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Time and Materials: Poems 1997-2005
Time and Materials: Poems 1997-2005
Time and Materials: Poems 1997-2005
Ebook113 pages1 hour

Time and Materials: Poems 1997-2005

By Robert Hass

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About this ebook

The poems in Robert Hass's new collection—his first to appear in a decade—are grounded in the beauty and energy of the physical world, and in the bafflement of the present moment in American culture. This work is breathtakingly immediate, stylistically varied, redemptive, and wise.

His familiar landscapes are here—San Francisco, the Northern California coast, the Sierra high country—in addition to some of his oft-explored themes: art; the natural world; the nature of desire; the violence of history; the power and limits of language; and, as in his other books, domestic life and the conversation between men and women. New themes emerge as well, perhaps: the essence of memory and of time.

The works here look at paintings, at Gerhard Richter as well as Vermeer, and pay tribute to his particular literary masters, friend Czeslaw Milosz, the great Swedish poet Tomas Tranströmer, Horace, Whitman, Stevens, Nietszche, and Lucretius. We are offered glimpses of a surpris­ingly green and vibrant twenty-first-century Berlin; of the demilitarized zone between the Koreas; of a Bangkok night, a Mexican desert, and an early summer morning in Paris, all brought into a vivid present and with a passionate meditation on what it is and has been to be alive. "It has always been Mr. Hass's aim," the New York Times Book Review wrote, "to get the whole man, head and heart and hands and every­thing else, into his poetry."

Every new volume by Robert Hass is a major event in poetry, and this beautiful collection is no exception.

LanguageEnglish
PublisherHarperCollins
Release dateOct 13, 2009
ISBN9780061754227
Time and Materials: Poems 1997-2005
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Author

Robert Hass

Robert Hass was born in San Francisco. His books of poetry include The Apple Trees at Olema (Ecco, 2010), Pulitzer Prize and National Book Award winner Time and Materials (Ecco, 2008), Sun Under Wood (Ecco, 1996), Human Wishes (1989), Praise (1979), and Field Guide (1973), which was selected by Stanley Kunitz for the Yale Younger Poets Series. Hass also co-translated several volumes of poetry with Nobel Laureate Czeslaw Milosz and authored or edited several other volumes of translation, including Nobel Laureate Tomas Tranströmer's Selected Poems (2012) and The Essential Haiku: Versions of Basho, Buson, and Issa (1994). His essay collection Twentieth Century Pleasures: Prose on Poetry (1984) received the National Book Critics Circle Award. Hass served as Poet Laureate of the United States from 1995 to 1997 and as Chancellor of the Academy of American Poets. He lives in California with his wife, poet Brenda Hillman, and teaches at the University of California, Berkeley.

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  • 3/5
    Some stunning poems, but to me it was a bit slight and uneven as a collection. He's a marvelous writer, and an intelligent, generous, wide-ranging poet. This book won the Pulitzer Prize and the National Book Award.

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Time and Materials - Robert Hass

IOWA, JANUARY

In the long winter nights, a farmer’s dreams are narrow.

Over and over, he enters the furrow.

AFTER TRAKL

October night, the sun going down,

Evening with its brown and blue

(Music from another room),

Evening with its blue and brown.

October night, the sun going down.

ENVY OF OTHER PEOPLE’S POEMS

In one version of the legend the sirens couldn’t sing.

It was only a sailor’s story that they could.

So Odysseus, lashed to the mast, was harrowed

By a music that he didn’t hear—plungings of sea,

Wind-sheer, the off-shore hunger of the birds—

And the mute women gathering kelp for garden mulch,

Seeing him strain against the cordage, seeing

The awful longing in his eyes, are changed forever

On their rocky waste of island by their imagination

Of his imagination of the song they didn’t sing.

A SUPPLE WREATH OF MYRTLE

Poor Nietzsche in Turin, eating sausage his mother

Mails to him from Basel. A rented room,

A small square window framing August clouds

Above the mountain. Brooding on the form

Of things: the dangling spur

Of an Alpine columbine, winter-tortured trunks

Of cedar in the summer sun, the warp in the aspen’s trunk

Where it torqued up through the snowpack.

