Stephen Crane and a request!

[stephantom.livejournal.com]

Hello, all. I have another request. Thank you to everyone who responded to my last one -- the responses were awesome. Right now I'm looking for 7th-grade-friendly poems that really express people's identities (as individuals, or their cultural identities). I think "list poems" might be especially helpful.

And here is my unrelated contribution.

If I Should Cast Off This Tattered Coat
by Stephen Crane

If I should cast off this tattered coat,
And go free into the mighty sky;
If I should find nothing there
But a vast blue,
Echoless, ignorant --
What then?

Comments

Robert Plath - Ashtrays and Bulls

[bloodrebel333.livejournal.com]

I'm not sure if this is what you meant...


Robert Plath – Ashtrays And Bulls

Some people you pray were dead:
the ones whose unattainable beauty slides across your eyes
like paper cuts
the ones who constantly wail their own fat horns in your modest ear
the ones with the instructions on how to get into heaven

Some people you wish weren't dead:
the ones whose voices on the jukebox at a quarter to three
make loneliness a virtue
or the ones who were too mad to be in the jukebox

Some people you can't picture dead:
the ones whose ashtrays are never empty
the ones whose laughter is like a bull chasing death over the hills

[exceptindreams.livejournal.com]

Maybe some of these will be helpful. I feel like these capture a sense of who these people are, but I'm not sure if they're 7th-grade-friendly.

“The Invitation”
Oriah Mountain Dreamer

It doesn't interest me what you do for a living.
I want to know what you ache for,
and if you dare to dream of meeting your heart's longing.

It doesn't interest me how old you are.
I want to know if you will risk looking like a fool for love,
for your dreams, for the adventure of being alive.

It doesn't interest me what planets are squaring your moon.
I want to know if you have touched the center of your own sorrow,
if you have been opened by life's betrayals or
have become shriveled and closed from fear of further pain.

I want to know if you can sit with pain, mine or your own,
without moving to hide it or fade it or fix it.

I want to know if you can be with joy, mine or your own,
if you can dance with wildness and let the ecstasy fill you
to the tips of your fingers and toes without cautioning us to be
careful, be realistic, or to remember the limitations of being human.

It doesn't interest me if the story you're telling me is true.
I want to know if you can disappoint another to be true to yourself;
if you can bear the accusation of betrayal and not betray your own soul.

I want to know if you can be faithless
and therefore be trustworthy.

I want to know if you can see beauty
even when it's not pretty, every day,
and if you can source your own life from its presence.

I want to know if you can live with failure, yours and mine,
and still stand on the edge of a lake
and shout to the silver of the full moon, "Yes"!

It doesn't interest me to know where you live or how much money you have.
I want to know if you can get up after the night of grief and
despair, weary and bruised to the bone,
and do what needs to be done for the children.

It doesn't interest me who you are, how you came to be here.
I want to know if you will stand in the center of the fire with me and not shrink back.

It doesn't interest me where or what or with whom you have studied.
I want to know what sustains you from the inside when all else falls away.

I want to know if you can be alone with yourself,
and if you truly like the company you keep in the empty moments.

"On the Amtrak from Boston to New York City"
Sherman Alexie

The white woman across the aisle from me says 'Look,
look at all the history, that house
on the hill there is over two hundred years old, '
as she points out the window past me

into what she has been taught. I have learned
little more about American history during my few days
back East than what I expected and far less
of what we should all know of the tribal stories

whose architecture is 15,000 years older
than the corners of the house that sits
museumed on the hill. 'Walden Pond, '
the woman on the train asks, 'Did you see Walden Pond? '

and I don't have a cruel enough heart to break
her own by telling her there are five Walden Ponds
on my little reservation out West
and at least a hundred more surrounding Spokane,

[exceptindreams.livejournal.com]

the city I pretended to call my home. 'Listen, '
I could have told her. 'I don't give a shit
about Walden. I know the Indians were living stories
around that pond before Walden's grandparents were born

and before his grandparents' grandparents were born.
I'm tired of hearing about Don-fucking-Henley saving it, too,
because that's redundant. If Don Henley's brothers and sisters
and mothers and father hadn't come here in the first place

then nothing would need to be saved.'
But I didn't say a word to the woman about Walden
Pond because she smiled so much and seemed delighted
that I thought to bring her an orange juice

back from the food car. I respect elders
of every color. All I really did was eat
my tasteless sandwich, drink my Diet Pepsi
and nod my head whenever the woman pointed out

another little piece of her country's history
while I, as all Indians have done
since this war began, made plans
for what I would do and say the next time

somebody from the enemy thought I was one of their own.

