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MOTHER NATURE.

MOTHER NATURE.Nature, the gentlest mother,
Impatient of no child,
The feeblest or the waywardest, –
Her admonition mild

In forest and the hill
By traveller is heard,
Restraining rampant squirrel
Or too impetuous bird.

How fair her conversation,
A summer afternoon, –
Her household, her assembly;
And when the sun goes down

Her voice among the aisles
Incites the timid prayer
Of the minutest cricket,
The most unworthy flower.

When all the children sleep
She turns as long away
As will suffice to light her lamps;
Then, bending from the sky

With infinite affection
And infiniter care,
Her golden finger on her lip,
Wills silence everywhere.

The official Daily Dickinson 2008 Calendar is available, featuring poems and pictures that have been featured on this site.

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Delight becomes pictorialDelight becomes pictorial
When viewed through pain, –
More fair, because impossible
That any gain.

The mountain at a given distance
In amber lies;
Approached, the amber flits a little, –
And that ‘s the skies!

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THE SHOW.

THE SHOW.The show is not the show,
But they that go.
Menagerie to me
My neighbor be.
Fair play –
Both went to see.

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THE MARTYRS.

THE MARTYRS.Through the straight pass of suffering
The martyrs even trod,
Their feet upon temptation,
Their faces upon God.

A stately, shriven company;
Convulsion playing round,
Harmless as streaks of meteor
Upon a planet’s bound.

Their faith the everlasting troth;
Their expectation fair;
The needle to the north degree
Wades so, through polar air.

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Emily Dickinson has a NYT name-check in the arts section today. Not a work of art inspired by Dickinson, per se, though her words are doubtless in the “vast collective [memory] that is stocked and ordered every day (and these days, every minute)” at the New York Times: “Moveable Type” is an installation in the lobby of the New York Times Building. The work consists of “two high walls [with] 560 small screens, 280 a wall, suspended in a grid pattern that looks at first glance like some kind of minimalist sculpture.” Across these screens flash words, phrases, and sentences culled from the NYT’s vast archives of 156 years worth of stories.

During the day, the machine delivers mostly snippets of news, including feeds from The NYT’s impressive offerings of web-only content. But at night, “the artwork, like the paper, will be mostly asleep but ‘dreaming’ — rummaging, ‘Finnegans Wake’-style, through articles and captions and headlines going back generations.”

It’s during those dreaming hours that snippets that have to do with Ms. Dickinson might flit past on the vacuum fluorescent displays. In recent years, the NYT has covered conservative Christians’ annoyance that she is not as edifying as they’d like; the passing of Richard Sewall, an influential Dickinson biographer; the scandalous affair of her brother Austin; and a 1986 tribute to which Joyce Carol Oats, Adrienne Rich, and Denise Levertov were invited. And that’s just what’s in the on-line database. No doubt “Moveable Type” has richer resources from which to draw to churn up snippets of Dickinson’s verse.

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I shall know why, when time is overI shall know why, when time is over,
And I have ceased to wonder why;
Christ will explain each separate anguish
In the fair schoolroom of the sky.

He will tell me what Peter promised,
And I, for wonder at his woe,
I shall forget the drop of anguish
That scalds me now, that scalds me now.

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Imagine my surprise when I noticed a sudden surge in traffic to this site (“sudden” and “surge” are relative terms here . . .), especially since things have been less than daily here of late (State Fair, first day of school, the usual excuses). And my greater surprise yet to find that the surge was courtesy of a Literature for Kossacks post at the Daily Kos.

And a great article it is, too. It highlights some of the things that make Dickinson much more interesting than if she were just a spinster writing rhymes in a New England attic: her playfulness with words and ideas, her earthy mysticism, her–quoting Harold Bloom–”cognitive originality as absolute as William Blake’s.” Dickinson certainly does rub elbows with Blake, as well as with Rumi, Rilke, Yeats, and Bly.

Full (or partial?) disclosure on the political side: I’m a not-particularly-partisan type, having wandered all over the political spectrum for quite a while. I’d describe myself as a “Tory anarchist” if asked, stealing proudly from George Orwell: I am distrustful of privilege and power, whether political or economic, but I’m also wary of Big Plans and Grand Schemes. If pressed, I’d mumble some things about subsidiarity, the Quaker testimony of equality, and communitarianism, hoping to confuse matters. I’m a great admirer of folks like Dorothy Day and Pyotr Kropotkin, but also of Karl Popper and Hernando De Soto (the economist, not the conquistador; I’m most decidedly unimpressed with conquistadors).

In the two decades I’ve been voting, I’ve cast ballots for folks in both major parties and more than a few minor ones as well, based on how well I expected them to respect individual liberty while recognizing the common good. Lately that has meant voting Democratic, though often because the Democrat was far less bad than the alternative. This time around, I’m looking for the presidential candidate who, as Thomas Ricks suggests, has the best developed sense of tragedy. (That may have to be Obama, by default, as the only published poet in the bunch.)

So anyway–though I’m hardly an upstanding member of any party but George Orwell’s (I suppose that’s the ill-fated and marginal POUM, which sounds almost like “POEM” though it ends far worse than the usual enjambment . . .), I’m greatly appreciative of the link, and impressed with a fine piece of writing on Emily Dickinson.

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THE SEA OF SUNSET.This is the land the sunset washes,
These are the banks of the Yellow Sea;
Where it rose, or whither it rushes,
These are the western mystery!

Night after night her purple traffic
Strews the landing with opal bales;
Merchantmen poise upon horizons,
Dip, and vanish with fairy sails.

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