original poem – Page 97 – don't confuse the narrator

dry’ku III

Ragged leaf veils
geometrical precision:
butterfly eggs.

In case anyone cares what sort of leaf it is, it’s a kiwi leaf, and the ones above are grape vines. And there is, indeed, something odd about the chaotic tumble of vines juxtaposed with the tiny perfect arrangement of insect eggs.

june

The sun slopes down into a summer evening
and hulking mountains strive to shed
the last rags of snow.

Sadly, the light has been all wrong the last few evenings to take a better picture, but the snow is still clearly visible in this one that I took one morning last week. There’ve been a lot fewer clouds for the last couple of days- it was positively hot outside at 9am today – and, although there are still a few shreds of white up on the peaks, I don’t think they’ll last many more days.

old chestnuts

Horse chestnuts hold pale torches high
in green spread fingers and old wisteria
writhes around wrought iron
in a blue-teared cascade.
Throughout the city,
elm trees sway, scattering
indifferent confetti.

These lines have been retrieved and re-vamped from a poem called Flowers for an Easter wedding.

It was written some years ago – in Spain, which accounts for the elms, and for why it’s so out of synch with the English flowering season – and I think it was published as a three stanza piece with 15 lines.
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the way it really happened

Discussing the draft of a new poem last night, I found myself close to using the phrase “but that’s the way it really happened” as justification for including an apparently inessential word.

This startled me. After all, I’ve made it clear that I don’t think of poetry as autobiographical. Life is a stepping off point for poetry, but I think facts can – and should – be sacrificed if they interfere with the poetical worth of the writing. So what made this particular occasion different?
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