Eros is often the fuel of the lyric imagination, which chooses to
use words, sentences, musical structures of language to re/member the
beloved, to enter that inexhaustible source of--not uniquely "carnal"--knowledge
which is another person's body and mind.
by May Swenson
Blue, but you are Rose, too...
Long Distance II
by Tony Harrison
Though my mother was already two years dead...
by W. H. Auden
Lay your sleeping head, my love...
by Jane Cooper
If you want my apartment, sleep in it...
The Conjugation of the Paramecium
by Muriel Rukeyser
This has nothing / to do with / propagating...
The Distant Moon
by Rafael Campo
Admitted to the hospital again...
The Talking Back of Miss Valentine Jones: Poem # one
by June Jordan
well I wanted to braid my hair
Many love poems are actually poems of seduction. I've preferred to
choose poems in which love is a presence, not a pursuit: W. H. Auden's
meditation on the timelessness attendant on the erotic moment; May
Swenson's delicious limning of gratified desire. Muriel Rukeyser's
poem is a deft parable on the necessary gratuitousness of full erotic
exchange. Jane Cooper's lyric and June Jordan's dramatic monologue
both exemplify that, perhaps especially in love, "the personal is
political": we love and are loved in our quotidian complexities,
or not at all. Tony Harrison's (Meredithian) sonnet views married love
and its attendant mourning with the perspective of the filial love it
engendered. And Rafael Campo's sequence shows us anarchic Eros
enriching the healer's compassion.