Beauty"
Tony Hoagland

When the medication she was taking
caused tiny vessels in her face to break,
leaving faint but permanent blue stitches in her cheeks,
my sister said she knew she would
never be beautiful again.

After all those years
of watching her reflection in the mirror,
sucking in her stomach and standing straight,
she said it was a relief,
being done with beauty,

but I could see her pause inside that moment
as the knowledge spread across her face
with a fine distress, sucking
the peach out of her lips,
making her cute nose seem, for the first time,
a little knobby.

I'm probably the only one in the whole world
who actually remembers the year in high school
she perfected the art
of being a dumb blond,

spending recess on the breezeway by the physics lab,
tossing her hair and laughing that canary trill
which was her specialty,

while some football player named Johnny
with a pained expression in his eyes
wrapped his thick finger over and over again
in the bedspring of one of those pale curls.

Or how she spent the next decade of her life
auditioning a series of tall men,
looking for just one with the kind
of attention span she could count on.

Then one day her time of prettiness
was over, done, finito,
and all those other beautiful women
in the magazines and on the streets
just kept on being beautiful
everywhere you looked,

walking in that kind of elegant, disinterested trance
in which you sense they always seem to have one hand
touching the secret place
that keeps their beauty safe,
inhaling and exhaling the perfume of it—

It was spring. Season when the young
buttercups and daisies climb up on the
mulched bodies of their forebears
to wave their flags in the parade.

My sister just stood still for thirty seconds,
amazed by what was happening,
then shrugged and tossed her shaggy head
as if she was throwing something out,

something she had carried a long ways,
but had no use for anymore,
now that it had no use for her.
That, too, was beautiful.

[exceptindreams.livejournal.com]

Okay, this will be perfect. No bad language, classic poem, and very much focused on identity, or perceived identity.

"The Unknown Citizen"
W. H. Auden

(To JS/07 M 378
This Marble Monument
Is Erected by the State)

He was found by the Bureau of Statistics to be
One against whom there was no official complaint,
And all the reports on his conduct agree
That, in the modern sense of an old-fashioned word, he was a saint,
For in everything he did he served the Greater Community.
Except for the War till the day he retired
He worked in a factory and never got fired,
But satisfied his employers, Fudge Motors Inc.
Yet he wasn't a scab or odd in his views,
For his Union reports that he paid his dues,
(Our report on his Union shows it was sound)
And our Social Psychology workers found
That he was popular with his mates and liked a drink.
The Press are convinced that he bought a paper every day
And that his reactions to advertisements were normal in every way.
Policies taken out in his name prove that he was fully insured,
And his Health-card shows he was once in a hospital but left it cured.
Both Producers Research and High-Grade Living declare
He was fully sensible to the advantages of the Installment Plan
And had everything necessary to the Modern Man,
A phonograph, a radio, a car and a frigidaire.
Our researchers into Public Opinion are content
That he held the proper opinions for the time of year;
When there was peace, he was for peace: when there was war, he went.
He was married and added five children to the population,
Which our Eugenist says was the right number for a parent of his generation.
And our teachers report that he never interfered with their education.
Was he free? Was he happy? The question is absurd:
Had anything been wrong, we should certainly have heard.

[veronica-milvus.livejournal.com]

'Timothy Winters'

Timothy Winters comes to school
With eyes as wide as a football-pool,
Ears like bombs and teeth like splinters:
A blitz of a boy is Timothy Winters.

