Fire in the Sea: An Anthology of Poetry and Art 9780824844004

Table of contents :
Contents
Preface
Acknowledgments
Fire in the wood
I couldn't think straight, do thought crooked
My father remembered what it wad to be small
Owls started this
I may be silent, but. . .
The minute i heard my first love story
What is the opposite of riot?
I thought the earth remembered me
The afternoon swam by
Credits
Index
About the selector

Citation preview

¿re in the éea

© 1996 U n i v e r s i t y of H a w a i i P r e s s All rights r e s e r v e d L i b r a r y of C o n g r e s s C a t a l o g i n g - i n - P u b l i c a t i o n D a t a Fire in t h e sea : an a n t h o l o g y of p o e t r y a n d a r t / selected by S u e C o w i n g , p.

cm.

"A Kolowalu b o o k . " ISBN 0-8248-16*49-8 1. P o e t r y — C o l l e c t i o n s . 2. Pacific Islanders — P o e t r y . 3. Islands of the Pacific — Poetry. 4. O c e a n i a — Poetry. 5. C h i l d r e n ' s poetry. I. C o w i n g , S u e , 1938— . PN6110.P2F57

1996

808.81—dc20

01 00 99 98 9 7 96

95-42546

5 4 3 2 1

All w o r k s of a r t in this b o o k w e r e p h o t o g r a p h e d by Tibor F r a n y o , w i t h t h e e x c e p t i o n of the H a w a i i a n k o a bowl on pg. 14, p h o t o g r a p h e d by H u g o D e V r i e s Front cover: Pin b y Elizabeth G a r r i s o n , Volcano Dream No. 4. Title page: M i x e d m e d i a p r i n t by Louis Pohl, Crater #3. Back cover: Detail of a b l o w n glass pilgrim flask, R o m a n E m p i r e . D e s i g n e d by Brian Ellis M a r t i n w i t h assistance f r o m S u s a n E. Kelly P r o d u c e d b y M a r q u a n d Books, Inc., Seattle P r i n t e d in S i n g a p o r e U n i v e r s i t y of H a w a i ' i P r e s s b o o k s a r e p r i n t e d on a c i d - f r e e p a p e r a n d meet t h e guidelines for p e r m a n e n c e a n d d u r a b i l i t y of t h e Council on L i b r a r y R e s o u r c e s

10

Preface

11

Acknowledgments

fire in the wood 14 15 15 16 18 19 20 21 22 22 23 23 24 26

Fire in the Wood Ngo Chan Luu Taaroa Tahitian Traditional Poem Island Albert Wendt Birth of Sea and Land Life from The Kumulipo Moana Kauraka Kauraka Turtle and Coconut Kauraka Kauraka The River Flows Back Kumalau Tawali Long Ago .. . Pablo Neruda Water need.) no feet. . . Philippine saying Ultimate Problems William Stafford Kitchen Philosophy Sudesh Mishra Looking thru Those Eye-holes Russell Soaba The Great Bird of Love over the Kingdom Paul Zimmer Litany Raymond Pillai

26 27

i thank You God for most thit amazing E. E. Cummings Walking Westward in the Morning Sapardi Djoko Damono

i couldn't think straight, do thought crooked 30 31 32 33 34 35 35

Water Monster Howard Norman Moo Albert Wendt Mookini He 'iau Martha Webb Bread of Dreanu Amrita Pritam GhLtlaine 's Quilt Eric Chock The Door on Its Hinges Martha Webb A Hot Day Arthur Yap

36 36 36 36 37 38 39 40

Don t Go Back to Sleep Rumi Sleep Is like a Bridge J u a n Ramón Jiménez F'uhshop . . . Matsuo Bashö The Brook G. Buree Bunao The F'uhin the Attic Philip Dacey A Game Fleur Adcock Stone Charles Simic Islands Nicholas Hasluck

41

•15

57

School Policy on Stickmen

Sam H u n t

42

When Andrei Codrescu

43

The door marked Good. . . Chinese saying

my father remembered what it wad to be J matt 46

Knife can t whittle. . . Korean saying

46

In the Giant's Castle Ruth Dallas

47

Poem for My Father Eric Chock

48

Next Time Naomi Shihab N y e

48

Human Affection Stevie Smith

49

Awapuhi Puanani Burgess

50

Another Life D a n a N a o n e Hall

50

Ten Alistair Campbell

51

My Mother j Humming

52

Son J o h n Enright

J o h n Enright

52

Who s Who Bengali oral tradition

53

Clouds on the Sea Ruth Dallas

54

The ears are brothers .. . Philippine saying

54

Before We Go Richard Tipping

54

For My Brother Cathy Song

owb j tarted th'u 58

Always Surpruied H o w a r d N o r m a n

59

Bats Randall J a r r e l l

60

You Can Go Very Far at That J o h n Tagliabue

61

The Shark J o h n Ciardi

62

Epigram Su Tung P'o

62

Telling a fuh...

Burmese saying

63

Water a cow drinks .. . W a y n e Westlake

63

Tongue . . . Philippine saying

64

Smart...

64

To Puffin, a White Cat J a m e s Kirkup

Korean saying

65

One dog barks at nothing..

65

Full Moon Rhyme J u d i t h Wright

. J a p a n e s e saying

66

Exchange

66

Rooster. . . Philippine saying

Denise Levertov

66

Sandpiper Elizabeth Bishop

67

Bird flies up .. . J a p a n e s e saying

67

How Birds Should Die Paul Z i m m e r

68

Fallen flower I see.. . Arakida Moritake

68

Earthworm . . . Philippine saying

68

Lives one day. .. Chinese saying

69

That ¿nail. . . Yosa Buson

69

After the Alphabets W. S. M e r w i n

69

White Turtle K a u r a k a K a u r a k a

70

Landcrab II M a r g a r e t Atwood

70

Winch L, tail? Which head? M u k a i Kyorai

71

Lizard in Jug Susan H a m p t o n

71

The Tree Alfred K r e y m b o r g

L may be dilent, but. . . 74

A Story That Could Be True William Stafford

74

Silent, but. . . Tsuboi Shigeji

75

The Rii'er Lt an Island H o n e T u w h a r e

76

Night Practice M a y Swenson

77

The Eternal Ego Speaks Nissim Ezekiel

77

Rain,!tar ui Lorna Goodison

78

Tree grows the way they want it to .. . Korean saying

78

Thread has to go . . . Korean saying

78

Beware the Man

79

Summer grasses . . . M a t s u o Basho

Sam H u n t

79

The Peace Game Yasmine G o o n e r a t n e

80

Get there first. .. J a p a n e s e saying

80

Forgiveness Alistair Campbell

80

Chinese Hot Pot W i n g Tek Lum

81

Write a bad dream . . . Chinese saying

81

Dreamed that hu pen . . . Chinese saying

81

Hope Is the Thing with Feathers Emily Dickinson

82

So Much Happiness Naomi Shihab N y e

83

My Happiness Gopal R. Honnalgere

83

The Pure Suit of Happiness M a y Swenson

84

One Leaping Dolphin Regarding Another, etc. . .. etc. . . . J o h n Tagliabue

85

The Anchor Takes Command J o s e p h Stanton

the minute i heard my firdt love dtory 88

The Minute I Heard My First Lose Story

88

Straight in the Eye Nissim Ezekiel

Rumi

99

89

To Be in Love Gwendolyn Brooks

90

Heading North Richard Tipping

91

Sonnet CXVI

92

Losing Track Denise Levertov

93

My Heart Kim Tong-myong

93

Quiet Pain Konai Helu T h a m a n

94

Poem Langston H u g h e s

94

Pantan

Malay folk poem

94

Do You Low Me? a n o n y m o u s

95

Sih'erswords Juliet Kono

95

Why Don't You Talk to Me? Alistair Campbell

96

Labu Robert Siti

97

To Wang Lun Li Po

97

Your Cat)i,tb Friend Richard Brautigan

what u the opposite of riot? 100

109

William Shakespeare

Some Opposites Richard Wilbur

101

The Chameleon J o h n G a r d n e r

101

Haiku

101

A Fly K a u r a k a K a u r a k a

102

Aian Alone the Beast Tony Quagliano

103

Stop! don't swat the fly...

E d m u n d Conti

Kobayashi Issa

104

Don 't Let That Horse Lawrence Ferlinghetti

105

Riding Lesson H e n r y Taylor

105

It was when we were winning . .. Burmese saying

106

Corn...

