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ABOUT THE AUTHOR
Marvin Bell
Marvin Bell
Marvin Bell was born in New York City in 1937 and grew up in rural Long Island. He was on the staff of the The University of Iowa's Writers Workshop for more than thirty years, where he was the Flannery O'Connor Professor of Letters...
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FURTHER READING
Ars Poetica
Epistles, Book II, Ars Poetica
by Horace
A Book Of Music
by Jack Spicer
A True Poem
by Lloyd Schwartz
All Their Stanzas Look Alike
by Thomas Sayers Ellis
Always on the Train
by Ruth Stone
And It Came to Pass
by C. D. Wright
Ars Poetica
by Archibald MacLeish
Ars Poetica
by Eleanor Wilner
Ars Poetica (cocoons)
by Dana Levin
Art Class
by James Galvin
Arthur's Anthology of English Poetry
by Laurence Lerner
Because You Asked about the Line Between Prose and Poetry
by Howard Nemerov
Briefly It Enters, and Briefly Speaks
by Jane Kenyon
Broadway
by Mark Doty
Diving into the Wreck
by Adrienne Rich
Endnote
by Hayden Carruth
Envoi
by William Meredith
Ground Swell
by Mark Jarman
Introduction to Poetry
by Billy Collins
O Black and Unknown Bards
by James Weldon Johnson
On the Subject of Poetry
by W. S. Merwin
Poet's Work
by Lorine Niedecker
Poetry
by Marianne Moore
Prefix: Finding the measure
by Robert Kelly
Some Part of the Lyric
by Gregory Orr
Speech Alone
by Jean Follain
Strawberry on the Drawbridge
by Matthea Harvey
Take the I Out
by Sharon Olds
The Allure of Forms
by Coral Bracho
The Bargain
by Cyrus Cassells
The Bear
by Galway Kinnell
The Poem as Mask
by Muriel Rukeyser
The Poems I Have Not Written
by John Brehm
The Snow and the Plum — II
by Lu Mei-P'o
The Uses of Poetry
by William Carlos Williams
What He Thought
by Heather McHugh
Workshop
by Billy Collins
Adopt a Poet | Add to Notebook | E-mail to Friend | Print
Instructions to Be Left Behind  
by Marvin Bell

I've included this letter in the group
to be put into the cigar box—the one
with the rubber band around it you will find
sometime later. I thought you might
like to have an example of the way in which
some writing works. I may not say anything
very important or phrase things just-so,
but I think you will pay attention anyway
because it matters to you—I'm sure it does,
no one was ever more loved than I was.

What I'm saying is, your deep attention
made things matter—made art,
made science and business
raised to the power of goodness, and sport
likewise raised a level beyond.
I am not attaching to this a photograph
though no doubt you have in your mind's eye
a clear image of me in several expressions
and at several ages all at once—which is
the great work of imagery beyond the merely
illustrative. Should I stop here for a moment?

These markings, transliterations though they are
from prints of fingers, and they from heart
and throat and corridors the mind guards,
are making up again in you the one me
that otherwise would not survive that manyness
daisies proclaim and the rain sings much of.
Because I love you, I can almost imagine
the eye for detail with which you remember
my face in places indoors and out and far-flung,
and you have only to look upward to see
in the plainest cloud the clearest lines
and in the flattest field your green instructions.

Shall I rest a moment in green instructions?
Writing is all and everything, when you care.
The kind of writing that grabs your lapels
and shakes you—that's for when you don't care
or even pay attention. This isn't that kind.
While you are paying your close kind of attention,
I might be writing the sort of thing you think
will last—as it is happening, now, for you.
While I was here to want this, I wanted it,
and now that I am your wanting me to be myself
again, I think myself right up into being
all that you (and I too) wanted to be: You.



From Nightworks: Poems 1962-2000 by Marvin Bell. Copyright © 2000 by Marvin Bell. Reprinted by permission of Copper Canyon Press.
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