Tom Daley

Here's another one from the current issue of 32 Poems by Boston's own Tom Daley:



Dragonfly

In the stairwell of the airport parking garage
a dragonfly lies without rebuke,
inert and dessicated,
papery fossil of an extinguished grace.
Its blue-black head droops,
knobby and askew.

What a darting was here,
what whirled profusion--
mylar wings ribbed with veins
hammering a downdraft,
hinged between water tension
and the weight of the sky.

Tom Daley


In the previous post, I mentioned that memory, to a poet, can be just as tangible and present as anything going on in the "real" world at that moment. In this poem, the speaker describes not a memory of the dragonfly, but an imagining of the energy and life that once existed in the now "inert and dessicated" corpse. S/he creates this description out of previous experience with dragonflies--how they move, their speed, their lightness--and pure imagination.

As poets, we spend a great deal of time trying to describe something--a feeling, an object, a thought, a philosophy, etc. We want to properly convey the experience through words. We want to be accurate, but artisitic and original. I think that the imagination can never be overestimated in crafting a poem. If it's a feeling we want to describe, how might that feeling be reflected in nature? How might an object be described if it were an animal? How might the color red smell? Or, as the speaker imagines, how might an already dead dragonfly exist if it were still alive?

Mary Oliver

Mary Oliver's The Leaf and the Cloud is both a pondering and a questioning of how the poem can be used as a reflection of the natural world. As the speaker says in "From The Book of Time" on page 17, "maybe the world, without us, / is the real poem."

If you love to read descriptions of the natural world and consider what our role is as both inhabiters and observers of nature, get this book. It is a startling and beautiful rendering of how a poem can use the sensuality of nature to explore emotion, circumstance, and philosophical questioning. Great stuff.

Here is an excerpt from "Work," a lengthy segment in which the speaker muses over the nature and purpose of writing poetry.


4.

All day I have been pining for the past.
That's when the big dog, Luke, breathed at my side.
Then she dashed away then she returned
in and out of the swales, in and out of the creeks,
her dark eyes snapping.
Then she broke, slowly,
in the rising arc of a fever.

And now she's nothing
except for mornings when I take a handful of words
and throw them into the air
so that she dashes up again out of the darkness,

like this--

this is the world.

Mary Oliver


The speaker is describing the process of writing memory into poetry. By throwing a "handful of words...into the air," she conjures her dog Luke to her side. "This is the world," the speaker states; not just what we can actively touch and see and hear, but also that which we create from our own minds. To the poet, memory can be as tangible and present as the world rushing around right outside the door.

Julianna Baggott on Marie Curie

When I was a kid, Marie Curie was my greatest idol. I wanted to be a physicist for years, and I loved reading biographies of Curie, fascinated by her intelligence, drive, and passion for nuclear physics.

A Polish woman who lived most of her life in France, Curie (born Marie Sklodowska) had two children with husband Pierre Curie, also an eminent scientist. Pierre was killed in 1906 when a horse-drawn carriage ran him down, crushing his head.

The following poem is in the current issue of 32 Poems (Vol. 3 No. 1) on page 22:


Marie Curie Gives Advice to her
Daughter Irene Before her Wedding

I remember this moment--the pram distilled,
its sediment was an infant,
no longer something born from me,
not residue, not pitchblende,
but its own particle,
an open mouth, a cry,
within its head, a mind wrestling with thoughts
--my motherland could be there,
driven into the skull,
some ancient homing.
Years I have soaked
in radium.
I've begun to bleed light.
I see your father again
crossing streets in rain--
the doors are locked,
his umbrella fills with wind,
the horses approach,
hauling a wagon of soldier's uniforms--
something to dress the dead--
it's come to crush him.
My navy suit with solid stitching crushes me.
And since then I've begun to confuse
the glowing test tubes
with wicks of the moon, a dazing field of stars,
my own soul, and a moment goes by
when I forget the brutish charm of work.
My hope, daughter, is that
what you love doesn't come to kill you,
eye by eye, ear by ear, bone by radiant bone.

Julianna Baggott


Marie Curie died from complications of radiation poisoning, although it is unclear whether in 1926--the year of Irene's wedding--she was aware that her ill health was due to radiaton. The first physicists who worked with these elements were mostly ignorant of the connection between their later ill health and radiation, which seems shocking to us today. What is especially poignant is that Irene goes on to become one of the most revered scientists in France, like her mother also wins the Nobel Prize (along with her husband), and later dies of leukemia contracted from exposure to radium.