Philippinesaying

106

Spits straight up . . . J a p a n e s e saying

106

Painting the Gate M a y Swenson

107

Pillows Bonnie J a c o b s o n

107

Thumb Philip Dacey

L thought the earth remembered 110

Sleeping in the Forest M a i y Oliver

me

111

Behold (E Ike Mai)

111

Town and Village Albert W e n d t

traditional Hawaiian chant

112

Looking for Wainiha Reuben Tam

113

The man pulling radishes .. . Kobayashi Issa

113

Hearing the Names of the Valleys W. S. M e r w i n

114

from High Water Apisai Enos

115

Surf

115

Hokusai's Wave Olga Cabral

Lillian Morrison

116

A Game Called Trying to Ducern the Individual Journey Keith G u n d e r s o n

117

It knocks at a door...

117

The spring sea . .. Yosa Buson

Pablo N e r u d a

118

A Stone Souvenir Reuben Tarn

119

Pohaku D a w n Fraser

119

Pebble's Story A. R. Amnions

120

I Want an Island Konai Helu T h a m a n

121

The World Below the Brine Walt W h i t m a n

122

Snail Federico Garcia Lorca

122

Beautiful, seen through holes .. . Kobayashi Issa

122

And That Piano A r t h u r Baysting

123

Miutardflawers

123

Proud Songsters T h o m a s H a r d y

124

Rain on a Spring Night

125

Rain H o n e Tuwhare

.. . Yosa Buson Tu Fu

125

Clouds now and then . . . M a t s u o Basho

126

from The Pond in a Bowl H a n Yii

127

Coconut Shimazaki Toson

afternoon swam by 130

Afternoon W a n g Phui N a m

131

Beach Rainbow Takahashi Shinkichi

131

A Thing of Beauty J o h n Keats

132

To Make the Portrait of a Bird J a c q u e s Prevert

134

Sung E m m a n u e l Torres

135

There Are Poems Linda Pastan

135

The Harp Po Chu-i

136

Sunjet

136

Evening M o h a n Singh

Mbuyiseni O s w a l d Mtshali

137

The Artist

138

Horse and Tree Rita D o v e

Lisel Mueller

139

Credits

149

Index

J u s t as flowing lava turns the ocean to

connections in feeling and imagination rather

steam and keeps on burning — fire in the

than merely literal illustration.

sea — the best poems we hear or read take

This anthology includes, I believe for

surprising, even "impossible," turns that

the first time, a significant sample of Pacific

change the way we see the world a f t e r w a r d .

poetry in an international collection. The

Poets and visual artists try to say w h a t we

Pacfic islands have long poetic traditions,

would have thought could not be expressed,

and the last two decades have seen a lively

and w h e n they succeed, we share their deep

outpouring of contemporary poetry, espe-

pleasure. If this book allows its readers to

cially in FIJI, H a w a n , N e w Zealand, and

regain that pleasure or to feel it p e r h a p s

Samoa, that deserves to be better known

for the first time, it will have achieved its

within and beyond the region* Meanwhile,

purpose.

as Nicholas Hasluck says in his poem:

I have taken particular care to choose poems that will be meaningful to y o u n g

"Islands which h a v e / n e v e r e x i s t e d / h a v e made their w a y / o n t o maps nevertheless."

readers. Since most people over the age of ten can enjoy a wide range of poetry, I have

Carl S a n d b u r g once described poetry as

selected few poems written expressly for the

"the journal of a sea animal living on land,

y o u n g . Most of the poems presented here

wanting to fly in the air." Such animals live

were written in English; the rest have been

everywhere — on islands, on coasts, and,

translated into English from their original

like Sandburg, in the middle of continents.

Asian, Pacific, and European languages.

Some of their flights may be found in this

The illustrations are from the p e r m a n e n t

book.

collections of the Honolulu Academy of Arts and include a few pieces by y o u n g students of art at the academy, retained over the y e a r s for the lending collection at Linekona. It is my hope that pairing poems with art will make the experience of each doubly memorable. I chose the poems first, then the art to illustrate them, looking for

10

'•'For this reason, I have indicated " H a w a i ' i " r a t h e r than simply " U S A " u n d e r the names of the poets and artists irom this island state, even t h o u g h the o t h e r poets and artists are identified by country.

acknowledgments I would like to extend thanks to a few of the many people who offered their assistance and encouragement during the y e a r s this book w a s in the making: Iris Wiley, Sharon Yamamoto, and Cheri Dunn of the University of Hawai i Press; George Ellis, J e n n i f e r Saville, Sanna Deutsch, Tibor Franyo, and Pauline Sugino of the Honolulu Academy of Arts; Cedric Cowing; Nancy Kwok; Tony Quagliano; J o s e p h Stanton; Vilsoni Hereniko; Norma Gorst; and the students of La Pietra Hawai'i School for Girls, especially J a n e t Austin.

11

oetiy is the best language we have for talking about mystery. People have always turned to poetry to celebrate and account for the origins of things or to acknowledge unseen powers at work in the world.

Fire in the Wood The wood has fire in it. It has just come back to lite. Can you argue that wood has no fire in it When rubbing brings out these flames? NGO CHAN LUU (19TH

CKNTURY)

Vietnam

Ron Kent. H a w a i i Aw/, 1988

T r a n s l a t e d by B u r t o n Rafl'el

Koa b o w l , H a w a i ' i 19th c e n t u r v

14

N o r f o l k Island p i n e

Taaroa He was there — Taaroa was his name. Around him void: no earth no sky no sea no people. Taaroa calls — there is no echo. In his loneliness he changes himself into the world. These entangled roots are Taaroa. These rocks are Taaroa. Taaroa: sand of the sea. Taaroa: clarity. Taaroa: seed.

Island

Taaroa: ground.

from Short Songs

Taaroa the eternal

This island was a trail tremor snared

the powerful creator of the world

in stingray seas dark with threat of storm.

the large sacred world

The tremor was strong enough to give us birth.

the world which is only the shell.

ALBERT WENDT

Taaroa is the life inside it. T A H ITI A N T R A D I T I O N A L E n g l i s h v e r s i o n by Ulli

(1939-)

Samoa

POEM

Beier

Elizabeth Garrison, U S A V,tlcano Dream No.

1985

Pin: sterling silver, c o p p e r , g l a s s , e n a m e l , old bone, and cloisonné

15

Birth of S e a and L a n d L i f e from The Kumulipo T h e night g a v e birth B o r n w a s K u m u l i p o in the night, a male B o r n w a s P o e l e in the night, a female B o r n w a s the coral polyp, born w a s the coral, c a m e forth B o r n w a s the g r u b that digs a n d h e a p s u p the earth, c a m e forth B o r n w a s his [child] an e a r t h w o r m , c a m e forth B o r n w a s the starfish, his child the small starfish c a m e forth B o r n w a s the s e a cucumber, his child the small s e a c u c u m b e r c a m e forth B o r n w a s the sea urchin, the s e a urchin [tribe] B o r n w a s the short-spiked s e a urchin, c a m e forth B o r n w a s the smooth s e a urchin, his child the long-spiked c a m e forth B o r n w a s the ring-shaped s e a urchin, his child the thin-spiked c a m e forth B o r n w a s the barnacle, his child the pearl oyster c a m e forth B o r n w a s the mother-of-pearl, his child the oyster c a m e forth B o r n w a s the mussel, his child the hermit c r a b c a m e forth B o r n w a s the big limpet, his child the small limpet c a m e forth B o r n w a s the cowry, his child the small c o w r y c a m e forth B o r n w a s the n a k a shellfish, the rock oyster his child c a m e forth B o r n w a s the d r u p a shellfish, his child the bitter white shellfish c a m e forth B o r n w a s the conch shell, his child the small conch shell c a m e forth B o r n w a s the nerita shellfish, the s a n d - b u r r o w i n g shellfish his child c a m e forth B o r n w a s the fresh w a t e r shellfish, his child the small fresh w a t e r shellfish c a m e forth

16

Anonymous C o u r t y a r d grille (detail). I l ) 2 7 Honolulu A c a d e m y ol Arts

Born was man tor the narrow stream, the woman for the broad stream Born was the E k a h a moss living in the sea Guarded by the Ekahakaha fern living on land Darkness slips into light Earth and water are the food of the plant The god enters, man cannot enter Man for the narrow stream, woman for the broad stream TRADITIONAL

HAWAIIAN C.KNKALOGICAL

T r a n s l a t e d by M a r t ha W a r r e n

*>TIH' KumuUpo

l ' R A Y K R C H A N T (CA.

