how heaven pulls earth into its arms

 

Doctor, you say that there are no haloes

around the streetlights in Paris

and what I see is an aberration

caused by old age, an affliction.

I tell you it has taken me all my life

to arrive at the vision of gas lamps as angels,

to soften and blur and finally banish

the edges you regret I don't see,

to learn that the line I called the horizon

does not exist and sky and water,

so long apart, are the same state of being.

Fifty-four years before I could see

Rouen cathedral is built

of parallel shafts of sun,

and now you want to restore

my youthful errors: fixed

notions of top and bottom,

the illusion of three-dimensional space,

wisteria separate

from the bridge it covers.

What can I say to convince you

the Houses of Parliament dissolve

night after night to become

the fluid dream of the Thames?

I will not return to a universe

of objects that don't know each other,

as if islands were not the lost children

of one great continent. The world

is flux, and light becomes what it touches,

becomes water, lilies on water,

above and below water,

becomes lilac and mauve and yellow

and white and cerulean lamps,

small fists passing sunlight

so quickly to one another

that it would take long, streaming hair

inside my brush to catch it.

To paint the speed of light!

Our weighted shapes, these verticals,

burn to mix with air

and changes our bones, skin, clothes

to gases. Doctor,

if only you could see

how heaven pulls earth into its arms

and how infinitely the heart expands

to claim this world, blue vapor without end.

~ Lisel Mueller

from Second Language

Monet Refuses the Operation

with thanks to Poetry Chaikhana

art by Monet

the exhibit

My uncle in East Germany
points to the unicorn in the painting
and explains it is now extinct.
We correct him, say such a creature
never existed. He does not argue,
but we know he does not believe us.
He is certain power and gentleness
must have gone hand in hand
once. A prisoner of war
even after the war was over,
my uncle needs to believe in something
that could not be captured except by love,
whose single luminous horn
redeemed the murderous forest
and, dipped into foul water,
would turn it pure. This world,
this terrible world we live in,
is not the only possible one,
his eighty-year-old eyes insist,
dry wells that fill so easily now.

 ~  Lisel Mueller

from Alive Together: New and Selected Poems

art: tapestry from the middle ages. Designed in Paris about 1500,
 are considered to be some of the greatest surviving masterpieces
 of medieval European art. They depict a lady flanked by a lion
 and a unicorn, surrounded by an enchanting world of animals, 
trees and flowers. One of the most intriguing aspects of these
 six large-scale artworks is the mystery of their origin and meaning.
 

with thanks to whiskey river

 

bedtime story

The moon lies on the river
like a drop of oil.
The children come to the banks to be healed
of their wounds and bruises.
The fathers who gave them their wounds and bruises
come to be healed of their rage.
The mothers grow lovely; their faces soften,
the birds in their throats awake.
They all stand hand in hand
and the trees around them,
forever on the verge
of becoming one of them,
stop shuddering and speak their first word.


But that is not the beginning.
It is the end of the story,
and before we come to the end,
the mothers and fathers and children
must find their way to the river,
separately, with no one to guide them.
That is the long, pitiless part,
and it will scare you. 

 

 

- Lisel Mueller
from Alive Together: New and Selected Poems

 photo by ansel adams

with thanks to whiskey river

 

 

 

why we tell stories

I 

Because we used to have leaves 

and on damp days 

our muscles feel a tug, 

painful now, from when roots 

pulled us into the ground 

and because our children believe 

they can fly, an instinct retained 

from when the bones in our arms 

were shaped like zithers and broke 

neatly under their feathers 

and because before we had lungs 

we knew how far it was to the bottom 

as we floated open-eyed 

like painted scarves through the scenery 

of dreams, and because we awakened 

and learned to speak 

2 

We sat by the fire in our caves, 

and because we were poor, we made up a tale 

about a treasure mountain 

that would open only for us 

and because we were always defeated, 

we invented impossible riddles 

only we could solve, 

monsters only we could kill, 

women who could love no one else 

and because we had survived 

sisters and brothers, daughters and sons, 

we discovered bones that rose 

from the dark earth and sang 

as white birds in the trees 

3 

Because the story of our life 

becomes our life 

Because each of us tells 

the same story 

but tells it differently 

and none of us tells it 

the same way twice 

Because grandmothers looking like spiders 

want to enchant the children 

and grandfathers need to convince us 

what happened happened because of them 

and though we listen only 

haphazardly, with one ear, 

we will begin our story 

with the word and

~ Lisel Mueller

from Alive Together: New and Selected Poems

steps out of the circle

The self steps out of the circle;
it stops wanting to be
the farmer, the wife, and the child.

It stops trying to please
by learning everyone's dialect;
it finds it can live, after all,
in a world of strangers.

It sends itself fewer flowers;
it stops preserving its tears in amber.

How splendidly arrogant it was
when it believed the gold-filled tomb
of language awaited its raids!
Now it frequents the junkyards
knowing all words are secondhand.

It has not chosen its poverty,
this new frugality.
It did not want to fall out of love
with itself. Young,
it celebrated itself
and richly sang itself,
seeing only itself
in the mirror of the world.

It cannot return. It assumes
its place in the universe of stars
that do not see it. Even the dead
no longer need it to be at peace.
Its function is to applaud.

~ Lisel Mueller

 from Alive Together: New and Selected Poems

 

things

What happened is, we grew lonely

living among the things,

so we gave the clock a face,

the chair a back,

the table four stout legs

which will never suffer fatigue.

We fitted our shoes with tongues

as smooth as our own

and hung tongues inside bells

so we could listen

to their emotional language,

and because we loved graceful profiles

the pitcher received a lip,

the bottle a long, slender neck.

Even what was beyond us

was recast in our image;

we gave the country a heart,

the storm an eye,

the cave a mouth

so we could pass into safety.

~ Lisel Mueller

 from Alive Together

with thanks to writers almanac

As she told Karen DeBrulye Cruz, “I write a lot of poems that have tension between what is going on now in society and what has always been there. My poems are much concerned with history. The message is obvious. My family went through terrible times. In Europe no one has had a private life not affected by history. I'm constantly aware of how privileged we (Americans) are.”

notes from poetry foundation

how would I paint happiness

.

.

Something sudden, a windfall,

a meteor shower. No -

a flowering tree releasing

all its blossoms at once,

and the one standing beneath it

unexpectedly robed in bloom,

transformed into a stranger

too beautiful to touch.

.

~ Lisel Mueller

from Imaginary Paintings

Alive Together: New And Selected Poems

with thanks to whiskey river

.