Did the people of Viet Nam
use lanterns of stone?
Did they hold ceremonies
to reverence the opening of buds?
When I found the door
I found the vine leaves
speaking among themselves in abundant
Ah, Grief, I should not treat you
like a homeless dog
who comes to the back door
for a crust, for a meatless bone.
Among the blight-killed eucalypts, among
trees and bushes rusted by Christmas frosts,
the yards and hillsides exhausted by five years of drought,
Brilliant, this day – a young virtuoso of a day.
Morning shadow cut by sharpest scissors,
deft hands. And every prodigy of green –
whether it's ferns or lichens or needles
White dawn. Stillness.When the rippling began
I took it for sea-wind, coming to our valley with rumors
of salt, of treeless horizons. But the white fog
didn't stir; the leaves of my brothers remained outstretched,
A certain day became a presence to me;
there it was, confronting me--a sky, air, light:
a being. And before it started to descend
from the height of noon, it leaned over
Long after you have swung back
away from me
I think you are still with me:
Green Snake, when I hung you round my neck
and stroked your cold, pulsing throat
as you hissed to me, glinting
arrowy gold scales, and I felt
This wild night, gathering the washing as if it were flowers
animal vines twisting over the line and
slapping my face lightly, soundless merriment
in the gesticulations of shirtsleeves,
After I had cut off my hands
and grown new ones
something my former hands had longed for
O Eros, silently smiling one, hear me.
Let the shadow of thy wings
Let thy presence
From the tawny light
from the rainy nights
from the imagination finding
itself and more than itself
The tree of knowledge was the tree of reason.
That's why the taste of it
drove us from Eden. That fruit
was meant to be dried and milled to a fine powder
of Northern White Russia declined,
in his youth, to learn the
language of birds, because
Denise Levertov was a British-born American poet. Biography Born in Ilford, Essex, England, her mother, Beatrice Spooner-Jones Levertoff, was Welsh. Her father, Paul Levertoff, immigrated to England from Germany, was a Russian Hassidic Safardic Jew who became an Anglican priest. While being educated at home, Levertov showed an enthusiasm for writing from an early age. When she was five years old, she said later in life, she declared she would be a writer. At the age of 12, she sent some of her poems to T. S. Eliot, who replied with a two-page letter of encouragement. In 1940, when she was 17, Levertov published her first poem. During the Blitz, Levertov served in London as a civilian nurse. Her first book, The Double Image, was published six years later. In 1947 she married American writer Mitchell Goodman and moved with him to the United States in the following year. Although Levertov and Goodman would eventually divorce, they had a son, Nikolai, and lived mainly in New York City, summering in Maine. In 1955, she became a naturalized American citizen. Levertov's first two books had concentrated on traditional forms and language. But as she accepted the U.S. as her new home, she became more and more fascinated with the American idiom. She began to come under the influence of the Black Mountain poets and most importantly William Carlos Williams. Her first American book of poetry, Here and Now, shows the beginnings of this transition and transformation. Her poem “With Eyes at the Back of Our Heads” established her reputation. During the 1960s and 70s, Levertov became much more politically active in her life and work. As poetry editor for The Nation, she was able to support and publish the work of feminist and other leftist activist poets. The Vietnam War was an especially important focus of her poetry, which often tried to weave together the personal and political, as in her poem "The Sorrow Dance," which speaks of her sister's death. Also in response to the Vietnam War, Levertov joined the War Resister’s League. Much of the latter part of Levertov’s life was spent in education. After moving to Massachusetts, Levertov taught at Brandeis University, MIT and Tufts University. On the West Coast, she had a part-time teaching stint at the University of Washington and for 11 years (1982-1993) held a full professorship at Stanford University. In 1984 she received a Litt. D. from Bates College. After retiring from teaching, she traveled for a year doing poetry readings in the U.S. and England. In 1997, Denise Levertov died at the age of 74 from complications due to lymphoma. She was buried at Lake View Cemetery in Seattle, Washington. Political Poetry Both politics and war are major themes in Levertov's poetry. Levertov was published in the Black Mountain Review" during the 1950s, but denied any formal relations with the group. She began to develop her own lyrical style of poetry through those influences. She felt it was part of a poet's calling to point out the injustice of the Vietnam War, and she also actively participated in rallies, reading poetry at some. Some of her war poetry was published in her 1971 book To Stay Alive, a collection of anti-Vietnam War letters, newscasts, diary entries, and conversations. Complementary themes in the book involve the tension of the individual vs. the group (or government) and the development of personal voice in mass culture. In her poetry, she promotes community and group change through the imagination of the individual and emphasizes the power of individuals as advocates of change. She also links personal experience to justice and social reform. Suffering is another major theme in Levertov’s war poetry. The poems “Poetry, Prophecy, Survival”, “Paradox and Equilibrium”, and “Poetry and Peace: Some Broader Dimensions” revolve around war, injustice, and prejudice. In her volume “Life at War”, Denise Levertov attempts to use imagery to express the disturbing violence of the Vietnam War. Throughout these poems, she addresses violence and savagery, yet tries to bring grace into the equation. She attempts to mix the beauty of language and the ugliness of the horrors of war. The themes of her poems, especially “Staying Alive”, focus on both the cost of war and the suffering of the Vietnamese. In her prose work, The Poet in the World, she writes that violence is an outlet. Levertov’s first successful Vietnam poetry was her book Freeing of the Dust. Some of the themes of this book of poems are the experience of the North Vietnamese, and distrust of people. She attacks