Beckwith

is a chant of over two thousand lines. T h i s selection is

from the earliest section dealing with " P o , ' or night.

17

1700)

Moana Name of the Great Ocean the dark blue sea the mysterious Moana-Nui-o-Kiva* Moana-Vai-a-Varef mysterious ocean Moana our daughter graceful rider through space from Havaiki today you have earned the keys to enter M a d g e Tennent, Hawai'i

the four rooms

Three Hem) and Shoulder,* Studies,

of the mysterious

1954

Blue water-soluble pencil and wash

ocean of life many will call upon your name for guidance for interpretation

we look to you for understanding

of these mysteries

of the fish we eat

Moana our sister

the waves that destroy us

you were born and raised

the waves that create new lands

in the mysterious ocean

for us Moana our daughter Moana our sister Moana our mother KAURAKA KAURAKA (1951-) Cook Islands

"The Pacific Ocean. t M e a n s "myth" or "mysterious ocean."

18

Turtle and Coconut O n e s t o r m y night a p r e g n a n t turtle c r a w l e d a s h o r e to lay her eggs

Ansel Adams, U S A R,wl.\ r

e> 'J>> o

of è •> X \ -ci \ É1s

X V , SSÄÄ v

*

J®:

\ ^ \

ur creative imagination is not limited

Af.]

f V. C*

by the "facts" of daily life, b u t can see

À o r d i n a r y t h i n g s in fresh a n d startling w a y s .

m V*

U\ W

O f t e n this m e a n s being able to p i c t u r e a

•J o

d i f f e r e n t reality, to accept t w o opposite

», ->- < V

•n

t r u t h s at once, or to c o m b i n e the waking-

« *^ \ •

N

r

w o r l d w i t h the w o r l d of d r e a m s .

Water Monster Sure I saw the water monster! Why do you think I got back here so fast? Yes, that was me sitting in a tree by the lake wishing myself into a walking stick and making cracking-leaves sounds and making wishes on myself. That's when I saw him! I couldn't think straight so thought crooked, which is how I got to be a snake come winding out and safe at home. All because I saw him. HOWARD N O R M A N ( 1 9 4 9 - ) USA

30

Kawanabe Kyosai (Gyosai), Japan Vignetted on the Theme Demons and Godé (detail), late 1870s Ink and color on paper

Ann McCoy. USA Iguanas,

Moo

1979

Lithograph and colored pencil

M y son isn't afraid of lizards. He catches the fat m o o in our house, caresses the fear out of them, and releases them into the garden. I've never told him our ancestors believed lizards were gods. ALBERT WKNDT

(1939-)

S a in oa

31

Mookini Heiau —for Kalani Many died at Mo'okini, * four hundred and four hundred and four hundred and on. I walked through the abandoned fields and looked for you. I wore the helmet of forty thousand mo'o, four hundred and four hundred and on; the sun was setting. I sat on the high walls on the stone heaped for centuries. I added the sunsets since the last death. Where is power? The sun falls into the sea, the sea beats the stones and the stones turn to crickets who carry me away on the beat of their song, and I am talking to you tonight. We keep singing. The stones break beneath us. MARTHA WEBB

(1946-)

Hawai'i

" M o ' o k i n i H e i a u is a l a r g e a n c i e n t H a w a i i a n t e m p l e on the i s l a n d ol H a w a i ' i . It is said to h a v e b e e n built b y p a s s i n g l a r g e w a t e r w o r n s t o n e s h a n d o v e r h a n d from Pololu V a l l e y .

32

B r e a d of D r e a m s Last night I dared to eat the bread of dreams. I don't know how the sky C a m e to hear about it. Big wings heard the news Long beaks heard the news Cruel teeth heard the news S h a r p claws heard the news. The bread was quite naked Its flavor was quite naked It had no covering of soul And no covering of flesh. One swoop and the bread is snatched away M y hands are torn O n e swoop and my cheeks are scarred. O n my lips no bread Only talk of bread. Nights are black vultures. Last night I dared to eat the bread of dreams. I don't know how the sky came to hear about it. AM RITA PRITAM (19! 9-) India

Louis

Pohl,

Hawai'i

Crater #>, 1972 Alixed media

Ghislaine's Quilt The first sketches came when I was away.

leaves scattering, and gobs of red

I don't know if it started

paisley oozing fat tears

more from her dream

from the open mouth

or the real volcano she owns

which seems to be

a piece of, which recently

waiting for stars to fall

overflowed to the sea.

from the background of

But the quilt I look down

symmetrical sky.

every night in bed,

Sometimes I'm at the peak,

is a patchwork mountain

underneath the sky in my sleep.

of blacks and greys like different

Sometimes I 'm receiving the red flow

days of cooling lava,

into my mouth, which, she says,

abstract shapes like burnt

always opens when I dream. K R I C

C H O C K

Hawai' i

34

Beach Rainbow

-

•ty.

:0m A 'T i.

y~

:

i1 ft

tf

:

w

I n

Heedless of the spray from the steaming waves, The shell sleeps. Buried in sand, rolled by the sand shifting as the tide shifts, Not hearing the noise of the thundering waves,

A Thing of Beauty

The shell lies down lightly.

from

Some day, this beach too —

A thing of beauly is a joy forever:

The earth's crust shifting — may turn into fields

Its loveliness increases; it will never

Or perhaps into the floor of the sea.

Pass into nothingness; but still will keep

The shell does not worry about the far future, Does not covet the form of the clouds drifting

Endymion

A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing.

in the s k y Does not pine after its lost body parted by death.

J O H N KEATS ( 1 7 9 5 - 1 8 2 1 ) England

Idly, not sobbing, not scuriying, Resigned to the march of nature, Without anguish, quietly drifting. In a typhoon, bending its ear to the din:

IT-*-

Baked on the sand in the burning sun:

Pilgrim flask (details), Roman

Picked up by a man in a daydream:

Empire, Syro-

Turned into a button, even. Unconcerned.

probably Sidon,

Palestinian coast, 2nd-4th century Blown glass

Sea shell, beach rainbow, Keep y o u r eyes on y o u r beautiful dream. T A K A H A S H I S H I N K I C H I , 1976 Construction

There A r e Poems There are poems that are never written, that simply move across the mind like skywriting on a still day: slowly the first word drifts west, the last letters dissolve on the tongue, and what is left is the pure blue of insight, without cloud or comfort. L I N D A PASTAN (1932-) USA

The H a r p I lay my harp on the curved table, Sitting there idly, filled only with emotions. Why should I trouble to play? A breeze will come and sweep the strings. PO CHU-I (772-846) China T r a n s l a t e d try C h i n g Ti

135

Sunset The sun spun like a tossed coin. It whirled on the azure sky, it clattered into the horizon, it clicked in the slot, and neon-lights popped and blinked "Time expired", as on a parking meter. MBUYSENI OSWALD MTSHALI

(1940-)

South Africa Lionel Walden. U S A L u a k a h a : I'A'CIU/H/, c a . 1 9 1 6

Evening The sun horse panting and snorting Reaches the shores of evening Kicking his hoofs and flicking red dust His vermillion mane wet with perspiration He throws red foam from his mouth The mellow-colored Evening comes And pi aces her hand between his pricked ears Her long fingers Feel the hot breath from his nostrils And take off the bridle from his mouth The restive animal Tamed and quietened Walks behind the Evening slowly And goes into the stable of darkness. MOHAN SINGH India T r a n s l a t e d by B a l w a n t G a r g i

136

The Artist The girl who never speaks

She draws him over and over

draws a horse like you've never seen,

in absolute silence. She is afraid

a horse with feathers,

language will fritter away the world,

with eyes cut into diamonds

its gleam and thunder,

like the eyes of a bee,

its soft, curled lip,

with a tail of braided grasses

the flying back which only

and a mane of waterfalls.

she dares to ride.

