In Homer’s Odyssey the Sirens’ song was an enchanting tune, impossible to resist, that lured lonely sailors toward a perilous shoreline, where they would die when their ships crashed against the jagged rocks. In the mesmerizing documentary The Bridge, the Sirens’ song is the strange allure of San Francisco’s magnificent Golden Gate Bridge.
That time I thought I could not go any closer to grief without dying
I went closer, and I did not die. Surely God had His hand in this,
as well as friends. Still, I was bent, and my laughter, as the poets said,
was nowhere to be found. Then said my friend Daniel (brave even among lions), “It’s not the weight you carry
but how you carry it— books, bricks, grief— it’s all in the way you embrace it, balance it, carry it
when you cannot, and would not, put it down.” So I went practicing. Have you noticed?
Have you heard the laughter that comes, now and again, out of my startled mouth?
How I linger to admire, admire, admire the things of this world that are kind, and maybe
also troubled— roses in the wind, the sea geese on the steep waves, a love to which there is no reply?
Coming to God: First days
Lord, what shall I do that I can’t quiet myself? Here is the bread, and here is the cup, and I can’t quiet myself.
To enter the language of transformation! To learn the importance of stillness, with one’s hands folded!
When will my eyes of rejoicing turn peaceful? When will my joyful feet grow still? When will my heart stop its prancing as over the summer grass?
Lord, I would run for you, loving the miles for your sake. I would climb the highest tree to be that much closer.
Lord, I will learn also to kneel down into the world of the invisible, the inscrutable and the everlasting. Then I will move no more than the leaves of a tree on a day of no wind, bathed in light, like the wanderer who has come home at last and kneels in peace, done with all unnecessary things; every motion; even words.
All afternoon the sea was a muddle of birds black and spiky, long-necked, slippery.
Down they went into the waters for the poor blunt-headed silver they live on, for a little while.
God, how did it ever come to you to invent Time?
I dream at night of the birds, of the beautiful, dark seas they push through.
These poems are excerpted from Mary Oliver's book Thirst (Houghton Mifflin), used wth permission of the publisher and the author.
In director Todd Field’s Little Children, adapted from Tom Perrotta’s best-selling novel, Kate Winslet plays Sarah, an intelligent, expensively educated woman who is raising a preschool daughter in the suburbs. Her husband, Richard (Gregg Edelman), has apparently lost sexual interest in her; up in his study he amuses himself with photos of an Internet seductress known as Slutty Kay.
When I’m reading a joke out loud from a new joke book, I hear my voice start to falter, from laughter, almost to weep, from laughter, the way my sister’s voice did as a child or a woman, especially if somebody made a bathroom joke; and my father’s voice did, when he wasn’t just poking fun at someone, when he found something really funny; slapstick got him laughing that way, sometimes. A laughter beyond words, maybe beyond grief. As I hear myself laughing like them, with them, I say: a laughter beyond death.
A curving trail—the callused field obscures it until we shovel out the clotted brick, lug a ton or two of sand to fit trenches, level rumpled earth, correct courses. A mallet stuns a thumb, new blisters bud as self-impressed we shout, “This row is done!” but then a kid names names, prefers George Toad, Kate Cricket, slaps William Mosquito, pats Barkly, unleashed, our best company. We rest and share cold drinks. David brings homemade muffins, burned, blueberry plenty. Sun flickers around us, summer’s wings. Yet sand, we need more sand! Deer watch from trees while we adjust the pathways on our knees.
The diaries of World War I poet Siegfried Sassoon have been digitized and made available to the public by the University of Cambridge. Sassoon, a British soldier, was quickly disillusioned by the war and became an outspoken war critic. His diaries feature poetry, prose, and drawings and include his 1917 antiwar “Soldier’s Declaration,” which got him committed to a hospital for the duration of the war. He described the first day of the Battle of Somme as a “sunlit picture of hell” (BBC, July 31).