Straw to Gold

HAYFOOT, STRAWFOOT!
~ ACCUSTOMED, CEREMONIOUS ~

" . . . here's a spinning wheel
use it once you’ve learned
there’s a way to turn the straw to gold . . ."
~ Emmylou Harris ~

I've been collecting Christmas books from way back, starting from about the time that I could walk and talk. I could never dream to match Betsy Beinecke Shirley, Jock Elliott and George Meredith, but I now have approximately 250 festive titles filling out the modest holiday section of our home library. Apparently, Davey was my first.

A notation from my mother on the inside cover of my crumbling, long - beloved, vintage spiral pop-up paperback informs me that my "Great Aunt Carrie Weiser Heideman, of Coffeyville, Kansas, gave this delightful book to the twins [that would be me and my brother Bruce] early in the Christmas season of 1959."

Published in 1950 and currently out - of - print, used copies are rare and costly (around $100). Luckily, a few years ago, I was able to find an affordable copy as a Christmas surprise for my twin, so at long last, we each have one of our own. My mother's inscription, for readers of the future, continues:

"Everyone who has read it or heard it read has fallen in love with it. Please treasure it so that many others will be charmed by its beautiful story."

As you can see, it came in a gift box, complete with various accessories, such as a pair of pin - up donkeys, a candy land game, and a 3D straw basket name tag:

We kids loved all of these components, and the story itself was a childhood favorite:

Davey and the First Christmas

Let’s pretend there was a boy, and Davey was his name.
Whose family lived in Bethlehem when Christmastime first came.
Davey had a special pet – a donkey small and gray,
And what the two of them did best was getting in the way!

Davey named the donkey Tim. He never rode him though.
Either Tim was built too high or Davey was too low!
Davey’s father had an inn where people came to stay;
And lots and lots and lots of them were coming there one day.

His father was as busy as six or seven bees!
So Davey said, “I want to help, can’t I do something, please?
Tim would like to help you, too. Find a job for us to do!”

“Listen, son,” his father said, “Last week you broke three jugs.
You scared my two best customers with your pet lightening bugs!

You tracked in mud on my clean floor, you tripped and dropped the bread.
And though I loved the fish you caught – why leave them on my bed?

I’ve put up with your helpfulness as long as I am able.
So do me one big favor now, get out – and clean the stable!”

Davey sadly went and stood beside the stable door.
It hardly seemed that anyone could clean that dirty floor.
He and Tim both felt so bad they started in to cry —
But then (thought Davey), “Yes, we can! Well, anyhow – let’s try.
First, let’s chase those chickens out. That’s what we’ve go to do.

So Tim began to flap his ears while Davey shouted, “Shooooo!”
The chickens clucked and flew and ducked, they fluttered wild and scary,
Until their feathers filled the air like snow in January.

Yes, Davey chased those chickens out, He and Tim together.
But now he had to get a sack and pick up every feather!

You should have seen how hard they worked! They stacked up all the wheat,
They straightened up the harnesses till they were nice and neat.
They fought with spiders bravely till they chased out every bug.
And since we must admit the truth -- they broke another jug!

The very biggest job of all was stacking up the hay.
Davey climbed up to the loft and put it all away.
“Look, Tim. You see how high it is? I’ll make just one more trip.”
Then clear up by the stable roof his feet began to slip!

Down came the hay and Davey, too. The stable looked so queer –
All you could see was piles of hay – one sandal, and one ear!

Slowly they came out on top, and Davey didn’t whine,
Though hay stuck out all over him just like a porcupine!

He put the hay all back again and stacked it up with care –
But left one armload down below to fill the manger there.

So Davey’s work was done at last; and when it all looked neat
He picked some flowers to trim the barn, and some for Tim to eat.
“I hope it’s clean enough,” he thought. “At least I did my best.”
And feeling very, very tired, he curled up for a rest --

Who woke up Davey from his sleep? Just guess them if you can.
Mary was the woman’s name, Joseph was the man.

Mary said, “Oh Joseph, look!” This is a lovely place!”
Then, seeing Davey there, she said, with such a shining face,
“Your father’s inn had no more rooms, tonight we’re staying here.
So tell me now, are you the boy who cleaned the stable, Dear?
And did your donkey help you work? We want to thank him, too.”