Its ears are lilies

L I S E L M U E L L E R (1924-)

and its nostrils homes for swallows,

USA

but its fine hooves and ankles are what they always were, because there is no greater beauty. Where she lives there are no horses, but she has seen them in books and watched them rear and whinny on television. She understands their patience, day after day, in the land of the flies. In a dream she encountered a solitary blue horse in a field. He came close and ate an apple out of her hand.

137

Anonymous Kano School

Horse and Tree Anyone who's anybody longs to be a tree — or ride one, hair blown to froth. That's w h y horses were invented, and saddles tooled with singular stars. This is why we braid their harsh manes as if they were children, w h y children might fear a carousel at first for the w a y it insists that life is round. No, we reply, there is music and then it stops; the beautiful is always rising and falling. We call and the children sing back one more time. In the tree the luminous sap ascends. RITA D O V E ( 1 9 5 2 - ) USA

138

artist, J a p a n Stable

(uma-ya)

Sixfold screen, ink and color on paper with gold leal

eredità Poetry Every effort has been made to locate the holders of rights to the poems in this book and to give appropriate credit below. If there are errors or omissions in these acknowledgments, corrections will be made in subsequent editions, providing the publisher is notified in writing. "After the Alphabets" and "Hearing the Names of the Valleys" are by W. S. Merwin from Rain in the Trees. Copyright © 1988 by W. S. Merwin. Reprinted by permission of Alfred A. Knopf, Inc. "Afternoon" by Wang Phui Nam is from The Second Tongue, ed. Edwin Thumboo (Heinemann Educational Books, Asia, 1976). Reprinted by permission of Wang Phui Nam. "Always Surprised" and "Water Monster" by Howard Norman are from W'whing Bone Cycle: Narrative Poems from the Swampy Cree Indians (Stonehill Publishing Co.). Copyright © 1982 Howard A. Norman. Reprinted by permission of Ross-Erikson Press, 223 Via Sevilla, Santa Barbara, CA 93109. "The Anchor Takes Command" by Joseph Stanton appeared in Bamboo Ridge: The Hawaii Writer/Qiuirterly. Copyright © 1987 Joseph Stanton. Reprinted by permission of the author. "And That Piano" by Arthur Baysting is from Over the Horizon (Hurricane House, 1972). Used by permission of the author. "Another Life" by Dana Naone Hall appeared in Mana (Hawai'i Edition edited by Richard Hamasaki and Wayne Westlake), 1981. Reprinted by permission of the author and the South Pacific Creative Arts Society, Raiwaga, Fiji. "The Artist" by Lisel Mueller is from Waving from Shore (Louisiana State University Press). Copyright © 1989 by Lisel Mueller. Used by permission of the publisher.

"Awapuhi" by Puanani Burgess and "Litany" by Raymond Pillai are from Mana Review; "A Fly, " "Moana," and "Turtle and Coconut" by Kauraka Kauraka are from Dream,» of a Riiinbow; "Quiet Pain" by Konai Helu Thaman is from Lagankah. Reprinted by permission of the authors and the South Pacific Creative Arts Society, PO Box 5083, Raiwaga, Fiji. "Bats" by Randall Jarrell is from The Complete Poenw. Copyright © 1969 by Mrs. Randall Jarrell. Reprinted by permission of Farrar, Straus and Giroux and Faber and Faber, Ltd. "Beautiful, seen through holes . . ." and "Stop, don't swat the fly . . . " by Kobayashi Issa are from The Penguin Book of Japanese Verse, translated by Geoffrey Bownas and Anthony Thwaite (Penguin Books, 1964). Copyright © by Geoffrey Bownas and Anthony Thwaite. Reproduced by permission of Penguin Books, Ltd. "Beware the Man" and "School Policy on Stickmen" by Sam Hunt are reprinted by permission of the author. "Before We Go," and "Heading North" by Richard Tipping are from Nearer by Far (University of Queensland Press, 1986). "Before We Go" was first published by Open Door Press. Used by permission of the author. "Behold" is from The Echo of Our Song: Chants Poems of the Hawaiuins translated and edited by Mary K. Pukui and Alfons L. Korn (University of Hawai'i Press, 1973). Reprinted by permission of the University of Hawai'i Press. "Birth of Sea and Land Life" is from The Kumulipo: A Hawaiian Creation Chant translated and edited by Martha Warren Beckwith (University of Hawai'i Press, 1972). Reprinted by permission of the University of Hawaii Press.

"The Bread of Dreams" by Amrita Pritam is From A

"The Door on Its Hinges" by M a r t h a Webb appeared

Slice of Life: Selected Works of Amrita Pritam (Vikas Pub-

in Chaminade Literary Review. Used by permission of the

lishing House, 1990). Copyright © 1990 by Amrita

author.

Pritam. Reprinted by permission of the publisher.

"Epigram" by Su Tung P'o is from Kenneth Rexroth,

"The Brook" by G. Burce Bunao is reprinted by

i 00 Poems from the Chinese. Copyright © 1971 by

permission of the author.

Kenneth Rexroth. Reprinted by permission of New

Burmese, Chinese, Japanese, "Korean, and Philippine

Directions Publishing Corp.

sayings are from Asian Figures by W. S. Merwin

"The Eternal Ego Speaks" and "Straight in the Eye"

(Atheneum). Copyright © 1971, 1972, 1973 by

by Nissim Ezekiel are from Hymns in Darkness (Oxford

W. S. Merwin. Reprinted by permission of Georges

University Press, 1976). Reprinted by permission of

Borchardt, Inc.

Oxford University Press.

"Chameleon" by J o h n Gardner is from A Child's

"Evening" by Mohan Singh is reprinted by permission

bestiary. Copyright © 1977 by Boskydell Artists Ltd.

of The Befait Poetry Journal.

Reprinted by permission of Georges Borchardt, Inc., for the Estate of J o h n Gardner.

"Exchange" by Denise Levertov is from Footprints. Copyright © 1972 by Denise Levertov Goodman.

"Chinese Hot Pot" by Wing Tek Lum is from Expound-

Reprinted by permission of N e w Directions Publishing

ing the Doubtful Points (Bamboo Ridge Press, 1987).

Corp.

Copyright © 1987 by Wing Tek Lum. Reprinted by permission of the author.

"Fallen flower I see . . ." by Arakida Moritake, "Clouds now and then . . . " by Matsuo Basho, and "Which is

"Clouds on the Sea" and "In the Giant's Castle" by

tail? Which head? . . ." by Mukai Kyorai are from The

Ruth Dallas are from Collected Poenu (University of

Penguin Book of Japanese Verse, translated by Geoffrey

Otago Press, 1987). Reprinted by permission of J o h n

Bownas and Anthony Thwaite (Penguin Books, 1964).

Mclndoe Printers and Publishers, Dunedin, N Z .

Copyright © by Geoffrey Bownas and Anthony

"Coconut" by Shimazaki Toson, "Silent, but . . ." by Tsuboi Shigeji, and "Beach Rainbow" by Takahashi Shinkichi are from The Penguin Book of Japanese Verse,

Thwaite. Reprinted by permission of Penguin Books, Ltd. "Fire in the Wood" by Ngo Chan Luu, translated by

translated by Geoffrey Bownas and Anthony Thwaite

Burton Raffel, is from From the Vietnamese: Ten Centuries

(Penguin Books, 1964). Copyright © by Geoffrey

of Poetry (October House, 1968). Reprinted by permis-

Bownas and Anthony Thwaite. Reproduced by permis-

sion of Burton Raffel.

sion of Penguin Books, Ltd. "Do You Love M e ? " is from A Rocket in My Pocket by

"The Fish in the Attic" by Philip Dacey is from The Man with Red Suspenders (Milkweed Editions, 1986).

Carl Withers. Copyright © 1948 by Carl Withers.

Copyright © 1986 by Philip Dacey. Reprinted by

Copyright © 1976 by Samuel Halpern. Reprinted

permission of Milkweed Editions.

by permission of Henry Holt and Company, Inc.

"Fish Shop . . ." and "Summer Grasses . . ." by Matsuo

"Don't Go Back to Sleep" and "The Minute I Heard

Basho are from The Penguin Book of Zen Poetry, edited

M y First Love Story" by Rumi are from Open Secret,

and translated by Lucien Stryk and Takahashi

translated by Coleman Barks and J o h n Maynor.

Ikemoto. Reprinted by permission.