Both of these women worked in an exciting, difficult, and deadly field, but before they left the earth, they made remarkable accomplishments for science and for women. They lived lives of dedication and passion.



Marie Curie photo found here.

Mark Wunderlich

I have participated in two workshops with Mark Wunderlich at the Fine Arts Work Center in Provincetown, and it's about time I posted one of his very fine poems. He has two volumes of poetry: The Anchorage and Voluntary Servitude.

Here is one of his poems on poemhunter.com:


The Bruise Of This

The night I woke to find the sheets wet from you,
like a man cast up on the beach,
I hurried you off to the shower to cool you down,

dressed you, the garments strict and awkward in my hands,
and got you into a taxi to the hospital,
the driver eyeing us from his rearview mirror--

The blue tone of the paging bell,
the green smocks, metal beds,
plastic chairs linked

in a childhood diagram of infection,
and when they wheeled you by
there was a needle in your arm,

the bruise of this
already showing itself,
and rather than watch gloved doctors handle you

in their startling white coats and loose ties,
I took a seat outside and waited,
time yawning, thick and static--

and made clear to me in the bright light of speculation
was time's obstacle in the body,
and those things I could do that might cushion it.

Mark Wunderlich


No matter what kind of poetry you like to write--whether you prefer free verse, traditional, postmodern, romantic, or whatever--you can never go wrong using clear, strong, carefully crafted imagery. This poem is a fantastic example. Every stanza brings a new, powerful image to the poem and carries the reader through the experience.

Someone with night sweats this severe is very ill. The speaker attends to this person with careful urgency--perhaps this is not their first trip to the emergency room. Every space these two occupy is painted for us: In the bed, we see someone "cast up on a beach." In the taxi, we see the furtive glances of the driver in the mirror. In the hospital we see "greens smocks," even a "blue" bell. We see the needle and the bruise it has caused. We even see time, "thick and static."

The speaker is made aware, within the frightening arena of an emergency room and the lack of control a patient's relative has, of "time's obstacle in the body." A fascinating way to end the poem, in that it is somewhat cryptic in a poem of such clear imagery and chronology. It has something to do with this illness--perhaps illness is the obstacle to time in the body, i.e. time is inhibited by the illness. The speaker wonders what can be done to "cushion" the obstacle--make it less powerful--thereby giving time a better chance. The "bruise" can be seen as the emotional scar left on the speaker by loving and caring for someone with a dangerous disease. It is very urgent and sad poem, but not without hope.

"Spare Change" Poetry

Those of us who are city-dwellers are familiar with "Spare Change," a newspaper sold on the streets by homeless, or formerly homeless people, to provide them with a source of income. I picked up a copy a couple days ago. Did you know there is a poetry section?

Here's one I like. It's on page 6 of the August 4 issue:


After the Crash

people light candles
in a small town,
wrap yellow ribbons
around street posts
and trees. Stores
close. Friends
wander in a daze
stand in small
circles. One reads
from a letter the
victim wrote the
day before: "summer
has been great,
between performing
at Carnegie Hall
(I got roses) and
attempting to get my driver's license,
pedestrians beware."

Lyn Lifshin


I am compelled to read this poem over and over because of that last cryptic line. What does it mean? Was the "victim" killed as a pedestrian by a driver, thus making the line a poignant ironic statement? Or was s/he a driver? Was anyone else involved? We are given just enough information to understand the town's grief over the loss of a talented, young person, and that's it. This short poem successfully captures the emotion of loss and grief simply by painting an image.

Grace Paley

At FAWC, I had the pleasure of hearing Grace Paley read to a packed audience. There were people sitting in chairs outside in the dark humidity, being bitten by mosquitos, just to hear her. She is a short story writer and poet. I found the following poem in the plagiarist poetry archive:


This Life

My friend tells me
a man in my house jumped off the roof
the roof is the eighth floor of this building
the roof door was locked how did he manage?
his girlfriend had said goodbye I'm leaving
he was 22
his mother and father were hurrying
at that very moment
from upstate to help him move out of Brooklyn
they had heard about the girl

the people who usually look up
and call jump jump did not see him
the life savers who creep around the back staircases
and reach the roof's edge just in time
never got their chance he meant it he wanted
only one person to know

did he imagine that she would grieve
all her young life away tell everyone
this boy I kind of lived with last year
he died on account of me

my friend was not interested he said you're always
inventing stuff what I want to know how could he throw
his life away how do these guys do it
just like that and here I am fighting this
ferocious insane vindictive virus day and
night day and night and for what? for only
one thing this life this life

Grace Paley


Wow, what can I say about this? Those of us who struggle with illness will always be frustrated by those who take their health for granted; imagine the reaction of someone fighting to stay alive hearing about a healthy, young life thrown away for no real reason.