Though Davey was still half asleep, his heart was glad clear through.
So that is how a little boy, two thousand years ago,
Stayed on to hear the angels sing, and see the Star aglow.

As soon as Baby Jesus came to use the manger bed,
Then Davey’s sack of feathers made a pillow for His head.
No one told Davey anymore that he was in the way. His work had helped get ready for the world’s first Christmas Day!

Poem by Beth Vardon
Illustrations by Charlot Byj (1920 – 1983)

"A stable lamp is lighted
Whose glow shall wake the sky
The stars shall bend their voices
And every stone shall cry
And every stone shall cry
And straw like gold will shine
A barn shall harbour heaven
A stall become a shrine . . . "

from the poem by Richard Wilbur
Next Fortnightly Post ~ There Are Children in the Leaves
Sunday, December 28th

Between now and then, read
THE QUOTIDIAN KIT ~ Leaves & Straw
my shorter, almost daily blogs
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogsppot.com

P.S.
So many colorful details to scrutinize,
such as these jugs:

The Soul Shrinks: Wilbur & Whyte

FURTHER CONNECTIONS,
ACCUSTOMED, CEREMONIOUS

" . . . a small opening into the new day . . . "

1. Scroll back eleven years
to Richard Wilbur's dreamy poem
"Love Calls Us to the Things of This World":

"The eyes open to a cry of pulleys,
And spirited from sleep, the astounded soul
Hangs for a moment bodiless and simple
As false dawn. . . .

The soul shrinks

From all that is about to remember,
From the punctual rape of every blessed day . . ."

&

2. Now go back five Thanksgivings
to David Whyte's tender reminder of
"What To Remember When Waking":

"In that first hardly noticed moment in which you wake,
coming back to this life from the other
more secret, moveable and frighteningly honest world
where everything began,
there is a small opening into the new day
which closes the moment you begin your plans. . . .

To be human is to become visible . . .
To remember the other world in this world
is to live . . . "

In very similar ways, these two poems describe the first few seconds of consciousness after a deep forgetful sleep. Whyte says the world of dreams is frightening; Wilbur finds the waking world astounding, and not always in a good way -- which is why the soul shrinks from it. Waking up is hard! It's all about remembering and starting over again, every day.

Nowhere is this daily repetition more vividly demonstrated than in the morning routine of Roy Scheider / Joe Gideon / Bob Fosse, as portrayed in the 1979 movie All that Jazz. He washes his face, puts drops in his eyes, takes a handful of meds, smacks his cheeks, looks in the mirror, and -- miraculously -- his soul appears, ready to accept the punishing reality of his relentless schedule: It's showtime!

Wilbur imagines the soul beginning each day "bodiless" before its descent and reunion with the physical body. Similarly, Whyte suggests the soul's movement from one state to another: "To be human is to become visible." However mystical and enriching our sleep may be, we are perpetually required to make the jagged transition from dreams to reality, to apply ourselves, to get back to work again, gathering our desires. It' showtime!

The morning light illuminates the "hunks and colors" and "shapes" of our earthly life, all those bulky obligations and responsibilities, all that quotidian laundry.

For Wilbur,

" . . the sun acknowledges
With a warm look the world's hunks and colors,
The soul descends once more in bitter love
To accept the waking body . . . "


For Whyte,

"Now, looking through the slanting light of the morning window
toward the mountain presence of everything that can be
what urgency calls you to your one love?
What shape waits . . . "

In both poems, it is love, bitter or not, that calls us to the things of this world. Each narrator reveals a strategy for how to keep on loving the world, participating in the panorama, and writing about it. Whyte says, have a big plan, not a small plan; try not to feel uneasy; you belong here! Wilbur says, no it's not easy keeping our balance; it's difficult but also -- as he describes the laundry animated by the breeze -- joyful, angelic, delicate.

Photos of November Foliage
West Sussex, England

Next Fortnightly Post
Monday, November 28th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogsppot.com

First Snow In Indiana

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

~ Garage Lights ~
Waiting for Gerry's return from the Indianapolis Airport
When it snowed two weeks ago, on Halloween, I could have sworn it was the first time in my life that I've ever seen snow in October. Having lived in Kansas, Missouri, Arkansas, Pennsylvania, and Indiana -- well, those are not the States where one sees snow in October, not even on the last day!

Snow on Halloween? In Indiana?
When half the backyard is still green? Well, I never!