"Everywhere the wasteland grows; woe

To him whose wasteland is within."

Dying of syphilis. Trimming a luxuriant mustache.

In love with the opera of Bizet.

FUTURES IN LILACS

Tender little Buddha, she said

Of my least Buddha-like member.

She was probably quoting Allen Ginsberg,

Who was probably paraphrasing Walt Whitman.

After the Civil War, after the death of Lincoln,

That was a good time to own railroad stocks,

But Whitman was in the Library of Congress,

Researching alternative Americas,

Reading up on the curiosities of Hindoo philosophy,

Studying the etchings of stone carvings

Of strange couplings in a book.

She was taking off a blouse,

Almost transparent, the color of a silky tangerine.

From Capitol Hill Walt Whitman must have been able to see

Willows gathering the river haze

In the cooling and still-humid twilight.

He was in love with a trolley conductor

In the summer of—what was it?—1867? 1868?

THREE DAWN SONGS IN SUMMER

1.

The first long shadows in the fields

Are like mortal difficulty.

The first birdsong is not like that at all.

2.

The light in summer is very young and wholly unsupervised.

No one has made it sit down to breakfast.

It’s the first one up, the first one out.

3.

Because he has opened his eyes, he must be light

And she, sleeping beside him, must be the visible,

One ringlet of hair curled about her ear.

Into which he whispers, Wake up!

Wake up! he whispers.

THE DISTRIBUTION OF HAPPINESS

Bedcovers thrown back,

Tangled sheets,

Lustrous in moonlight.

Image of delight,

Or longing,

Or torment,

Depending on who’s

Doing the imagining.

(I know: you are the one

Pierced through, I’m the one

Bent low beside you, trying

To peer into your eyes.)

ETYMOLOGY

Her body by the fire

Mimicked the light-conferring midnights

Of philosophy.

Suppose they are dead now.

Isn’t dead now an odd expression?

The sound of the owls outside

And the wind soughing in the trees

Catches in their ears, is sent out

In scouting parties of sensation down their spines.

If you say it became language or it was nothing,

Who touched whom?

In what hurtle of starlight?

Poor language, poor theory

Of language. The shards of skull

In the Egyptian museum looked like maps of the wind-eroded

Canyon labyrinths from which,

Standing on the verge

In the yellow of a dwindling fall, you hear

Echo and re-echo the cries of terns

Fishing the worked silver of a rapids.

And what to say of her wetness? The Anglo-Saxons

Had a name for it. They called it silm.

They were navigators. It was also

Their word for the look of moonlight on the sea.

THE PROBLEM OF DESCRIBING COLOR

If I said—remembering in summer,

The cardinal’s sudden smudge of red

In the bare gray winter woods—

If I said, red ribbon on the cocked straw hat

Of the girl with pooched-out lips

Dangling a wiry lapdog

In the painting by Renoir—

If I said fire, if I said blood welling from a cut—

Or flecks of poppy in the tar-grass scented summer air

On a wind-struck hillside outside Fano—

If I said, her one red earring tugging at her silky lobe,

If she tells fortunes with a deck of fallen leaves

Until it comes out right—

Rouged nipple, mouth—

(How could you not love a woman

Who cheats at the Tarot?)

Red, I said. Sudden, red.

THE PROBLEM OF DESCRIBING TREES

The aspen glitters in the wind

And that delights us.

The leaf flutters, turning,

Because that motion in the heat of August

Protects its cells from drying out. Likewise the leaf

Of the cottonwood.

The gene pool threw up a wobbly stem

And the tree danced. No.

The tree capitalized.

No. There are limits to saying,

In language, what the tree did.

It is good sometimes for poetry to disenchant us.

Dance with me, dancer. Oh, I will.

Mountains, sky,

The aspen doing something in

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