Her house is empty and her heart is old, And filled with shades and echoes that deceive No one save her, for still she tries to weave With blind bent fingers, nets that cannot hold. Once all men’s arms rose up to her, ‘tis told, And hovered like white birds for her caress: A crown she could have had to bind each tress Of hair, and her sweet arms the Witches’ Gold.
Her mirrors know her witnesses, for there She rose in dreams from other dreams that lent Her softness as she stood, crowned with soft hair. And with his bound heart and his young eyes bent And blind, he feels her presence like shed scent, Holding him body and life within its snare.
William Faulkner began writing poetry at an early age; and in his late 20s he published his first book, a collection of poems titled ‘The Marble Faun’. Though much of the fiction for which he won the 1949 Nobel Prize carries a heavy southern accent or is written in stream of consciousness, it is engaging to see that he could be meditative in the iambic pentameter of a regular sonnet if he chose.
You bring me back to when I once was young
When candles gild your eyebrows and your hair;
And to this rocky isle from which I’ve sprung,
You bring me back to where I once was young,
Birthplace of all the varied songs I’ve sung.
Now lying with you in the predawn air
You bring me back to when we both were young
As sunrise gilds your eyebrows and your hair.
This poem was originally published in The Rotary Dial, a Canadian monthly of 12 formal poems that ran some 50 issues before packing up in 2017. It was edited by two prize-winning Canadian poets, Pino Coluccio (winner of the Trillium Book Award for “Class Clown”) and Alexandra Oliver (winner of the Pat Lowther Award for her collection “Meeting the Tormentors in Safeway”). A very enjoyable magazine, I’m sorry it’s gone.
A triolet is strangely attractive form – it only has two rhymes, and several of the lines are required to repeat (though slight variations in the repetition are allowed, carrying the sense forward into new areas). So the rhyme scheme is ABaAabAB, with lines 1, 4 and 7 and lines 2 and 8 repeating, yet having fresh meanings as the little poem moves along.
In the case of this poem, being married for 25 years became enmeshed with returning to live in my home town after 40 years. The triolet’s structure of repetition suits a poem about development, ageing, memory, return.
“Jam Jar” was published last year in the September issue of Amsterdam Quarterly (as well as in the AQ 2018 Yearbook). I originally titled it “Fireflies”, but AQ editor Bryan Monte had published a piece with that name in the previous issue, and naturally requested a change. Such are the vagaries of the publishing world.
Catching fireflies in a jar is such a childlike activity. And that’s appropriate here: no matter how old you become, you will always be the child of your parents.
Technically: it’s a short, simple poem. Iambic pentameter suits the meditative mood, the ABAB rhyme scheme is a natural for four lines.