Rimbaud!
These are my translations of French poems by the talented but enigmatic Arthur Rimbaud. Like Rimbaud, I wrote my first published poems at age 15, so it seems I was destined to translate him!
Jean Nicolas Arthur Rimbaud was a precocious talent who began writing French and Latin poetry as a boy, and was a published poet by age fifteen. Rimbaud became both famous and notorious for his transgressive, sometimes iniquitous, themes; for his gypsy-like restlessness and seeming insistence on being a vagabond; for his pioneering symbolism and surrealism; for his influence on modern poetry and literature; and for giving it all up at age 21 to become a soldier, a deserter, a gunrunner and, according to some accounts, a slave trader!
Ophélie (“Ophelia”), an Excerpt
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
On pitiless black waves unsinking stars abide
... while pale Ophelia, a lethargic lily, drifts by ...
Here, tangled in her veils, she floats on the tide ...
Far-off, in the woods, we hear the strident bugle’s cry.
For a thousand years, or more, sad Ophelia,
This albescent phantom, has rocked here, to and fro.
For a thousand years, or more, in her gentle folly,
Ophelia has rocked here when the night breezes blow.
For a thousand years, or more, sad Ophelia,
Has passed, an albescent phantom, down this long black river.
For a thousand years, or more, in her sweet madness
Ophelia has made this river shiver.
Le Bateau ivre (“The Drunken Boat”), an Excerpt
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
The impassive river carried me downstream
as howling warriors slashed the bargemen's throats,
then nailed them, naked, to their former posts,
while I observed all idly, in a dream.
What did I care about the slaughtered crew,
the Flemish barley or the English freight?
The river had taught me how to navigate,
but otherwise? It seemed so much “ado.”
Drunken Morning, or, Morning of Drunkenness
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
Oh, my Beautiful! Oh, my Good!
Hideous fanfare wherein I won’t stumble!
Oh, rack of splendid enchantments!
Huzzah for the virginal!
Huzzah for the immaculate work!
For the marvelous body!
It began amid children’s mirth; where too it must end.
This poison? ’Twill remain in our veins till the fanfare subsides,
when we return to our former discord.
May we, so deserving of these agonies,
may we now recreate ourselves
after our body’s and soul’s superhuman promise—
that promise, that madness!
Elegance, senescence, violence!
They promised to bury knowledge in the shadows—the tree of good and evil—
to deport despotic respectability
so that we might effloresce pure-petaled love.
It began with hellish disgust but ended
—because we weren’t able to grasp eternity immediately—
in a panicked riot of perfumes.
Children’s laughter, slaves’ discretion, the austerity of virgins,
loathsome temporal faces and objects—
all hallowed by the sacredness of this vigil!
Although it began with loutish boorishness,
behold! it ends among angels of ice and flame.
My little drunken vigil, so holy, so blessed!
My little lost eve of drunkenness!
Praise for the mask you provided us!
Method, we affirm you!
Let us never forget that yesterday
you glorified our emergence, then each of our subsequent ages.
We have faith in your poison.
We give you our lives completely, every day.
Behold, the assassin's hour!
L'Eternité (“ Eternity”)
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
Where does Eternity dwell?
In the sea,
run beyond the setting sun.
Implacable Sentinel,
murmuring the soul’s confessions
of night’s barrenness
and days ablaze.
Inhuman votary!
Free of human impulses
and penitence,
you flee accordingly.
Since the beginning of time
you have stood alone,
amid shimmering embers,
exuding voicelessly:
“There is no hope,
no logical orientation,
no future revelation of patient science,
only the inhuman torture.”
Where does Eternity dwell?
In the sea,
run beyond the setting sun.
L'Eternité
Elle est retrouvée.
Quoi ? - L'Eternité.
C'est la mer allée
Avec le soleil.
Ame sentinelle,
Murmurons l'aveu
De la nuit si nulle
Et du jour en feu.