And yet, there was a reason. His heart was broken, but more than that, he had come to a psychological state where dying seemed the logical course of action.

What I find so effective about this poem is Paley's working in of urgency, of an almost-rescued feeling, with the parents "hurrying... from upstate" to help him out, even speculating about the actions of witnesses and rescuers who weren't there. It feels as if the young man was almost saved, but in fact, he carried out his death in secret seclusion.

Joshua Weiner

Just returned from a week at the FAWC in P-town, and I tell you I did not want to come back. Poetry workshop in the morning, afternoons on the beach reading and writing, evenings listening to readings and watching slide shows of visual artists. I heard the stories of Grace Paley, the poetry of Joshua Weiner and Robert Pinsky, the fiction of Julia Glass, and saw slides of block prints by Peik Larsen. Others who read during the week were Norman Mailer, Mark Wunderlich (my workshop leader), and Mary Oliver. Can you imagine such a lineup? What a week. And I have several new drafts of poems to work on.

I'm going to feature a few poems by the writers who were at FAWC this week, starting with Joshua Weiner. This poem is from his book The World's Room, University of Chicago press, p. 61:


Bruno's Night

Up the hill of snoring
The father climbs in dream,
The mother sinks in silence
And baby sucks its thumb.

But struggling next door
Boy Bruno smells the dawn
While the sick, the sad, the torn
Apart quiet their song.

Dropped curtains hide the night's
Inspired fantastic pomp
That liquidates with light--
Don't oversleep--Wake up!

Run to the grimy window,
Press your nose to the dirt.
Under the dawn: you follow
The mass of gathering earth.


This is the last poem in the book, and it ends on such a poignant, and somewhat ambiguous, note. I imagine this boy in a home of persistent struggle and sadness, perhaps even brutality and/or poverty. The father "climbs" only in dreams, the mother "sinks," and the ungendered baby shares their room. Bruno's window is "grimy" and dirty. He is a boy of amazing sensitivity--he can smell dawn breaking--and he forces himself to wake up so he won't miss it. He ignores the dirt on the window, putting his nose right in it, so he can watch not the dawn itself, but the earth as it pulls together under the rising light.

This boy finds beauty in a world full of cramped struggle, and he finds it not in the transcendent faraway sky, but down on the earth itself. He can find joy in a world that so far has forced him to look for it. I wonder about the future for Bruno. His sensitivity is what allows him to uncover the world's wonder, but it is also what will make him vulnerable to its brutality.

"Minimal Sound"

I'm headed back to the FAWC today, this time for a week-long poetry workshop with Mark Wunderlich. And a little beach time.

Generally, I don't like poems about poems. Barbara Guest's newest book, The Red Gaze, is an exception; each poem continues a reflection on the poet's art. It is full of little glimpses of detail, memory, and color. The following poem is on page 29:


Minimal Sound

What we are becomes a memory, the hand may open a secret lock.

The poem enters on tiptoe, climbs the terrain,
weary, it listens to minimal sound, the slowed
tree branches are drawn on purpose, part of the same program.


Here, the poem's world is fragile; the poem itself must tread very carefully, and it has become "weary," perhaps of trying so many times to capture the truth of the world. The poem's talent is it's ability to hear "minimal sound," the smallest bit of detail or movement or color, the qualities that would be scared off by a loud entrance. Then, the writing: "the slowed / tree brances are drawn on purpose," the poem listens carefully to the world it inhabits, but eventually must stop and put down on paper what it finds.

Tom Sleigh

While I was at the FAWC, I heard Tom Sleigh read several of his new poems. He is a great reader; his tone, expression, and manner add energy to the work, and he has a subtle way of bringing the listeners into the world of each poem with him. Very enjoyable.