Then along came yesterday's snow, on my sister Peggy's birthday, and even that seemed too early. Have I ever seen snow on her birthday before? I don't think so! I don't care if it is the second week of November, that's just too soon! I decided to check out the Indiana Climate Archives, which informed me that there had indeed been "measurable" snowfall in Indiana on October 18, 1989. What?! I actually lived in Indiana on that day, but I have no memory of such! Oh, if only I'd been recording weather lore in my journal back then. But alas. Well, this time, I took plenty of pictures:

I love my friend Dana Hall's description of this eerie, early snow:
"Exciting but a little surreal and scary, right?"
The pumpkins are an added bonus!

Several friends noted how much we might have enjoyed this snow back when we were seven years old! But at fifty - seven, it's a mixed blessing. On their Christmas Portrait, the Carpenters provide a light - hearted reminiscence:

Oh the first snowfall of the winter
Was a day that we all waited for . . .

Oh the first snowfall of the winter
What a joy for a boy to behold . . .

It's the good old sentimental season . . .
When a man becomes a boy once again . . .

Music by Joseph F. "Sonny" Burke (1914 - 80)
Lyrics by Paul Francis Webster (1907 - 84)

With Veterans Day so recently past, my thoughts turned to the snowy battle scene depicted by poet Richard Wilbur in "First Snow in Alsace." The World War II night guard in Wilbur's poem "becomes a boy once again," in more somber circumstances than the Carpenter tune describes, but with equal joy. He boasts warmly that "He was the first to see the snow." Seen through through "the new air white and fine," even the war - torn surroundings have been magically transformed by the first snow that falls indiscriminately, innocently, neutrally.

In fact, it hasn't been all that long ago since the young soldier was a child himself, playing in the snow. His daydreams of youthful winters take him -- not fifty years -- but a mere "Ten first - snows back in thought":

First Snow in Alsace
The snow came down last night like moths
Burned on the moon; it fell till dawn,
Covered the town with simple cloths.

Absolute snow lies rumpled on
What shellbursts scattered and deranged,
Entangled railings, crevassed lawn.

As if it did not know they'd changed,
Snow smoothly clasps the roofs of homes
Fear-gutted, trustless and estranged.

The ration stacks are milky domes;
Across the ammunition pile
The snow has climbed in sparkling combs.

You think: beyond the town a mile
Or two, this snowfall fills the eyes
Of soldiers dead a little while.

Persons and persons in disguise,
Walking the new air white and fine,
Trade glances quick with shared surprise.

At children's windows, heaped, benign,
As always, winter shines the most,
And frost makes marvelous designs.

The night guard coming from his post,
Ten first-snows back in thought, walks slow
And warms him with a boyish boast:

He was the first to see the snow.

Richard Wilbur (b. 1921)

Addional Connections
1. Here is another poem that takes the reader on an absolutely beautiful walk in newly fallen snow. Whereas Wilbur is crossing Alsace, "Walking the new air white and fine," Wylie walks elegantly "In a soundless space . . . through the still town / In a windless space":

Velvet Shoes
Let us walk in the white snow
In a soundless space;
With footsteps quiet and slow,
At a tranquil pace,
Under veils of white lace.

I shall go shod in silk,
And you in wool,
White as white cow's milk,
More beautiful
Than the breast of a gull.

We shall walk through the still town
In a windless peace;
We shall step upon white down,
Upon silver fleece,
Upon softer than these.

We shall walk in velvet shoes:
Wherever we go
Silence will fall like dews
On white silence below.
We shall walk in the snow.

Elinor Morton Wylie (1885 - 1928)

2. In "The Arrested Artistry of Elinor Wylie," editor John G. Rodwan, Jr. observes that Wylie's poetry has been compared to that of Richard Wilbur and that she was devoted to the life and work of Percy Bysshe Shelley.

3. Speaking of Shelley, I don't know if this poem about the mutability of art and love was one of Wylie's favorites, but it's one of mine. It lacks the hope of Wilbur's "First Snow in Alsace," but shares a similar sense of human frailty, endurance, and irrevocable loss, complete with seasonal imagery of falling leaves, and cold wind:

When the Lamp is Shattered
When the lamp is shattered
The light in the dust lies dead-
When the cloud is scattered,
The rainbow's glory is shed.
When the lute is broken,
Sweet tones are remembered not;
When the lips have spoken,
Loved accents are soon forgot.