the United States pilots in her poems for dropping bombs. Overall, her war poems incorporate suffering to show that violence has become an everyday occurrence. After years of writing such poetry, Levertov eventually came to the conclusion that beauty and poetry and politics can’t go together (Dewey). This opened the door wide for her religious-themed poetry in the later part of her life. Religous Influences From a very young age Levertov was influenced by her religion, and when she began writing it was a major theme in her poetry. Through her father she was exposed to both Judaism and Christianity. Levertov always believed that her culture and her family roots had inherent value to herself and her writing. Furthermore, she believed that she and her sister had a destiny pertaining to this.When Levertov moved to the United States, she fell under the influence of the Black Mountain Poets, especially the mysticism of Charles Olson. She drew on the experimentation of Ezra Pound and the style of William Carlos Williams, but was also exposed to the Transcendentalism of Thoreau and Emerson. Although all these factors shaped her poetry, her conversion to Christianity in 1984 was the main influence on her religious writing. Sometime shortly after her move to Seattle in 1989, she became a Roman Catholic. In 1997, she brought together 38 poems from seven of her earlier volumes in The Stream & the Sapphire, a collection intended, as Levertov explains in the foreword to the collection, to "trace my slow movement from agnosticism to Christian faith, a movement incorporating much doubt and questioning as well as affirmation." Religious Themes Denise Levertov wrote many poems with religious themes throughout her career. These poems range from religious imagery to implied metaphors of religion. One particular theme was developed progressively throughout her poetry. This was the pilgrimage/spiritual journey of Levertov towards the deep spiritual understanding and truth in her last poems. One of her earlier poems is “A Tree Telling of Orpheus”, from her book Relearning the Alphabet. This poem uses the metaphor of a tree, which changes and grows when it hears the music of Orpheus. This is a metaphor of spiritual growth. The growth of the tree is like the growth of faith, and as the tree goes through life we also go through life on a spiritual journey. Much of Levertov’s religious poetry was concerned with respect for nature and life. Also among her themes were nothingness and absence. In her earlier poems something is always lacking, searching, and empty. In “Work that Enfaiths” Levertov begins to confront this “ample doubt” and her lack of “burning surety” in her faith. The religious aspect of this is the doubt vs. light debate. Levertov cannot find a balance between faith and darkness. She goes back and forth between the glory of God and nature, but doubt constantly plagues her. In her earlier religious poems Levertov searches for meaning in life. She explores God as he relates to nothing(ness) and everything. In her later poetry, a shift can be seen. "A Door in the Hive" and "Evening Train" are full of poems using images of cliffs, edges, and borders to push for change in life. Once again, Levertov packs her poetry with metaphors. She explores the idea that there can be peace in death. She also begins to suggest that nothing is a part of God. "Nothingness" and darkness are no longer just reasons to doubt and agonize over. “St. Thomas Didymus” and “Mass” show this growth, as they are poems that lack her former nagging wonder and worry. In Evening Train, Levertov’s poetry is highly religious. She writes about experiencing God. These poems are breakthrough poems for her. She writes about a mountain, which becomes a metaphor for life and God. When clouds cover a mountain, it is still huge and massive and in existence. God is the same, she says. Even when He is clouded, we know He is there. Her poems tend to shift away from constantly questioning religion to accepting it simply. In “The Tide”, the final section of Evening Train, Levertov writes about accepting faith and that not knowing answers is tolerable. This acceptance of the paradoxes of faith marks the end of her "spiritual journey". Levertov’s heavy religious writing began at her conversion to Christianity in 1984. She wrote a great deal of metaphysical poetry to express her religious views, and began to use Christianity to link culture and community together. In her poem “Mass” she writes about how the Creator is defined by His creation. She writes a lot about nature and individuals. In the works of her last phase, Levertov sees Christianity as a bridge between individuals and society, and explores how a hostile social environment can be changed by Christian values. Accomplishments Levertov wrote and published 20 books of poetry, criticism, and translations. She also edited several anthologies. Among her many awards and honors, she received the Shelley Memorial Award, the Robert Frost Medal the Lenore Marshall Prize, the Lannan Award, a Catherine Luck Memorial Grant, a grant from the National Institute of Arts and Letters, and a Guggenheim Fellowship.)
What Were They Like?
Did the people of Viet Nam
use lanterns of stone?
Did they hold ceremonies
to reverence the opening of buds?
Were they inclined to quiet laughter?
Did they use bone and ivory,
jade and silver, for ornament?
Had they an epic poem?
Did they distinguish between speech and singing?
Sir, their light hearts turned to stone.
It is not remembered whether in gardens
stone gardens illumined pleasant ways.
Perhaps they gathered once to delight in blossom,
but after their children were killed
there were no more buds.
Sir, laughter is bitter to the burned mouth.
A dream ago, perhaps. Ornament is for joy.
All the bones were charred.
it is not remembered. Remember,
most were peasants; their life
was in rice and bamboo.
When peaceful clouds were reflected in the paddies
and the water buffalo stepped surely along terraces,
maybe fathers told their sons old tales.
When bombs smashed those mirrors
there was time only to scream.
There is an echo yet
of their speech which was like a song.
It was reported their singing resembled
the flight of moths in moonlight.
Who can say? It is silent now.
The poem has a social effect of some kind whether or not the poet wills it to have. It has kinetic force, it sets in motion ... [ellipsis in source] elements in the reader that would otherwise be stagnant.