Reprinted by permission of Threshold Books, R D 4 Box 600, Putney, VT. "Don't Let That Horse" by Lawrence Ferlinghetti is from A Coney Island of the Mind. Copyright © 1958 by Lawrence Ferlinghetti. Reprinted by permission of N e w Directions Publishing Corp.

"For M y Brother" by Cathy Song is from Picture Bride. Copyright © 1983 by Cathy Song. Reprinted by permission of Yale University Press. "Forgiveness" and "Teu" by Alistair Campbell are from Stone Rain: The Polynesian Strain (Hazard Press, Christchurch, N Z ) . Copyright © 1992 by Alistair Te Ariki Campbell. Reprinted by permission.

140

"Full M o o n R h y m e " by J u d i t h W r i g h t is f r o m Collected

" H u m a n A f f e c t i o n " by Stevie Smith is f r o m The Col-

Poem,*. C o p y r i g h t © 1971 by J u d i t h W r i g h t . R e p r i n t e d

lected Poems of Stevie Smith. C o p y r i g h t © 1972 by Stevie

by permission of A n g u s & R o b e r t s o n , a division of

S m i t h . R e p r i n t e d by permission of N e w D i r e c t i o n s

H a r p e r C o l l i n s Publishers, Australia.

Publishing Corp.

"A G a m e " by Fleur A d c o c k is f r o m Selected Poenut

"i t h a n k You G o d for most this a m a z i n g " by E. E.

(1983). C o p y r i g h t © 1971 by O x f o r d U n i v e r s i t y Press.

C u m m i n g s is f r o m Complete Poems: ¡90-1-1962, edited by

R e p r i n t e d by permission of O x f o r d U n i v e r s i t y Press.

G e o r g e J . F i r m a g e . C o p y r i g h t © 1950, 1978, 1991 by

"A G a m e Called Trying to D i s c e r n the Individual J o u r n e y " by Keith G u n d e r s o n is f r o m A

Continual

Interest ui the Sun and Sea e~> Inland Aluuung the Sea

the T r u s t e e s for the E. E. C u m m i n g s Trust. R e p r i n t e d by permission of Liveright P u b l i s h i n g C o r p o r a t i o n a n d W. W. N o r t o n a n d C o m p a n y .

( N o d i n Press, 1971). C o p y r i g h t © 1971, 1977 by

" I s l a n d s " by N i c h o l a s H a s l u c k is r e p r i n t e d by p e r m i s -

Keith G u n d e r s o n . U s e d by permission of the a u t h o r .

sion of the author.

"Ghislaine's Q u i l t " a n d " P o e m for M y F a t h e r " by Eric

"I W a n t a n Island" by Konai Helu T h a m a n is r e p r i n t e d

C h o c k a r e f r o m Last Day.* Here ( B a m b o o Ridge Press,

by permission of the a u t h o r a n d the S o u t h Pacific

1990). C o p y r i g h t © 1989 by Eric E d w a r d C h o c k .

C r e a t i v e A r t s Society.

"Ghislaine's Q u i l t " first a p p e a r e d in Chaminade

Literary

Review. R e p r i n t e d by permission of the a u t h o r . " T h e G r e a t Bird of Love O v e r the K i n g d o m " a n d " H o w Birds S h o u l d Die" by Paul Z i m m e r a r e f r o m The Great Bird of Love: Poems by Paul Zimmer

( U n i v e r s i t y of

Illinois P r e s s ) . C o p y r i g h t © 1989 by Paul Z i m m e r .

Tandara ( M e a j i n Press, M e l b o u r n e , 1992). R e p r i n t e d by permission of the author. " L a b u " by R o b e r t Siti is f r o m Love Poems of Papua and New Guinea ( P a p u a Pockets, Port M o r e s b y , 1968). " L a n d c r a b II" by M a r g a r e t A t w o o d is f r o m Selected

R e p r i n t e d by permission. " H a i k u " b y E d m u n d Conti a p p e a r e d in Hawaii Review. R e p r i n t e d by permission of the author.

Poems II: Poems Selected o' New 1976-1986.

Copyright

© 1986 by M a r g a r e t A t w o o d . R e p r i n t e d by permission of O x f o r d U n i v e r s i t y Press C a n a d a a n d H o u g h t o n

" T h e H a r p " by Po Chii-i, t r a n s l a t e d by C h i n g Ti, is f r o m The White Pony: An Anthology of Chinese Poetry from the Earliest Times to the Present Day Newly

"Kitchen P h i l o s o p h y " by S u d e s h M i s h r a is f r o m

Translated,

edited by R o b e r t P a y n e ( L o n d o n , G e o r g e Allen a n d U n w i n , 1949). F r o m " H i g h W a t e r " by Apisai E n o s is f r o m High Water, P a p u a Pocket series ( P o r t M o r e s b y , 1971). " H o k u s a i ' s W a v e " by O l g a C a b r a l w a s p u b l i s h e d in The Poet Dreaming in the Artist 's House, edited by Emilie B u c h w a l d a n d R u t h Roston ( M i l k w e e d Editions, 1984). C o p y r i g h t © 1984 by O l g a C a b r a l . R e p r i n t e d by permission of M i l k w e e d Editions. " H o r s e a n d Tree" by Rita D o v e is f r o m Grace Notes. C o p y r i g h t © 1989 by Rita D o v e . R e p r i n t e d by permission of W. W. N o r t o n & C o m p a n y , Inc.

Mifflin C o m p a n y . "Lizard in a J u g " by S u s a n H a m p t o n is f r o m Kiwi c' Emu, edited by B a r b a r a Petrie ( B u t t e r f l y Books, 1989). R e p r i n t e d by permission. " L o n g a g o . . ." a n d "It k n o c k s at a d o o r . . ." by Pablo N e r u d a a r e f r o m The Sea and the Bells. Translation copyright © 1988 by William O ' D a l y . U s e d by permission of C o p p e r C a n y o n Press, Port T o w n s e n d , W A . " L o o k i n g for W a i n i h a " by R e u b e n Tam is f r o m Malama,

Hawaiian Land and Water ( B a m b o o Ridge

Press, 1985). R e p r i n t e d by permission of G e r a l d i n e King Tam. " L o o k i n g t h r u T h o s e Eye-holes" by Russell S o a b a w a s p u b l i s h e d by the O n d o B o n d o P o s t e r P o e m s series, L i t e r a t u r e D e p a r t m e n t , U n i v e r s i t y of P a p u a N e w

"A H o t D a y " by A r t h u r Y a p is f r o m The Second Tongue,

G u i n e a , 1979. C o p y r i g h t © 1969 by Russell S o a b a .

edited by E d w i n T h u m b o o ( H e i n e m a n n E d u c a t i o n a l

R e p r i n t e d by permission of the author.

Books, Asia, 1976). R e p r i n t e d by permission.

141

"Losing Track" by Denise Levertov is from Poenu,

"Pantun" from Pantun** and "Taaroa" from Taaroa were

1960-1969. Copyright © 1960 by Denise Levertov

translated by Ulli Beier. Both publications were part of

Goodman. Reprinted by permission of N e w Directions

the Papua Pocket Series published in Port Moresby.

Publishing Corporation and Laurence Pollinger, Ltd.

Reprinted by permission of Ulli Beier.

"To Make the Portrait of a Bird" by J a c q u e s Prevert is

"The Peace Game" by Yasmine Gooneratne is from

from Blaod and Feathers: Selected Poenu of Jacques Prevert

Modern Sri Lankan Poetry: An Anthology, edited by D. C.

(Moyer Bell, Wakefield, Rhode Island, 1993). Trans-

R. A. Goonetillike (Sri Satguru Publications, 1987).

lated by Harriet Zinnes. Used by permission.

Reprinted by permission of Indian Books Center,

"Man Alone the Beast" by Tony Quagliano is from

Delhi.

Black Mountain II Review. Reprinted by permission of

"Pebble's Stoiy" by A. R. Ammons is from The Really

the author.

Short Poenu of A. R. Ammons. Copyright © 1990 by A. R.

"The man pulling radishes . . . ," "Mustard flowers . . . ," "That Snail," and "Spring sea . . ." are from The fatten-

Ammons. Reprinted by permission of W. W. Norton & Co., Inc.

tial Haiku: Versions of Bajho, Biuon, and Iwa by Robert

"Pillows" by Bonnie Jacobson first appeared in Light

Hass. Copyright © 199-4 by the Ecco Press. Reprinted

Year '84 (Bits Press) and Stopping for Time (Green Tower

by permission of the author. " M o o , " "Island," and "Town and Village" by Albert

Press). Copyright © 1984 by Bonnie Jacobson. Reprinted by permission of the author.