As music and splendour
Survive not the lamp and the lute,
The heart's echoes render
No song when the spirit is mute-
No song but sad dirges,
Like the wind through a ruined cell,
Or the mournful surges
That ring the dead seaman's knell.

When hearts have once mingled,
Love first leaves the well-built nest;
The weak one is singled
To endure what it once possessed.
O Love! who bewailest
The frailty of all things here,
Why choose you the frailest
For your cradle, your home, and your bier?

Its passions will rock thee,
As the storms rock the ravens on high;
Bright reason will mock thee,
Like the sun from a wintry sky.
From thy nest every rafter
Will rot, and thine eagle home
Leave thee naked to laughter,
When leaves fall and cold winds come.

Percy Bysshe Shelley (1792 - 1822)
[see also "Ozymandias" & "Ode to the West Wind"]

4. Another blogger makes a connection between "When the Lamp is Shattered" and Wilbur's haunting Christmas hymn "A Stable Lamp is Lighted".
[See also "Love Calls Us to the Things of This World"]

5.StoryPeople always gets it right! Thanks Brian Andreas!

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Friday, November 28th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Winnow the Dreams

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

Sun and Wind on the Roof, 1915
John French Sloan, 1871 - 1951

“Oh, let there be nothing on earth but laundry,
Nothing but rosy hands in the rising steam
And clear dances done in the sight of heaven."
Love Calls Us to the Things of This World
The eyes open to a cry of pulleys,
And spirited from sleep, the astounded soul
Hangs for a moment bodiless and simple
As false dawn.

Outside the open window
The morning air is all awash with angels.

Some are in bed-sheets, some are in blouses,
Some are in smocks: but truly there they are.
Now they are rising together in calm swells
Of halcyon feeling, filling whatever they wear
With the deep joy of their impersonal breathing;

Now they are flying in place, conveying
The terrible speed of their omnipresence, moving
And staying like white water; and now of a sudden
They swoon down into so rapt a quiet
That nobody seems to be there.

The soul shrinks

From all that it is about to remember,
From the punctual rape of every blessed day,
And cries,

“Oh, let there be nothing on earth but laundry,
Nothing but rosy hands in the rising steam
And clear dances done in the sight of heaven."

Yet, as the sun acknowledges
With a warm look the world's hunks and colors,
The soul descends once more in bitter love
To accept the waking body, saying now
In a changed voice as the man yawns and rises,

"Bring them down from their ruddy gallows;
Let there be clean linen for the backs of thieves;
Let lovers go fresh and sweet to be undone,
And the heaviest nuns walk in a pure floating
Of dark habits,
keeping their difficult balance."

by Richard Wilbur

Click to hear poet Richard Wilbur read this amazing poem
and explain how he was inspired by the idea of the floating laundry.

Another painting by artisit John French Sloan ~ also inspired by laundry!
Red Kimono on the Roof, 1912

See also:
1. additional perspectives on Wilbur's poem
2. interesting blog post on "Love Calls Us"
3. clever little analysis for beginners

And a few more connections:
1. Contemporary poet, Barbara Kunz Loots describes the tension between possibility and duty with elegant simplicity. For her the "infinite possibilities" are "delicate grain" and the "infinite duties" are "the plain bread of day."

Waking
How hard it is to winnow the dreams from waking,
To watch the gold illusion drift away
And turning to the delicate grain of morning
Grind it into the plain bread of day.
by Barbara Kunz Loots
2. Last week on facebook, epigrammatist and collage artist Michael Lipsey captured the same idea in this fetching visual. Is it a beaver, as in "busy as a beaver" (infinite duty)? Or is it a groundhog, as in if I don't like what I see, I'm not coming out! Maybe it is not the bright sunshine so much as the it is the sheen of infinite possibility that causes the groundhog to shrink from its shadow and run away, overwhelmed. Perhaps love does not call the groundhog to the things of this world.