I picked up a copy of his book The Dreamhouse, published in 1999 by the University of Chicago press. Here is one of the poems from that book I really like (pp. 50-51):

The Hammock

Your hand pushes me away
so that I float into the night,
then swing back, back from the nebulae
to our drifting conversation.

Among the race of star demons
what I saw out there--
golden chains, the spindle, sirens
chanting the music of the spheres--

blurs and streaks across star-flung
distances the chain-link fences
can't fence out. Between
your hand and the hammock's

slow rocking the Void
expands, twisting threads
tautening, slackening, stretched
almost to breaking:

Do you feel that wobble
of earth's axis, space
whirling past the ice-capped pole?
The pines like judges stare down at us:

What should we recant, here,
tonight, as if we'd only just begun:
Off-center already, losing
equilibrium? The world-soul moving

through the strung-out stars moves
in threads that creak and moan,
breathes between your mouth and mine.
Pushing me away, you bring

me home, your attraction drawing
down the alchemical sign:
Love draws the soul
the way a magnet draws iron.

This is a beautiful depiction of an inherent connectedness of all life, of "golden chains" which bond us all together, transcending even the boundaries of "chain-link fences:" divisions of politics, religion, culture, race, etc. As the speaker glimpses the "nebulae," s/he understands the illusory nature of these divisions; it is one "world soul" which exists, expanding and contracting, connecting life through "threads that creak and moan," and living in the space between people, not inside them. These tenuous threads, often stretched to near breaking, pull us inevitably together.

Back from P-town

Yesterday I returned from an intensive memoir writing workshop at the Fine Arts Work Center in Provincetown on Cape Cod. The weather was stunning, and despite the work, I did manage an afternoon on the beach. Fabulous.

The workshop was led by Marcie Hershman, and if you enjoy reading memoir, check out her book entitled Speak to Me , an account of her dealing with grief after the death of her brother. Marcie is also the author of several novels and a wonderful workshop leader. She is teaching a week long memoir workshop in the fall at FAWC, so check it out if you have something important from your life experience that you want to get down on paper.

Fine Arts Work Center

This weekend, I am attending a memoir writing workshop at the Fine Arts Work Center in Provincetown, Mass. In August, I'll be doing a week long poetry workshop there with Mark Wunderlich--my second workshop with him.

If you ever have the chance, check out the summer and fall workshop offerings at FAWC. The instructors are accomplished artists and writers, and many, if not most of the classes are open to artists of all levels. I came away from last year's workshop feeling quite inspired. Of the three poems I wrote that will be in the next issue of eratio, two were generated during that time.

Plus, if you go in the summer, you get to hang out at the beach in the afternoons, which is exremely important for artistic inspiration. :-)

I'm hopping on the ferry later today--I'll see you on Monday!

The Little Box

A while back, I wrote a post about being claustrophobically surrounded by boxes, because I had just moved, and had not yet unpacked. Robin suggested that Vasko Popa had some good poems about boxes. I found one at the ezine pith:



The Little Box

The little box gets her first teeth
And her little length
Little width little emptiness
And all the rest she has

The little box continues growing
The cupboard that she was inside
Is now inside her

And she grows bigger bigger bigger
Now the room is inside her
And the house and the city and the earth
And the world she was in before

The little box remembers her childhood
And by a great longing
She becomes a little box again

Now in the little box
You have the whole world in miniature
You can easily put in a pocket
Easily steal it lose it

Take care of the little box

Vasko Popa, from Homage to the Lame Wolf
Oberlin College Press

She, the little box, is born into the large cupboard of the world. As she grows and gets her "teeth"--her experiences, her sense of self and purpose, her gumption--the world is born inside her, into the empty place reserved for it. After a time, she longs for childhood when the world was big and magical and outside; so she is once again born into it. Now we have the "whole world in miniature," where the sense of self and purpose has intimately tied to the world, but small and easily lost or stolen. Therefore, self, purpose, and the relationship to the world must be protected and cherished.

One can also read that the child herself must be protected and cherished. I read both.

Thoughts?

Knowing when it works.

Last week I wrote two poems. I mananaged, with each of them, to cut to the raw of some truth, and I knew it when I did it. Now, when I reread them, I still feel it.

Since then, I have written two more, and although I worked harder on them, they don't have the same quality of pointed honesty that the others do. I think. I need to sit on them little--then we'll see.

