I knew you'd like the poem and find kinship with Clampitt, especially
since you share the painterly concern!

V.

On 11/29/05, jane bhandari <[EMAIL PROTECTED]> wrote:
>
> Ah, lovely, especially the second poem. I love '...the aloof skin tones / Of
> a Crivelli angel....' , so muted and austere. It gives me hope, she started
> so much later than I did.
>
> Jane
>
>
> Vivek Narayanan <[EMAIL PROTECTED]> wrote:
> On the metro to work, I've been reading Amy Clampitt's second
> collection, What the Light Was Like. Clampitt was an intense poet who
> published five collections, her first one at the age of 63 (
> http://www.poets.org/poet.php/prmPID/44 ) Tasty, very
> tasty, but not
> afraid to be cerebral, not at all. Shades of Marianne Moore. I type
> below two poems from that collection.
>
> (About linebreaks, btw: I have a friend who has a nice trick. He
> keeps a paper below each line as he reads a poem, so he can see the
> line by itself and try to guess how the next one will turn. It's a
> good way to learn the integrity of the line, to see the strength of a
> line by itself, and I've adopted the practice myself. It works
> remarkably with Clampitt's poems-- of course you'd have to print out
> the poem first...)
>
> WITNESS
>
> An ordinary evening in Wisconsin
> seen from a Greyhound bus--mute aisles
> of merchandise the sole inhabitants
> of the half-darkened Five and Ten,
>
> the tables of the single lit cafe awash
> with unarticulated pathos, the surface membrane
> of the inadvertently transparent instant
> when no one is looking: outside town
>
> the barns, their red gone dark with sundown,
> withhold the shudder of a warped terrain--
> the castle rocks above, tree-clogged ravines
> already submarine with nightfall, flocks
>
> (like dark sheep) of toehold junipers,
> the lucent arms of birches : purity
> without a mirror, other than a mind bound
> elsewhere, to tell how it looks.
>
>
> A BAROQUE SUNBURST
>
> struck through such a dome
> as might await a groaning Michelangelo,
> finding only alders and barnacles
> and herring gulls at their usual squabbles,
> sheds on the cove's voluted
> silver the aloof skin tones
> of a Crivelli angel: a region,
> a weather and a point of view
> as yet unsettled, save for the lighthouse
> like a Venetian campanile, from whose nightlong
> reflected angelus you might suppose
> the coast of Maine had Europe
> on the brain or in its bones, as though
> it were a kind of sickness.
>
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