The loss of youth and innocence is one of the great themes of literature. Here the California poet Kim Noriega looks deeply into a photograph from forty years ago.

Heaven, 1963

It’s my favorite photo – 
captioned, “Daddy and His Sweetheart.”
It’s in black and white,
it’s before Pabst Blue Ribbon,
before his tongue became a knife
that made my mother bleed,
and before he blackened my eye
the time he thought I meant to end my life.

He’s standing in our yard on Porter Road
beneath the old chestnut tree.
He’s wearing sunglasses,
a light cotton shirt,
and a dreamy expression.

He’s twenty-seven.
I’m two.
My hair, still baby curls,
is being tossed by a gentle breeze.
I’m fast asleep in his arms.

American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. From “Blue Arc West: An Anthology of California Poets” (Huntington Beach, CA, Tebot Bach, 2006), 117. Copyright (c) 2006 by Kim Noriega. Reprinted with permission of the author and Tebot Bach. Introduction copyright (c) 2006 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.

TED KOOSER, U.S. POET LAUREATE, 2004-2006 — Our species has developed monstrous weapons that can kill not only all of us but everything else on the planet, yet when the wind rises we run for cover, as we have done for as long as we’ve been on this earth. Here’s hoping we never have the skill or arrogance to conquer the weather. And weather stories? We tell them in the same way our ancestors related encounters with fearsome dragons. This poem by Minnesota poet Warren Woessner honors the tradition by sharing an experience with a hurricane.

Alberto

When the wind clipped
the whitecaps, and the flags
came down before they shredded,
we knew it was no nor’easter.
The Blue Nose ferry stayed
on course, west out of Yarmouth,
while 100 miles of fog
on the Bay blew away.

The Captain let us stand
on the starboard bridge
and scan a jagged range.
Shearwaters skimmed the peaks
while storm petrels hunted valleys
that slowly filled with gold.
Alberto blew out in the Atlantic.
We came back to earth
that for days might tip and sway
and cast us back to sea.

American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c) 1998 by Warren Woessner, whose book of poetry, “Clear All the Rest of the Way” is forthcoming from The Backwaters Press. Reprinted from “Iris Rising,” BkMk Press of UMKC, 1998, with permission of the author. Introduction copyright (c) 2006 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006

Each of the senses has a way of evoking time and place. In this bittersweet poem by Jeffrey Harrison of Massachusetts, birdsong offers reassurance as the speaker copes with loss.

Visitation

Walking past the open window, she is surprised
by the song of the white-throated sparrow
and stops to listen. She has been thinking of
the dead ones she loves – her father who lived
over a century, and her oldest son, suddenly gone
at forty-seven – and she can’t help thinking
she has called them back, that they are calling her
in the voices of these birds passing through Ohio
on their spring migration… because, after years
of summers in upstate New York, the white-throat
has become something like the family bird.
Her father used to stop whatever he was doing
and point out its clear, whistling song. She hears it
again: “Poor Sam Peabody Peabody Peabody.”
She tries not to think, “Poor Andy,” but she
has already thought it, and now she is weeping.
But then she hears another, so clear, it’s as if
the bird were in the room with her, or in her head,
telling her that everything will be all right.
She cannot see them from her second-story window – 
they are hidden in the new leaves of the old maple,
or behind the white blossoms of the dogwood – 
but she stands and listens, knowing they will stay
for only a few days before moving on.

American Life in Poetry is made possible by The Poetry Foundation (www.poetryfoundation.org), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright (c) 2006 by Jeffrey Harrison. Reprinted from “Incomplete Knowledge”, Four Way Books, 2006, with permission of the publisher. All rights reserved. Introduction copyright (c) 2006 by The Poetry Foundation. The introduction’s author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006. We do not accept unsolicited manuscripts.

I’ve talked often in this column about how poetry can hold a mirror up to life, and I’m especially fond of poems that hold those mirrors up to our most ordinary activities, showing them at their best and brightest. Here Ruth Moose hangs out some laundry and, in an instant, an everyday chore that might have seemed to us to be quite plain is fresh and lovely. —TED KOOSER, U.S. POET LAUREATE, 2004-2006

Laundry

All our life
so much laundry;
each day’s doing or not
comes clean,
flows off and away
to blend with other sins
of this world. Each day
begins in new skin,
blessed by the elements
charged to take us
out again to do or undo
what’s been assigned.
From socks to shirts
the selves we shed
lift off the line
as if they own
a life apart
from the one we offer.
There is joy in clean laundry.
All is forgiven in water, sun
and air. We offer our day’s deeds
to the blue-eyed sky, with soap and prayer,
our arms up, then lowered in supplication.

Reprinted from “Making the Bed,” Main Street Rag Press, 2004, by permission of the author. Copyright (c) 1995 by Ruth Moose, whose latest book of poetry, “The Sleepwalker,” Main Street Rag, due out in 2007. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006 — Though parents know that their children will grow up and away from them, will love and be loved by others, it’s a difficult thing to accept. Massachusetts poet Mary Jo Salter emphasizes the poignancy of the parent/child relationship in this perceptive and compelling poem.

Somebody Else’s Baby

From now on they always are, for years now
they always have been, but from now on you know
they are, they always will be,

from now on when they cry and you say
wryly to their mother, better you than me,
you’d better mean it, you’d better

hand over what you can’t have, and gracefully.