That's how it happens with me: write it out, cut away the dross, take down the on-ramp (often my first stanza just turn out to be something to get me going), don't skimp on the end. Now, what's there? Is it honest?

I can't describe this sense of truth I strive for in my poetry. I just know it when I get it, and it doesn't happen every time. It's not entirely, but it is partially, emotional, psychological, physical, logical, and the result of experience.

Do you know when you get something right in your art, whether writing, sculpting, painting, etc.? How do you know it? How does truth hit you?

..but the moon is lovely.

Check out the NASA photo gallery.

I was responding to a comment, and I thought the questions involved might interest other poets and artists, so I'm posting my response here. Feel free to share your thoughts.


Hi Silver Moon,

You're right to choose whatever name you want. And a poet should write about the moon, if that's what the poem requires.

What makes Brehm's poem so complex is its commentary on this very topic. He has begun this perfectly lovely poem involving the moon, but he is distracted by a critical voice that tells him he can't write about the moon. It's not only a statement about trying to avoid cliche, but an illustration of how that persistent, critical voice--worrying about how our art will be judged--affects the art itself.

How do we find that balance, as poets--writing what we need to write, what we are compelled to write, but trying to create quality, literary work, which requires learning what works and what doesn't, evaluating the work that precedes our own, but not surrending our own voice to it--etc., etc., etc. I find it's best to think about it a little, but not too much. The best way is to keep writing, do workshops, and read a lot of poetry.

The Cortland Review

False color image of the moon
NASA photo gallery.


Found this over at The Cortland Review online:

Mix-Up

Caught sight of the moon
caught in its
net of

branches
and thought-
I've got to get free of that.

John Brehm


I sense a blending of speaker and poet here. The speaker spots the moon, visually entangled in tree branches, and identifies with it; perhaps he feels his own life is tangled up and sees that manifested in the moon's "plight."

On the other hand, there is a concensus among poets that the moon is an overused image. I imagine the poet's attention turning toward the moon, findng inspiration, crafting some words, then thinking: wait. Can't write about the moon. Need to think of something else.

Voyage

From the Vernal Equinox issue of Bonfire, p. 75:




WHEN'S SHORE LEAVE AGAIN?

Clusters of pinecones against winter green,
backdropped by cloudless blue sky.
Silently, afternoon passes between
the moment and eternity.

Captain, this absence of monsters and rocks--
sailor, shut up. Let it be.
The voyage from nowhere to nothing and back
beaten by drunk, brawling seas,

sometimes will toss up a treasure like this:
just hold to the stillness and see
shadows of what, on the island of peace,
waits with your name in her sigh.

JBMulligan


Although I am always interested in poems that deal with awareness, particularly its transient nature, my mind gets a little dulled by overused vocabularly such as "stillness," "moment," "journey," etc. What I like about this poem is the introduction of the sailor's and captian's voices in the second stanza; their interchange stands as a conversation between a young, energetic, easily bored go-getter looking for promised excitement on the "voyage," and the older, wiser, more experienced person who knows that excitement isn't all its cracked up to be, and that "the island of peace" is the ultimate goal.

I also like that the presence on the island whose shadow sighs the sailor's name is a feminine presence. It brings to my mind both the archetypal goddess image and the tradition of sailors viewing their ship as a protective, feminine companion.

Sylvia Plath

Why have I not read Sylvia Plath before? I rented the movie "Sylvia," starring Gwyneth Paltrow, and the next day I ordered both The Bell Jar, her novel, and Ariel, a collection of poems.

The Bell Jar took me right off guard. The narrative is deceptively simple, almost childlike; devastating similes such as "to the person in The Bell Jar, black and stopped as a dead baby, the world itself is a bad dream" added up to create an atmosphere of suffocation and morbid distortion. It's very disturbing and highly relevant. I loved it.

Here's a poem from Ariel:


Poppies in October


Even the sun-clouds this morning cannot manage such skirts.
Nor the woman in the ambulance
Whose red heart blooms through her coat so astoundingly--

A gift, a love gift
Utterly unasked for
By a sky

Palely and flamily
Igniting its carbon monoxides, by eyes
Dulled to a halt under bowlers.

O my God, what am I
That these late mouths should cry open
In a forest of frost, in a dawn of cornflowers.

