“they swing over buildings, / dipping and rising; / they float like one stippled star / that opens, / becomes for a moment fragmented, / then closes again; / and you watch / and you try / but you simply can’t imagine / how they do it” ~ Mary Oliver, from “Starlings in Winter”

Kayama Matazo Frozen Forest 1960

“Frozen Forest” (1960)
by Kayama Matazo

                   

“Ah, world, what lessons you prepare for us,
even in the leafless winter,
even in the ashy city.
I am thinking now
of grief, and of getting past it” ~ Mary Oliver, from “Starlings in Winter”

The murmuring of starlings is foremost in my mind. Their beautiful blackness, the harmony of their dips and sways. To have that ability, to move like that. Untethered. Wheeling to and fro. Sky and air, and nothing in between. Someday, I will see this. Someday.

Julio Barello Swoop Installation 1007 mri film and steel

“Swoop” Installation (1007 mri film and steel)
by Julio Barello

And as it’s going

And as it’s going often at love’s breaking,
The ghost of first days came again to us,
The silver willow through window then stretched in,
The silver beauty of her gentle branches.
The bird began to sing the song of light and pleasure
To us, who fears to lift looks from the earth,
Who are so lofty, bitter and intense,
About days when we were saved together.

~ Anna Akhmatova

                   

Gertrude Hermes, Starlings 1965, woodcut on wove

“Starlings” (1965, woodcut on wove)
by Gertrude Hermes

Against Starlings

1
Their song is almost painful the way it
penetrates the air—above the haze and
level of the fields a thin line drawn. A
wire. Where the birdcall goes to ground. But I’d
stand anyway under the oaks lining
the road and whistle, tireless with chances,
tossing, by the handful, the crushed stone.
All of them answered, none of them came down.
By evening there’d be hundreds filling the
trees past hearing, black along the branches.
They’d go off with the guns like buckshot, black,
filling the sky, falling. I held my ears.
The holes in the air closed quickly, then healed.
Birds were bloodless, like smoke, wind in a fleld—

2
But not to be confused with the cowbird,
its brown head, its conical sparrow’s bill,
nor with the red-wing, which is obvious,
even showy, blood or birthmark, nor with
the boat-tailed grackle—though at dusk, when they
gathered from the north, they were all blackbirds.
They were what the night brought, and the blown leaves,
and the cloud come down in the rain. The ease
of it, the way summer could be ending.
When I found one one morning it was the
color of oil in a pool of water,
bronze, blue-green, still shining. The parts that were
missing were throwaway, breast and belly
and the small ink and eye-ring of the eye—

3
Not to be compared with the last native
wild pigeon, trap shot high in Pike County,
Ohio, the fourth day of spring, nineteen
hundred—thirty years after the harvest
of millions fllled the buffalo trains east.
They were, by report, “the most numerous
bird ever to exist on earth,” what the
Narragansett called Wuskowhan, the blue
dove, the wanderer, whose flight is silent.
Not to be compared with the smaller, wild
mourning dove, which haunted the afternoon,
which you heard all day till dark. They
were the sound in my sleep those long naps home,
the last train calling down the line in time—

4
Sometimes, at the far end of a pasture,
the burdock and buckwheat thick as the grass
along the hedgework, you could still find nests,
some fallen, some you had to climb to. They
were a kind of evidence, a kind of
science, sticks, straw, and brilliant bits of glass.
My mother had a hat like that, feathered
flawed—she’d bought it used. It was intricate
and jewelled, the feathers scuffed like a jay’s,
and so stiff you could’ve carried water.
The millinery species is over.
Those nests had nothing in them. Still, sometimes
I’d wait until the autumn light was gone,
the sky half eggshell, half a starling’s wing—

5
Not to be compared with the fluted voice,
the five phrases in different pitches
of the thrush, the one Whitman heard, and Keats.
Stumus vulgaris vulgaris—not to
be confused with the soft talk and music.
the voice that calls the spirit from the wood.
Those that stayed the winter sat the chimney
to keep warm, and cried down the snow to fly
against the cold. They were impossible.
They’d be dead before spring, or disappear
into the white air.—Not to be confused
with the black leaves whirling up the windward
side of the house, caught in the chimney smoke,
the higher the more invisible—

6
Black.
I saw them cover the sky over a
building once, and storm an alley. They were
a gathering, whole. Yet on the window
sill, individual, stealing the grain
I put there, they’d almost look at me through
the glass. Something magical, practical.
They’d even graze the ground for what had dropped.
I wished for one to come into the house,
and left the window open just enough.
None ever did. That was another year.
What is to be feared is emptiness and
nothing to fill it. I threw a stone or
I didn’t throw a stone is one language—
the vowel is a small leaf on the tongue.

~ Stanley Plumly

                     

Music by Agnes Obel, “Falling, Catching”

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2 thoughts on ““they swing over buildings, / dipping and rising; / they float like one stippled star / that opens, / becomes for a moment fragmented, / then closes again; / and you watch / and you try / but you simply can’t imagine / how they do it” ~ Mary Oliver, from “Starlings in Winter”

  1. I try to walk outside with Isabel in my arms when the weather is warm enough. One day – maybe a month ago, we watched a flock of starlings rise and swirl and almost land, then take off again. Mesmerized us both… How could you ever tire of watching?

    Wonderful post. I love the Hermes woodcut…

    Thanks for your posts… My days are so busy with school work and internship and worry and some loneliness… and I’m trying to stay connected…

    Sometimes I think if I could just write (halfway decent) poems, I would feel like there might be a coherent reason for existing…

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