His belly is white, his neck is dark,
And his hair is an exclamation-mark.
His clothes are enough to scare a crow
And through his britches the blue winds blow.

When teacher talks he won't hear a word
And he shoots down dead the arithmetic-bird,
He licks the pattern off his plate
And he's not even heard of the Welfare State.

Timothy Winters has bloody feet
And he lives in a house on Suez Street,
He sleeps in a sack on the kithen floor
And they say there aren't boys like him anymore.

Old Man Winters likes his beer
And his missus ran off with a bombardier,
Grandma sits in the grate with a gin
And Timothy's dosed with an aspirin.

The welfare Worker lies awake
But the law's as tricky as a ten-foot snake,
So Timothy Winters drinks his cup
And slowly goes on growing up.

At Morning Prayers the Master helves
for children less fortunate than ourselves,
And the loudest response in the room is when
Timothy Winters roars "Amen!"

So come one angel, come on ten
Timothy Winters says "Amen
Amen amen amen amen."
Timothy Winters, Lord. Amen

Charles Causley

[cozzybob.livejournal.com]

I have no offering, sadly, but that poem is absolutely beautiful.

In the Waiting Room by Elizabeth Bishop

[wolfspice.livejournal.com]

In Worcester, Massachusetts,
I went with Aunt Consuelo
to keep her dentist's appointment
and sat and waited for her
in the dentist's waiting room.
It was winter. It got dark
early. The waiting room
was full of grown-up people,
arctics and overcoats,
lamps and magazines.
My aunt was inside
what seemed like a long time
and while I waited and read
the National Geographic

(I could read) and carefully
studied the photographs:
the inside of a volcano,
black, and full of ashes;
then it was spilling over
in rivulets of fire.
Osa and Martin Johnson
dressed in riding breeches,
laced boots, and pith helmets.
A dead man slung on a pole
"Long Pig," the caption said.
Babies with pointed heads
wound round and round with string;
black, naked women with necks
wound round and round with wire
like the necks of light bulbs.
Their breasts were horrifying.
I read it right straight through.
I was too shy to stop.
And then I looked at the cover:
the yellow margins, the date.
Suddenly, from inside,
came an oh! of pain
--Aunt Consuelo's voice--
not very loud or long.
I wasn't at all surprised;
even then I knew she was
a foolish, timid woman.
I might have been embarrassed,
but wasn't. What took me
completely by surprise
was that it was me:
my voice, in my mouth.
Without thinking at all
I was my foolish aunt,
I--we--were falling, falling,
our eyes glued to the cover
of the National Geographic,
February, 1918.

I said to myself: three days
and you'll be seven years old.
I was saying it to stop
the sensation of falling off
the round, turning world.
into cold, blue-black space.
But I felt: you are an I,
you are an Elizabeth,
you are one of them.
Why should you be one, too?
I scarcely dared to look
to see what it was I was.
I gave a sidelong glance
--I couldn't look any higher--
at shadowy gray knees,
trousers and skirts and boots
and different pairs of hands
lying under the lamps.
I knew that nothing stranger
had ever happened, that nothing
stranger could ever happen.

Why should I be my aunt,
or me, or anyone?
What similarities
boots, hands, the family voice
I felt in my throat, or even
the National Geographic
and those awful hanging breasts
held us all together
or made us all just one?
How I didn't know any
word for it how "unlikely". . .
How had I come to be here,
like them, and overhear
a cry of pain that could have
got loud and worse but hadn't?

The waiting room was bright
and too hot. It was sliding
beneath a big black wave,
another, and another.

Then I was back in it.
The War was on. Outside,
in Worcester, Massachusetts,
were night and slush and cold,
and it was still the fifth
of February, 1918.

Re: In the Waiting Room by Elizabeth Bishop

[stephantom.livejournal.com]

Whao. I have only just now read the first line but I had to reply because how did you know? I'm teaching at a public school in Worcester, Massachusetts! :) Crazy.

Okay, reading the rest of the poem now.

Re: In the Waiting Room by Elizabeth Bishop

[wolfspice.livejournal.com]

Thats an amazing coincidence!