Sylvia Plath


This poem reflects the mixture of beauty, morbidity, and suffocation that I see over and over in Plath's work. The speaker is awed by the gorgeous red poppies that have sprung up so late in the year, and even refers to this phenomenon as "a love gift." She finds this more beautiful than the colors of the morning sky or the blood seeping through the coat of an injured woman. That is how Plath gets me; from sky to bleeding to death in one brief stanza. In the third stanza, the sky is described as "igniting its carbon monoxides," creating that trapped, suffocating, poisoned-air feeling that exists in the bell jar. Finally, the speaker can't help but compare her own sense of insignificance to the poppies: "O my God, what am I," she asks.

Perhaps it is too glib to suggest that this question was the fundmamental question posed in Plath's work--the "what am I" juxtaposed with all the goodness or beauty she felt separate from--but in the context of the poem, it does illustrate her persistent feeling of separation from her environment, her sometimes distorted view of herself and her surroundings, and frustration at finding a wall between herself and her world that she could never knock down. The speaker can't properly enjoy the poppies, because even that ends up being about her own insignificance; not in a big/small way, or a nature/human way, but in a worthy/worthless way.

More Fear and Graveyards

Over at PoemHunter I found a companion poem to the one by Teasdale in the previous post. It's interesting to me that both of these poets deal with fear as a fear of death; or more specifically, a fear of being buried, of being isolated from life, of being utterly alone.

In these poems, death seems to be the opposite of life--the western idea of polarity, where life is understood by its opposite, death--rather than a continuation of life on a different plane of existence: heaven, enlightenment and nirvana, or reincarnation. I think each speaker fears, more than anything, being trapped: death=burial=stuck in one place, alone.

In Gluck's poem, the second stanza suggest that the ghost which roams the graveyard is not a disembodied spirit, but a spiritless body. We usually imagine the body as being lifeless after death--it decays, after all--and the spirit as that which continues. But the speaker sees the spirit as stuck on a small rock, and the body as doomed to roam the perimeter, observing the former weight of life.


The Fear Of Burial

In the empty field, in the morning,
the body waits to be claimed.
The spirit sits beside it, on a small rock--
nothing comes to give it form again.

Think of the body's loneliness.
At night pacing the sheared field,
its shadow buckled tightly around.
Such a long journey.

And already the remote, trembling lights of the village
not pausing for it as they scan the rows.
How far away they seem,
the wooden doors, the bread and milk
laid like weights on the table.

Louise Gluck

Fear

I have a recurring experience I call night terror. I wake up with a quick jolt in the middle of the night--sometimes I swear it's because I heard something--and am suddenly slammed with terror in my gut. I find it difficult to breathe for a few minutes. Often I think someone has broken in and is going to hurt me in some undefined but terrible way. I have been experiencing this since I was quite young, although not all the time.

I was thinking about this and started to look for poems about fear. I found this one by Sara Teasdale over at PoemHunter, and I was struck with how well she describes night terror. In the end of the poem, it is all about fear of death. Teasdale doesn't hold anything back in this one.

What are you afraid of? What makes your heart pound and your breath shallow?



Fear

I am afraid, oh I am so afraid!
The cold black fear is clutching me to-night
As long ago when they would take the light
And leave the little child who would have prayed,
Frozen and sleepless at the thought of death.
My heart that beats too fast will rest too soon;
I shall not know if it be night or noon, --
Yet shall I struggle in the dark for breath?
Will no one fight the Terror for my sake,
The heavy darkness that no dawn will break?
How can they leave me in that dark alone,
Who loved the joy of light and warmth so much,
And thrilled so with the sense of sound and touch, --
How can they shut me underneath a stone?

Sara Teasdale

Boxed In

I'm living among boxes. I'm sleeping among boxes. I'm dreaming about boxes. I walk around boxes, eat off of boxes, and use boxes as end tables. My cats are hiding in boxes, and my dog is threatening to chew a box apart.

I have just moved into Boston, downsizing from a large house in the suburbs. I love the city. The boxes, not so much.

Are there box fairies that might come and unpack everything overnight? Are they for hire?

I have no poetry books. What posessed me to pack all of my poetry? I have no clue where the poetry is. Did I spell "posessed" correctly?

Anybody know a good poem about boxes, Boston, or moving? Help me out--I got nothin'.