Wendt are from Shaman of Vuiaru (Aukland University

From "The Pond in a Bowl" by Han Yii, translated by

Press, 1984). Reprinted by permission of the author.

Kenneth O. Hanson, is from Sunflower Splendor: Three

"Mo'okini Heiau" by M a r t h a W e b b appeared in Bamboo Ridge: The Hawaii Writers' Quarterly. Reprinted by permission of the author. "My Happiness" by Gopal R. Honnalgere is reprinted by permission of The Writers Workshop, Calcutta. "My Heart" by Kim Tong-myong, translated by Jaihiun Kim, is from Master Poenu from Modern Korea (Seoul: Si-sa-yong-o-sa, 1980). Used by permission of the translator. "My Mother's Humming" and "Son" by J o h n Enright are from Ataulama (Pago Pago: O Le Si'aleo O Samoa, 1993). Copyright © by J o h n Enright. Reprinted by permission.

Thousand Years of Chinese Poetry, edited by Wu-chi Liu and Irving Yucheng Lo (Bloomington, IN, 1975). "Poem" ("I loved my friend . . .") by Langston Hughes is from The Dream Keeper and Other Poenu. Copyright © 1932 by Alfred E. Knopf, Inc., and renewed 1960 by Langston Hughes. Reprinted by permission of the publisher. "Pohaku" by Dawn Fraser is from Now We Are Islanded Together (Magic Fishes Press, 1987). Copyright © 1987 by Dawn Fraser. Reprinted by permission of Dawn Fraser Kawahara. "Proud Songsters" by Thomas Hardy is from The Complete Poenu of Thomas Hardy, edited by J a m e s Gibson. Copyright © 1928 by Florence E. Hardy and Sydney

"Next Time" by Naomi Shihab Nye appeared in

E. Cockerell. Reprinted by permission of Simon &

Kaimana: The magazine ofthe Hawaii Literary Arts Coun-

Schuster.

cil, edited by Tony Quagliano. Reprinted by permission of the author.

"Rain" and "The River Is an Island" by Hone Tuwhare are from Year of the Dog. They first appeared in Deep

"Night Practice," "Painting the Gate," © 1973, and

River Talk. Reprinted by permission of Godwit Press

"The Pure Suit of Happiness," © 1972, by May

Limited, Auckland, N Z .

Swenson are used by permission of the Literaiy Estate of May Swenson.

"Rain on a Spring Night" by Tu Fu and "To W a n g Lun" by Li Po, in translations by David Young, ap-

"One Leaping Dolphin Regarding Another, etc. . . .

peared originally in Five T'ang Poets (Field Translation

etc. . . ." and "You Can Go Very Far at That" by J o h n

Series, no. 15). Copyright © 1990 by Oberlin College

Tagliabue are reprinted by permission of the author.

Press.

142

" r a i n s t a r iii" b y L o r n a G o o d i s o n is f r o m " S t a r Suite II"

" S t o n e " b y C h a r l e s Simic is f r o m Selected Poems. C o p y -

in Heartease ( N e w Beacon Books, 1988). R e p r i n t e d b y

right © 1971 by C h a r l e s Simic. R e p r i n t e d b y p e r m i s -

permission of the publisher.

sion of G e o r g e Braziller, Inc.

" R i d i n g L e s s o n " by H e n i y Taylor is f r o m An Afternoon

"A S t o n e S o u v e n i r " by R e u b e n Tam is r e p r i n t e d b y

of Pocket Billiards ( L o u i s i a n a S t a t e U n i v e r s i t y Press).

permission of G e r a l d i n e K i n g Tam.

C o p y r i g h t © 1992 b y H e n r y Taylor. U s e d b y permission.

f r o m Stories That Could Be True. R e p r i n t e d b y p e r m i s -

" T h e River F l o w s B a c k " by K u m a l a u Tawali is f r o m Through Melanesuin Eyes: An Anthology of Papua New Guinea Writers, edited by G a n g a Powell ( M a c m i l l a n Australia, 1987) R e p r i n t e d by permission of the author. " S a n d p i p e r " by Elizabeth Bishop is f r o m The Complete Poems; 1927-1979.

"A S t o r y T h a t C o u l d Be T r u e " by William S t a f f o r d is

C o p y r i g h t © 1979, 1983 b y Alice

H e l e n M e t h f e s s e l . R e p r i n t e d b y permission of F a r r a r , S t r a u s & G i r o u x , Inc.

sion of Kim S t a f f o r d . " S u n g " b y E m m a n u e l T o r r e s is f r o m New Writing from the Philippines, edited b y L e o n a r d C a s p a r . R e p r i n t e d by permission of S y r a c u s e U n i v e r s i t y Press. " S u n s e t " by M b u y i s e n i O s w a l d M t s h a l i is f r o m Sounds of a Cowhide Drum. C o p y r i g h t © 1971 by M b u y i s e n i O s w a l d M t s h a l i . R e p r i n t e d by permission of O x f o r d U n i v e r s i t y Press.

"The S h a r k " by J o h n Ciardi is r e p r i n t e d b y permission of J o h n L. Ciardi for the Ciardi Family P u b l i s h i n g Trust.

" S u r f " b y Lillian M o r r i s o n is i r o m The Sidewalk Racer and Other Poems of Sports and Motion. C o p y r i g h t © 1965, 1967, 1968, 1977 by Lillian M o r r i s o n . R e p r i n t e d by

"Sil vers w o r d s " by J u l i e t S. K o n o is f r o m Hilo Raitu* ( B a m b o o Ridge Press, 1988). C o p y r i g h t © 1988 by J u l i e t K o n o . R e p r i n t e d by p e r m i s s i o n .

permission of the a u t h o r . " T h e r e Are P o e m s " by L i n d a P a s t a n is f r o m PM/A/M: New and Selected Poems (W. W. N o r t o n ) . C o p y r i g h t

"Sleep Is Like a Bridge" by J u a n R a m ó n J i m é n e z is

© 1982 b y L i n d a P a s t a n . R e p r i n t e d by permission of

f r o m Selected Writings of Juan Ramón Jimenez.

the a u t h o r a n d of W. W. N o r t o n a n d C o m p a n y , Inc.

Copyright

© 1957 by J u a n R a m ó n J i m é n e z , r e n e w e d © 1985 by Farrar, S t r a u s & G i r o u x , Inc. R e p r i n t e d by permission.

"A T h i n g of B e a u t y " by J o h n Keats is f r o m John Keats: Complete Poems, edited b y J a c k Stilinger ( H a r v a r d Uni-

"Sleeping in the F o r e s t " by M a r y O l i v e r is f r o m Twelve

versity Press). C o p y r i g h t © 1978, 1982 by the Presi-

Moons. First a p p e a r e d in The Ohio Review. C o p y r i g h t

d e n t a n d Fellows of H a r v a r d College. R e p r i n t e d by

© 1978 b y M a r y Oliver. R e p r i n t e d b y permission of

permission of the p u b l i s h e r s .

Little, B r o w n a n d C o m p a n y a n d t h e M o l l y M a l o n e C o o k L i t e r a i y Agency. "Snail" by F e d e r i c o G a r c i a L o r c a is f r o m Selected Poenu of Federico García Lorca. C o p y r i g h t © 1955 by N e w D i r e c t i o n s P u b l i s h i n g C o r p . R e p r i n t e d by permission of N e w D i r e c t i o n s P u b l i s h i n g C o r p . " S o M u c h H a p p i n e s s " by N a o m i S h i h a b N y e is f r o m Hugging the Juke Box ( D u t t o n , 1982). R e p r i n t e d b y permission of the a u t h o r .

" T h u m b " by Philip D a c e y is f r o m How I Escaped from the Labyrinth and Other Poems ( C a r n e g i e - M e l l o n U n i v e r s i t y Press, 1977). R e p r i n t e d b y permission of t h e a u t h o r . "To Be in L o v e " b y G w e n d o l y n B r o o k s is f r o m Blacks (Chicago: T h i r d W o r l d Press). C o p y r i g h t © 1991 by G w e n d o l y n B r o o k s . R e p r i n t e d b y permission of the author. "To Puffin, a W h i t e C a t " by J a m e s K i r k u p is f r o m A Correct Passion and Other Poems ( O x f o r d U n i v e r s i t y

" S o m e O p p o s i t e s " b y R i c h a r d W i l b u r is f r o m Opposites:

Press, 1952). R e p r i n t e d b y permission of J a m e s

Poems and Drawings. C o p y r i g h t © 1973 b y R i c h a r d

Kirkup.