"There's an in between time when you wake up,
hanging onto the dream, but beginning to remember
things you need to do today." ~ Michael Lispsy
When I read Lipsey's caption concerning the "in between time," I couldn't help thinking of what Loots says about watching "the gold illusion drift away," as the dreamer sifts the wheat from the chaff; and of the "astounded soul" in Wilbur's poem, hanging "bodiless and simple," waiting to rejoin the waking body for another round of mundane errands. At first "the soul shrinks from all that it is about to remember" -- the repetition, the banality, the laundry. But after a few moments of semi - wakeful debate, "the soul descends . . . in bitter love" to accept the reality of the day at hand. Similarly, we rise up "in bitter love" to embrace each day, despite a thousand misgivings. The voice in both poems is resigned yet optimistic: the grain is delicate, the laundry is sacred, the day redeems itself.

3. I am reminded of the E. B. White "To - Do - List" fridge magnet:
"If the world were merely seductive, that would be easy.
If it were merely challenging, that would be no problem.
But I arise in the morning torn between
a desire to improve the world
and a desire to enjoy the world.
This makes it hard to plan the day."
White vacillates between enjoyment and accomplishment, as do the sunstruck groundhog (though maybe not the industrious beaver), the reluctant dreamer, and the astounded soul. The vacillation makes it "hard to plan the day" -- but not impossible. One way or another, even if only by "habit" (Wilbur's pun), we accept the challenge of the sun, yawn, rise, go forth day after day, keeping our "difficult balance." I especially like the way that Wilbur's conlcusion can actually be found in his title: "love call us to the things of this world."

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Wednesday, August 14th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Lot's Wife, Who Gave Her Life For a Single Glance

ACCUSTOMED, CEREMONIOUS . . . EXCEPT THAT . . .

"The Sodom and Gomorrah motif
from the Nuremberg Chronicle by Hartmann Schedel, 1493.
Note Lot's wife, already transformed into a salt pillar, in the center."
A couple of connections to my two most recent previous posts:

1. Together with my Penelope poems, I have a collection of poems about a few more long - suffering legendary heroines, the nameless wife and daughters of the infamous Lot, Abraham's nephew, who ushers his small family away from the Biblical destruction of Sodom. His wife is often portrayed as shallow or heedless, with her priorities all mixed up, but these poems show otherwise.

2. One of my favorites is "Ms Lot" by Muriel Rukeyser, who also wrote "Waiting for Icarus" (click or scroll down). The voice of Lot's daughter is similar to that of Icarus's girlfriend, particularly the combination of lament and outrage. She is humiliated by her father's treatment of her, his inability to treat her or her mother with respect. How can he accord them so little dignity? Would he really have done away with his own daughters so easily? She does not question her mother's priorities, but she questions her father's:

Ms Lot
Well if he treats me like a young girl still,
That father of mine, and here’s my sister
And we’re still traveling into the hills—
But everyone on the road knows he offered us
To the Strangers, when all they wanted was men
And the cloud of smoke still over the twin cities
And mother a salt lick the animals come to—
Who’s going to want me now?
Mother did not even know
She was not to turn around and look.
God spoke to Lot, my father.
She was hard of hearing. He knew that.
I don't believe he told her, anyway.
What kind of father is that, or husband?
He offered us to those men. They didn't want women.
Mother always used to say:
Some normal man will come along and need you.

by Muriel Rukeyser, 1913 - 1980

Avant - gard band, Charming Hostess has set Rukeyser's lyrics to music: click to listen and analyze.

Lot Fleeing With His Daughters From Sodom
by Albrecht Durer, 1471 - 1528

Another long - time favorite, from which I take my title today is the lyric poem "Lot's Wife" by Soviet modernist Anna Akhmatova, who wrote from personal experience about flight, exile, and staying put. During the 1920s and 30s, she saw many friends and fellow writers leave St. Petersburg, but she herself declined the option to flee. In the poem "When in Suicidal Anguish," she writes:

I heard a voice. It called consolingly,
It said, “Come here to me,
and leave your backward, sinful land,
abandon Russia for all time. . . .

But indifferently and calmly
I covered up my ears
so this dishonorable speech
could not defile my grieving spirit."

These stanzas suggest that Akhmatova understood very well the dilemma of Lot's wife. Thirty years ago, I typed up Akhmatova's poem, neglecting to include the name of the translator. Google has revealed a number of translations, though none precisely like this version from my personal archive:

Lot's Wife
And the just man walked behind the one sent by God
Enormous and bright along the black mountain
But alarm spoke loudly to the wife
"It's not too late; you can still take a look

At the red towers of your native Sodom
At the square where you sang, at the courtyard where you spun
At the empty window of the tall house
Where you bore children for your dear husband."