Reprinted from “New Letters,” vol. 72, no. 3-4, 2006, by permission of the poet. Copyright (c) 2006 by Mary Jo Salter, whose most recent book of poetry is “Open Shutters,” Knopf, 2003. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006 — While many of the poems we feature in this column are written in open forms, that’s not to say I don’t respect good writing done in traditional meter and rhyme. But a number of contemporary poets, knowing how a rigid attachment to form can take charge of the writing and drag the poet along behind, will choose, say, the traditional villanelle form, then relax its restraints through the use of broken rhythm and inexact rhymes. I’d guess that if I weren’t talking about it, you might not notice, reading this poem by Floyd Skloot, that you were reading a sonnet.

Silent Music

My wife wears headphones as she plays
Chopin etudes in the winter light.
Singing random notes, she sways
in and out of shadow while night
settles. The keys she presses make a soft
clack, the bench creaks when her weight shifts,
golden cotton fabric ripples across
her shoulders, and the sustain pedal clicks.
This is the hidden melody I know
so well, her body finding harmony in
the give and take of motion, her lyric
grace of gesture measured against a slow
fall of darkness. Now stillness descends
to signal the end of her silent music.

Reprinted from “Prairie Schooner,” Volume 80, Number 2 (Summer, 2006) by permission of the University of Nebraska Press. Copyright (c) 2006 by the University of Nebraska Press. Floyd Skloot’s most recent book is “The End of Dreams,” 2006, Louisiana State University Press. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006 — The Illinois poet, Lisel Mueller, is one of our country’s finest writers, and the following lines, with their grace and humility, are representative of her poems of quiet celebration.

In November

Outside the house the wind is howling
and the trees are creaking horribly.
This is an old story
with its old beginning,
as I lay me down to sleep.
But when I wake up, sunlight
has taken over the room.
You have already made the coffee
and the radio brings us music
from a confident age. In the paper
bad news is set in distant places.
Whatever was bound to happen
in my story did not happen.
But I know there are rules that cannot be broken.
Perhaps a name was changed.
A small mistake. Perhaps
a woman I do not know
is facing the day with the heavy heart
that, by all rights, should have been mine.

Reprinted from “Alive Together: New and Selected Poems,” Louisiana State University Press, 1996, by permission of the author. Poem copyright (c) 1996 by Lisel Mueller. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.

TED KOOSER, U.S. POET LAUREATE, 2004-2006 — Many poems celebrate the joys of having children. Michigan poet Jeff Vande Zande reminds us that adults make mistakes, even with children they love, and that parenting is about fear as well as joy.

Clean

Her small body shines
with water and light.
Giggling, she squeals “daddy,”
splashes until his pants darken.
Five more minutes, he thinks,
stepping out quickly,
pouring himself a drink,
not expecting to return
to find her slipped under,
her tiny face staring up
through the undulating surface.
Before he can move,
or drop his scotch,
she raises her dripping head,
her mouth a perfect O.
The sound of her gulped breath
takes the wind out of him.
Her face,
pale and awed,
understands the other side
of water and air.
His wife didn’t see,
doesn’t know.
Her feet pulse and fade
in the upstairs joists.
His daughter cries,
slips from him, not giggling.
She wants out.
He tries to keep her
in the tub, in the light.
He’s on his knees.

Reprinted from “Rattle,” Winter, 2005, by permission of the poet, whose most recent book is “Into the Desperate Country,” March Street Press, 2006. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006 — Mothers and fathers grow accustomed to being asked by young children, “What’s that?” Thus parents relearn the world by having to explain things they haven’t thought about in years. In this poem the Illinois poet Bruce Guernsey looks closely at common, everyday moss and tries to explain its nature for us. I admire the way the poem deepens as the moss moves from being a slipcover to wet dust on a gravestone.

Moss

How must it be
to be moss,
that slipcover of rocks? – 
imagine,

greening in the dark,
longing for north,
the silence
of birds gone south.

How does moss do it,
all day
in a dank place
and never a cough? – 

a wet dust
where light fails,
where the chisel
cut the name.

Reprinted from “Peripheral Vision,” published by Small Poetry Press, Pleasant Hill, CA. Copyright (c) 1997 by Bruce Guernsey and reprinted by permission of the author, whose latest book is “The Lost Brigade,” Water Press and Media, 2005. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.

BY TED KOOSER, U.S. POET LAUREATE, 2004-2006 — Li-Young Lee, who lives in Chicago, evokes by the use of carefully chosen images a culture, a time of day, and the understanding of love through the quiet observation of gesture.

Early in the Morning

While the long grain is softening
in the water, gurgling
over a low stove flame, before
the salted Winter Vegetable is sliced
for breakfast, before the birds,
my mother glides an ivory comb
through her hair, heavy
and black as calligrapher’s ink.

She sits at the foot of the bed.
My father watches, listens for
the music of comb
against hair.

My mother combs,
pulls her hair back
tight, rolls it
around two fingers, pins it
in a bun to the back of her head.
For half a hundred years she has done this.
My father likes to see it like this.
He says it is kempt.

But I know
it is because of the way
my mother’s hair falls
when he pulls the pins out.
Easily, like the curtains
when they untie them in the evening.

Reprinted from “Rose,” BOA Editions, Ltd., 1986, by permission of the publisher. Copyright (c) 1986 by Li-Young Lee, whose most recent book of poetry is “Book of My Nights,” BOA Editions, Ltd., 2001. This weekly column is supported by The Poetry Foundation, The Library of Congress, and the Department of English at the University of Nebraska-Lincoln. This column does not accept unsolicited poetry.