Wilbur. R e p r i n t e d b y permission of H a r c o u r t Brace & Company.

" T h e T r e e " b y A l f r e d K r e y m b o r g is f r o m Poetry for Pleasure: The Hallmark

Book of Poetry ( D o u b l e d a y , 1960).

143

"Ultimate Problems" by William Stafford is from An Oregon Menage. Copyright © 1987 by William Stafford.

Illustrations

Reprinted by permission of HarperCollins Publishers,

(in order of appearance)

Inc.

Ron Kent, Hawai'i, Bowl, N o r f o l k Island pine, 1988.

"Walking W e s t w a r d in the M o r n i n g " by Sapardi

Honolulu Academy of Arts, gift of Ron Kent, 1988.

Djoko Damono, translated by J o h n H. M c G l y n n , is

H. 93A in.; diam. mouth 145/e in. (24.8 x 37.2 cm).

from Walking Wedtward in the Morning: Seven Contempo-

Koa bowl, Hawai'i, 19th century. Honolulu Academy

rary Indonesian Poets. Copyright © 1990 by The Lontar

of Arts, gift of Mrs. Charles M . Cooke, 1931. 9% x 15'/s

Foundation, J a k a r t a . Reprinted by permission of the

in. (24.76 x 38.40 cm).

publisher. Elizabeth Garrison, USA, Volcano Dream No. 4, Pin: "Water a C o w Drinks . . . " b y W a y n e Westlake is from

sterling silver, copper, glass, enamel, old bone, and

Seaweeds and Constructions (1978). Reprinted by permis-

cloisonné, 1985. Honolulu Academy of Arts, gift of

sion of Mei Li M . Cope.

Helen Drutt, 1986. H. l'/z in.; w. 2Vi in.; d. 3/i6 in.

" W h e n " by Andrei Codrescu is reprinted by permission

(3.8 x 6.5 x 4 cm).

of the author.

Anonymous, Courtyard Grille (detail). Honolulu

"White Turtle" by K a u r a k a K a u r a k a is from Dreanu of a

Academy of Arts, 1927. H. 6 ft. lO'A in.; w. 4 ft. 11 in.

Rainbow. Reprinted by permission of the author.

(209.55 x 149.86 cm).

"Who's W h o " is from Cbaarra: Children's and Women's

M a d g e Tennent, Hawai'i, Three Head and Shoulders

Verse from the Bengali Oral Tradition, edited by Prith-

Studies, blue water-soluble pencil and wash, 1954.

vindra Chakravarti (Port Moresby: P a p u a Pockets,

Honolulu Academy of Arts, gift of H e n r y B. Clark, Jr.,

1971).

in memory of Geraldine P. Clark, 1992. 20'A x 26 in. (51.4 x 66.0 cm).

" W h y Don't You Talk to M e ? " by Alistair Campbell is from Collected Poems (Alister Taylor Publications, 1982).

Ansel Adams, USA, Roots, Foster Garden, vintage silver

Reprinted by permission of t h e author.

gelatin print, 1948. Honolulu Academy of Arts, gift of Mr. and M r s . H e n r y B. Clark, Jr., 1984. 79/i6 x

"The World Below the Brine" by Walt W h i t m a n is

63/ié in. (19.21 x 15.72 cm).

from Complete Poetry and Prose of Walt Whitman (Riverside Edition), edited by J a m e s Miller, J r . Copyright

Gwendolyn Morris at age 12, Hawai'i, untitled print,

© 1959 by H o u g h t o n Mifflin Company. Used by

1955. Honolulu Academy of Arts, Linekona collection

permission.

of student art. 9'A x 12/8 in. (35.56 x 20.62). Louis Pohl, Hawai'i, Reef #2, from the Sea series, mixed media print, 1973. Honolulu Academy of Arts, 1973. 18>/2 x 25 in. (46.99 x 63.50 cm). J o s e p h Stella, USA, Sparrows, silverpoint, gouache,

Isami Doi, H a w a i i . Madonna, wood engraving, 1950. 5

Honolulu Academy of Arts, 1950. A A x 314 in. (12.06 x 8.26 cm). Attributed to Liu Du, China, Landscape scroll (detail), ink and colors on silk, early Qing dynasty, ca. 1650. Honolulu Academy of Arts, 1974. 14 in. x 17 ft 3 in. (35.56 x 525.78 cm).

J a m e s W. and Barbara S. Betts, 1991. 6 x 8 l / 2 in. (15.2

and graphite on paper, 1919. Honolulu Academy of Arts, 1989. 14 x 10 in. (35.5 x 25.5 cm). Elizabeth Keith, England, A Moro Umbrella, Jolo, Sulu, color woodcut, 1924. Honolulu Academy of Arts, gift of Mrs. C. M. Cooke, 1927. SVA X 6 in. (22.22 x 15.24 cm). Celadon dish with carved bamboo, Nabeshima ware, J a p a n , early 18th century. Honolulu Academy of Arts, 1968. H. 314 in.; diam. 12 in. (8.26 x 30.48 cm).

147

Leiola H u i h u i at a g e 14, H a w a P i , u n t i t l e d m o n o p r i n t , H o n o l u l u A c a d e m y of A r t s , L i n e k o n a collection of s t u d e n t a r t . 9»/2 x 1214 in. ( 2 4 . 1 3 x 31.12 c m ) . C o r a Yee, H a w a i ' i , Fuh Crojj, s c r e e n p r i n t w i t h g o l d leaf, 1991. H o n o l u l u A c a d e m y of A r t s , g i f t of H o n o l u l u P r i n t m a k e r s , 1992. 17 Vie x 20VA in. ( 4 3 . 3 x 52 c m ) . Pilgrim flask, R o m a n e m p i r e , S y r o - P a l e s t i n i a n coast, p r o b a b l y S i d o n , 2 n d - 4 t h c e n t u r y . B l o w n glass. T h e K a y y e m C o l l e c t i o n of A n c i e n t G l a s s . G i f t of R e n e e L i d d l e in m e m o r y of F a i z O m a r El K a y y e m a n d M r s . C h a r l e s M . C o o k e , Sr. 1963. H . 7 in.; d i a m . 4 3 /s in. ( 1 7 . 7 8 x 11.11 c m ) . L u a n a S a f f e r y at a g e 14, H a w a i ' i , u n t i t l e d m o n o p r i n t , H o n o l u l u A c a d e m y of A r t s , L i n e k o n a collection of s t u d e n t a r t . 9 l A x 12W in. ( 2 4 . 1 3 x 31.11 c m ) . Incense burner, China, Lung-ch'iian ware, porcelan e o u s s t o n e w a r e w i t h b l u e - g r e e n glaze, S o u t h e r n S u n g d y n a s t y , 1 1 2 7 - 1 2 7 9 . G i f t of t h e H o n o r a b l e E d g a r B r o m b e r g e r , 1950. AVA X 5VA in. ( 1 0 . 8 x 13.3 c m ) . G e o r g e P e t e r s , U S A , Angel) Between Cloudj, No. 3, c o n s t r u c t i o n , 1976. H o n o l u l u A c a d e m y of A r t s , 1976. 14 x 24% in. ( 3 5 . 5 6 x 6 2 . 8 6 c m ) . Lionel W a l d e n , U S A , Luakaha:

Evening, oil o n c a n v a s ,

ca. 1916. H o n o l u l u A c a d e m y of A r t s , g i f t of t h e C o o k e Family, 1935. 4 4 x 3 2 in. ( 1 1 4 . 3 0 x 8 1 . 2 8 c m ) . A n o n y m o u s K a n o s c h o o l artist, J a p a n , (Uma-ya),

Stable

sixfold s c r e e n , i n k a n d c o l o r o n p a p e r w i t h

g o l d leaf, M o m o y a m a p e r i o d , 1573—1615. H o n o l u l u A c a d e m y of A r t s , 1975. 66lA x 14714 in. ( 1 6 8 . 2 8 x 3 7 4 . 0 2 c m ) ; p a i n t i n g p r o p e r : 6 0 x 140% in. ( 1 5 2 . 4 x 357.51 cm).