She glanced -- and riveted by a deadly pain
Her eyes were no longer able to look
And her body became transparent salt
And her quick feet grew to the earth.

Who will mourn for this woman?
Does she seem any the less for her losses?
Only my heart will never forget
She who gave her life for a single glance.

by Anna Akhmatova, 1889 - 1966
[Very similar to translations by Judith Hemschemeyer & Richard Wilbur]

Scholar and translator Clare Cavanagh mentions Akmatova's poem briefly in contrast to a longer poem on the topic, also entitled "Lot's Wife" (click to read) by recently deceased Polish poet Wislawa Szymborska, 1923 - 2012 (excerpt):
They say I looked back out of curiosity.
But I could have had other reasons. . . .
I felt age within me. Distance.
The futility of wandering. Torpor. . . .
I looked back involuntarily. . . .
I crept, I flew upward
until darkness fell from the heavens
and with it scorching gravel and dead birds.
I couldn't breathe and spun around and around.
Anyone who saw me must have thought I was dancing.

Lot's Wife

by British artist John Bulloch Souter, 1890 - 1972

A few more recent poetical discoveries:

1. "Lot's Wife
by Katha Pollitt

2. "What Lot's Wife Would Have Said (If She Wasn't a Pillar of Salt)
by Karen Finneyfrock:

3. "Mrs. Lot"
by Vassar Miller
And, to conclude, one last favorite from my old notebook. It would have been nice if four of the seven poets mentioned here had not picked identical titles for their poems. We will, however, just have to work around the repetition. I'm sure that I can think of a subtitle for each. Akhmatova, obviously: "Lot's Wife: A Single Glance." For Szymborska, I'm thinking: "Lot's Wife: Involuntarily Dancing." And for Pollitt: "Lot's Wife: What Did She Expect?" Finally, I think "Lot's Wife: Drawn to Earth" captures the essence of Batey's message:

Lot's Wife
While Lot, the conscience of a nation,
struggles with the Lord,
she struggles with the housework.
The City of Sin is where
she raises the children.
Ba'al or Adonai--
Whoever is God--
the bread must still be made
and the doorsill swept.
The Lord may kill the children tomorrow,
but today they must be bathed and fed.
Well and good to condemn your neighbors' religion,
but weren't they there
when the baby was born,
and when the well collapsed?
While her husband communes with God,
she tucks the children into bed.
In the morning, when he tells her of the judgment,
[that is, God's decision to destroy the city]
she puts down the lamp she is cleaning
and calmly begins to pack.
In between bundling up the children
and deciding what will go,
she runs for a moment
to say goodbye to the herd,
gently patting each soft head
with tears in her eyes for the animals that will not understand.
She smiles blindly to the woman
who held her hand at childbed.
It is easy for eyes that have always turned to heaven
not to look back;
those who have been--by necessity--drawn to earth
cannot forget that life is lived from day to day.
Good, to a God, and good in human terms
are two different things.
On the breast of the hill, she chooses to be human,
and turns, in farewell--
and never regrets
the sacrifice.

by Kristine Batey, b. 1951

Lot's Wife Looking Back at the Destruction of Sodom and Gomorrah
by Toussaint Dubreuil, 1561 - 1602

Previous References to Muriel Rukeyser
on my daily blog The Quotidian Kit
All the Little Animals
Another Good Poem by Muriel Rukeyser
The Wrong Answer

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Wednesday, November 14th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

And check out
Prodigal: Poems by Francine Marie Tolf

which includes this poem:

One Family's Story
Genesis 19

Her body shook from the explosions,
hot wind and horror sang in her ears.
She looked back at what had been home,
not prudent like her husband
who did not waste a glance on her cinder.
An expedient man. Quick to choose,
years earlier, the greenest pastureland
when he and his herdsman brother parted ways,
but ingratiating when it served--
offering, in those days before catastrophe,
his own daughters to drunken thugs,
rather than risk insult to guests
who could help him escape.
He made forgetting an art,
but could never erase his wife's last soft cry,
or the moans of his two girls,
pressed against him on the cave's floor
that evening the sheets of fire
finally stopped raining,
and the three of them drank a calfskin of wine
to celebrate their deliverance.