I will mix me a drink of stars,—
Large stars with polychrome needles,
Small stars jetting maroon and crimson,
Cool, quiet, green stars.
I will tear them out of the sky,
And squeeze them over an old silver cup,
And I will pour the cold scorn of my Beloved into it,
poems & poets
I will mix me a drink of stars,—
In midsummer, in Los Angeles,
the night is fractured
with mountains, grilling ink
into the blue thaw. I trail
into pools and pastures,
and in the diner,
and skirt up booths,
the waitress, Dottie, is whipping
shells, mac and cheese,
I shall forget you presently, my dear,
So make the most of this, your little day,
Your little month, your little half a year
Ere I forget, or die, or move away,
And we are done forever; by and by
I shall forget you, as I said, but now,
If you entreat me with your
"Linearity is overrated," writes Airea D. Matthews, a poet who seldom takes the direct path. But didn't Dante stray from the straight path in order to discover new worlds? Conversant with all manner of compact soliloquy, from Bible verse to text message, Matthews inhabits worlds within worlds, small moments of clarity and composure that push against the chaos of a busy existence. A mother of four who worked for eight years in the corporate world while pursuing degrees in public policy and in poetry (and why are those separate realms?), Matthews has grown used to firing on multiple burners. "I've known some degree of chaos my entire life," she says. "There were never any zones in my childhood and adolescence that were free of perturbations, turbulence, or risk." As a consequence, "perhaps, this type of environment becomes embedded in the memory and marrow."
In her poem "Dead of Winter Non-Sequitur" Matthews takes us through a marvelously non-linear meditation on the line and
In 1955, Sylvia Plath, who was then a student at Smith College, typed up a group of poems on onion skin paper and mailed them to the Academy of American Poets in New York City to be considered for one of its College Poetry Prizes. Founded in 1934, the Academy has recognized young poets for much of its history, and today awards more than 200 prizes to poets in undergraduate programs across the U.S.
Plath's poems won. Uplifted and inspired by the recognition, she wrote a letter to thank the donor, Mr. Harrison Eudy, who had endowed the prize in memory of his mother, an aspiring poet herself. "After this fruitful year," Plath wrote to Eudy, "I know that writing poetry will always be the richest, most rewarding part of a full maturing life."
During the next seven years staff at the Academy of American Poets and Plath remained in contact as her poetry life quickly blossomed. In 1961, Elizabeth Kray, the Director of the Academy at the time, invited Plath
oral-formulaic method: Milman Parry (1902–1935) and his student Albert Lord (1912–1991) discovered and studied what they called the oral-formulaic method of oral epic singers in the Balkans. Their method has been variously referred to as “oral-traditional theory,” “the theory of Oral-Formulaic Composition,” and the “Parry-Lord theory.” Parry used his study of Balkan singers to address what was then called the “Homeric Question,” which circulated around the questions of “Who was Homer?” and “What are the Homeric poems?” Parry’s most critical insight was his recognition of the “formula,” which he initially defined as “a group of worlds which is regularly employed under the same metrical conditions to express a given idea.”
The formula revised the standard ideas of “stock epithets,” “epic clichés,” and “stereotyped phrases.” Such often repeated Homeric phrases as “eos rhododaktylos” (“rosy-fingered dawn”) and “oinops pontos” (“wine-dark sea”) were mnemonic devices that fitted a