148

índex Poets and Translators Adcock, Fleur, 38

Ferlinghetti, Lawrence, 104

Ammons, A. R., 119

Fraser, Dawn, 119

Anonymous, 94 A r a k i d a Moritake, 68

Gardner, J o h n , 101

Atwood, M a r g a r e t , 70

Gargi, Balwant (trans.), 136 Goodison, Lorna, 77

Barks, Coleman (trans.), 36, 88

Gooneratne, Yasmine, 79

Baysting, Arthur, 122

Gunderson, Keith, 116

Beckwith, M a r t h a W a r r e n (trans.). 16—17 Beier, Ulli (trans.), 15, 94

Hall, Dana Naone, 50

Bengal, 52

Hampton, Susan, 71

Bishop, Elizabeth, 66

Han Yü, 126

Bownas, Geoffrey (trans.), 74, 103, 122, 127, 131

Hanson, Kenneth O. (trans.), 126

Brautigan, Richard, 97

Hardy, Thomas, 123

Brooks, Gwendolyn, 89

Hasluck, Nicholas, 40

Bunao, G. Burce, 36

Hass, Robert (trans.), 69, 113, 117, 123,

Burgess, Puanani, 49

Hawai'i, 16-17, 111

Burma, 62, 105

Honalgere, Gopal R., 83 Hughes, Langston, 94

Cabral, Olga, 115

Hunt, Sam, 41, 78

Campbell, Alistair, 50, 80, 95 China, 43, 6 8 , 8 1

J a c o b s o n , Bonnie, 107

Ching Ti (trans.), 135

J a p a n , 65, 67, 80, 106

Chock, Eric, 34, 4 7

J a r r e l l , Randall, 59

Ciardi, J o h n , 61

J i m é n e z , J u a n Ramón, 36

Codrescu, Andrei, 42 Conti, Edmund, 101

K a u r a k a Kauraka, 18, 19, 69, 101

Cummings, E. E., 26

Keats, J o h n , 131 Kim, J a i h i u n (trans.), 93

Dacey, Philip, 37, 107

Kim Tong-myong, 93

Dallas, Ruth, 46, 53

Kirkup, J a m e s , 64

Damono, S a p a r d i Djoko, 27

Kobayashi Issa, 103, 113, 122

Dickinson, Emily, 81

Kono, J u l i e t , 95

Dove, Rita, 138

Korea, 46, 64, 78 Kreymborg, Alfred, 71

Enos, Apisai, 114 Enright, J o h n , 51, 52

Levertov, Denise, 66, 92

Ezekiel, Nissim, 77, 88

Li Po, 97 Lorca, Federico Garcia, 122 Lum, W i n g Tek, 80

149

Malay, 94

Smith, Stevie, 4 8

M a t s u o Basho, 36, 79, 125

S o a b a , Russell, 23

M a y n o r , J o h n (trans.), 36, 8 8

Song, Cathy, 54

M c G l y n n , J o h n H . (trans.), 27

S t a f f o r d , William, 22, 74

M e r w i n , W. S „ 69, 113

S t a n t o n , J o s e p h , £(5

M e r w i n , W. S. (trans.), 22, 46, 54, 62, 63, 64,

S t r y k , Lucien (trans.), 36, 79

65, 66, 67, 68, 78, 80, 105, 106 Mishra, Sudesh, 23

Su T u n g P'o, 62 S w e n s o n , May, 76, 83, 106

M o r r i s o n , Lillian, 115 Mtshali, M b u y i s e n i O s w a l d , 136

Tagliabue, J o h n , 60, 84

Mueller, Lisel, 137

Tahiti, 15

M u k a i Kyorai, 70

T a k a h a s h i I k e m o t o (trans.), 36, 79 T a k a h a s h i Shinkichi, 131

N e r u d a , Pablo, 21, 117

Tam, R e u b e n , 112, 118

N g o C h a n L u u , 14

Tawali, K u m a l a u , 20

N o r m a n , H o w a r d , 30, 58

Taylor, H e n i y , 105

N y e , N a o m i S h i h a b , 48, 82

T h a m a n , Konai, 93, 120 T h w a i t e , A n t h o n y (trans.), 68, 70, 74, 103,

O ' D a l y , William (trans.), 21, 117 Oliver, M a i y , 110

122, 127, 131 Tipping, R i c h a r d , 54, 90 Torres, E m m a n u e l , 134

Pastan, Linda, 135

Tsuboi Shigeji, 74

Philippines, 22, 54, 63, 66, 68, 106

Tu Fu, 124

Pillai, R a y m o n d , 26

T u w h a r e , H o n e , 75, 125

Po Chii-i, 135 P r e v e r t , J a c q u e s , 132

W a n g P h u i N a m , 130

P r i t a m , Amrita, 32

W e b b , M a r t h a , 32, 35

P u k u i , M a i y K a w e n a (trans.), I l l

W e n d t , Albert, 15, 31, 111 W e s t l a k e , W a y n e , 63

Q u a g l i a n o , Tony, 102

W h i t m a n , Walt, 121 Wilbur, R i c h a r d , 100

Raffel, B u r t o n (trans.), 14

Wright, J u d i t h , 65

R e x r o t h , K e n n e t h (trans.), 62 Rumi, 36, 88

Yap, A r t h u r , 3 5 Yosa Buson, 69, 117, 123

S h a k e s p e a r e , William, 91

Young, D a v i d (trans.), 97, 124

S h i m a z a k i T o s o n , 127 Simic, Charles, 39

Z i m m e r , Paul, 24, 6 7

Singh, M o h a n , 136

Z i n n e s , H a r r i e t (trans.), 133

Siti, R o b e r t , 96

150

Artists Adams, Ansel, 19

M a Ch uan, 68

Akis, Timothy, 103

McCoy, Ann, 31

Australia, 39, 81

Mignard, Pierre, 44—45, 53

Avery, Milton, 96

Morris, Gwendolyn, 20

Aztec, 22

Munakata Shiko, 58

Bourdelle, ¿mile Antoine, 91

Norris, Ben, 94, 111

Cassatt, Mary, 48

Öhira Minora, 62

Chagall, Marc, 98-99, 104

O'Keeffe, Georgia, 114

China, 65, 66, 74, 76, 105, 134 Coons, Janet, 12—13, 27

Papua New Guinea, 25 Peterdi, Gabor, 90

Dampier, Robert, 75

Peters, George, 135

Doi, Isami, 86-87, 92, 107

Philippines, 78 Picasso, Pablo, 89

Egypt, ancient, 88

Pohl, Louis, 34, 121

Feher, Joseph, 33, 47, 85

Roman Empire, 131

Fiji, 77 Saffery, Luana, 133 Garrison, Elizabeth, 15

Sexton, Lloyd, 51

Gauguin, Paul, 120

Shibata Zeshin, 43, 52, 70, 97

Gottlieb, Adolph, 100

Shötei Hokuju, 36 Solomon Islands, 61

Hawai'i, 14, 17

Stella, Joseph, 123

Huihui, Leiola, 127

Syria, 84

India, 60, 72-73, 83

Tadatoshi, 55

Inuit, 50

Tam, Reuben, 40, 117, 118 Tavernier, Jules, 21

J a p a n , 46, 79, 126, 138

Tennent, Madge, 18 Toulouse-Lautrec, Henri, 38

Kanö Tan'yü, 56-57, 71 Katsushika Hokusai, 108-109, 115

Utagawa Hiroshige, 64, 67

Kawanabe Kyosai (Gyosai), 28—29, 30 Keith, Elizabeth, 124

Waiden, Lionel, 136

Kent, Ron, 14

Warren, Dodie, 113

Kim, Jinja, 101 Kimura, Keichi, 80

Yee, Cora, 130 Young, Doug, 37

Liu Du (attributed), 110

Young, J o h n , 49

151

about the ¿elector

Sue Cowing's poetry and fiction a p p e a r in numerous journals and anthologies. O v e r the last thirty y e a r s she has studied and taught Asian, American, and world history and cultures as well as poetry. From 1989— 1994, she directed an innovative reading series featuring poets from Hawai'i, the Pacific, and the continental United States. The w o r k of some of these poets appears in Fire in the Sea.