there are a couple of hundred poets represented. The book is therefore an excellent way to broaden your awareness of English-language poets – though if there are any outside the British-Irish-American area, I’m not aware of it. This limitation, and the fact that the compilation dates from 1986, are the only negative things to say about a superb and memorable collection.

 

Poetry of Louis MacNeice

Louis MacNeice wrote one perfect poem, “The Sunlight on the Garden”. Insightful, wistful, tightly rhymed in a pattern maintained for four stanzas, easy to memorise, it is frequently anthologised and rightly so:

Louis MacNeice, Selected Poems

The sunlight on the garden
Hardens and grows cold,
We cannot cage the minute
Within its nets of gold,
When all is told
We cannot ask for pardon.

Others of his poems are easy to find, “Bagpipe Music”, “The Truisms”, and so on. They and a lot more, including good excerpts from his longer works, are in this excellent selection.

The similarity of much of his work to Auden is clear (for example in “Postscript to Iceland” after their shared journey there), but the thing that intrigued me unexpectedly was the similarity to the poems of T.H. White. The Irish background, English education, writing of cities and countrysides and cultures of both places, the being in Ireland at the outbreak of World War II… the rhyming, the frequently loose structures, the general tone of many of the character sketches… all those aspects of White’s “A Joy Proposed” echoed as I read MacNeice.

MacNeice, however, is without question the superior poet. After all, he wrote one of the most elegant poems in the English language.

Using form for fun: “Auntie’s Model Niece”

Image result for art school model

Posing bare

AUNTIE’S MODEL NIECE

 

Auntie got her
Maid to knit a
Set of under-
Wear,

For my frozen
Sister Flo’s end
That was posing
Bare;

Flo then wore ’em
With decorum
And she swore ’em
Grand,

Undismayed by
Undies made by
Auntie’s maid by
Hand!

First published in Snakeskin, republished in The HyperTexts, this poem has been a family favourite. It shows some of the strengths of form: a playful form suits a playful idea, and simple structure and heavy rhyme make the poem easy to learn by heart.

Using form for fun: “Old Sailors”

This poem was written purely for fun–and the use of form was essential.

Lantern Slide - Two Sailors Having a Cigarette

Two old tars

OLD SAILORS

Two tars talked of sealing and sailing; one said with a sigh
“Remember gulls wheeling and wailing, we wondering why,
“And noting bells pealing, sun paling — it vanished like pie!
“And then the boat heeling, sky hailing, the wind getting high,
“And that drunken Yank reeling to railing and retching his rye,
“John missing his Darjeeling jailing, and calling for chai?
“While we battened, all kneeling and nailing, the hurricane nigh,
“And me longing for Ealing, and ailing?” His mate said “Aye-aye;
“I could stand the odd stealing, food staling, not fit for a sty,
“And forget any feeling of failing, too vast to defy –
“Home-leaving your peeling-paint paling too far to espy –
“All because of the healing friend-hailing, the hello! and hi!
“And, with the gulls squealing, quick-scaling the mast to the sky.”

The poem started as an exploration of rhymes for both sealing and sailing, which seemed like interestingly paired words. Many of the rhymes (and the third one, “sigh”) fell easily into a nautical mood. The metre flowed on from “sealing and sailing”. Add in alliteration wherever possible, and look for a coherent story and resolution… and there is the poem.

It was originally published in George Simmers’ online poetry journal, Snakeskin–a highly eclectic journal–and it made for what one reader called a “good nautical rhythm”, and another comment was “finely composed wordy-whirlwind of images”. Both those strengths of the poem come from the use of form: the nautical rhythm from the choice of metre, the whirlwind of images from the requirement to compress everything into the rhyme scheme.

It isn’t a deep, meaningful poem; but form can be used purely for enjoyment.

Poetry Resources: The HyperTexts

One of the most fascinating – as well as ENORMOUS – repositories of poetry on the Internet is a vast, rambling, straggling site called The Hypertexts. The link here will take you to a listing of hundreds and hundreds of good poets, ancient and modern, well-known and obscure, formal and free, with and without expositions by the site’s creator, poet Michael R. Burch.

William Blake Ancient of Days

William Blake’s “The Ancient of Days”

Want to read William Blake? Or Ronald Reagan’s (surprisingly competent) verse? They’re both here.

Want to read poems on the Holocaust next to poems on the Nakba, the Palestinian Catastrophe? There’s a whole section on it.

Ancient Greek Epitaphs and Epigrams? Anglo-Saxon Riddles and Kennings? Walt Whitman? Wit and Fluff? Everything you could hope for, with more being added all the time.

Truly one of the greatest resources in the world for lovers of poetry!

Our First Chapbook: “Tourists and Cannibals”

The first chapbook in the Potcake Chapbooks series–“Tourists and Cannibals – poems on travel”–is now out, and available through Sampson Low’s page. It features 11 well-known formal poets (“formal” in the sense of structured rhyme and metre/meter). Spellings wander between British and American, as the poets are writing from half a dozen countries. The variety of voices is part of the charm of the series, from the flippant to the wistful to the analytic, writing in a wide variety of forms.

01 Tourists and Cannibals cover

Alban Low’s drawings capture the right tone!

These chapbooks are made from a single large sheet of high quality bond paper printed both sides in colour, folded four times, cut and stapled. This gives a 16-page booklet, with enough space for a dozen poems and some illustrations by Alban Low. As you can see by the title and the front cover above, the chapbooks are lighthearted.

The poems can’t be too long in a format like this, and lightheartedness is well served by rhythm and rhyme. The chapbooks are designed to be the sort of enjoyable, witty, interruptable collection that serves well on a journey or as a little gift at the price of a fancy greeting card.

But of course their true, insidious intent is to help with the reinvigoration of traditional verse within popular culture. Will this work? We’ll just have to see.