Des humains suffrages,
Des communs élans
Là tu te dégages
Et voles selon.
Puisque de vous seules,
Braises de satin,
Le Devoir s'exhale
Sans qu'on dise : enfin.
Là pas d'espérance,
Nul orietur.
Science avec patience,
Le supplice est sûr.
Elle est retrouvée.
Quoi ? - L'Eternité.
C'est la mer allée
Avec le soleil.
Les Illuminations II: Enfance (“Childhood”)
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
II.
The little girl lies dead, behind the rosebushes. – The young mother, deceased, descends the steps. – The cousin’s carriage squeaks through sand. – The little brother (he’s in India!) lies facing the sunset in a meadow of carnations. – The old ones are buried upright in ramparts overgrown with wallflowers.
Swarms of golden leaves surround the General’s house. They’re in the south. – Follow the red road to arrive at the empty inn. The chateau’s for sale; its shutters flap. – The priest’s taken the key to the church. – The keepers’ cottages are tenantless, the fences so high only rustling treetops are visible. Oh well, there’s nothing much to be seen, besides.
The meadows rise to hamlets without roosters, without anvils. The sluice gate is raised, the waters rise. O the wilderness’s crosses and windmills, its islands and millstones!
Magic flowers buzzed. Embankments cradled him. Creatures of fabulous elegance encircled him. Clouds accumulating over open seas unleashed an eternity of warm tears.
IV.
I am the saint praying on the portico, watching docile beasts graze down to Palestine’s sea.
I am the scholar in the dark armchair as whipping branches and rain hurl themselves at the library’s shutters.
I am the pedestrian on the path through stunted woods; the tinkle of clicking locks anticipates my steps. For a long time I pause to ponder the sunset’s melancholy golden demise.
I am the child abandoned on the jetty jutting out toward the high seas, the small valet whose forehead brushes the sky as he navigates an alley.
The trails are rough, their mounds haired with broom. The air is so still, so silent! How distant, the birds and the rills! The end of the world must lie ahead.
Illuminations VIII: Départ (“Departure”)
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
I’ve seen enough: the same vision encountered under all skies.
I’ve had enough: the rumors of cities, by night and by day, the same light, always.
I’ve known enough: life’s tedious decrees, its rumors and visions!
It’s time for departure into new affections, new noises!
Sensation
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
On blue summer evenings, I’ll stroll the paths,
Pricked by the wheat, tickled by the grass;
Dreamily, I’ll feel the freshness at my feet,
Breathe the wind, then sigh, complete.
I will not speak, nor think, nor muse at all,
Yet boundless love will surge within my soul.
And I will wander far away, like a gypsy,
As happy with Nature as any woman’s company.
Par les soirs bleus d'été, j'irai dans les sentiers,
Picoté par les blés, fouler l'herbe menue :
Rêveur, j'en sentirai la fraicheur à mes pieds.
Je laisserai le vent baigner ma tête nue.
Je ne parlerai pas, je ne penserai rien :
Mais l'amour infini me montera dans l'âme,
Et j'irai loin, bien loin, comme un bohémien,
Par la Nature, — heureux comme avec une femme.
Antico (“Ancient” or “Antique”)
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
Graceful son of Pan! Around your brow, crowned with flowers and berries, your eyes, lustrous spheres, revolve. Your cheeks, stained with wine sediments, seem hollow. Your white fangs gleam. Your lyre-like chest! Chords pour from your blonde arms! Strong heartbeats resound in the abdomen where the double sex sleeps! You stalk the night, gently moving first this thigh, then the other, then the left leg.
Grazioso figlio di Pan! Intorno alla tua fronte coronata di fiori e bacche i tuoi occhi, sfere preziose, si agitano. Macchiate di fecce brune, le tue guance si approfondiscono. Le tue zanne stanno brillando. Il tuo petto sembra una cetra, con tintinnii che risuonano tra le tue braccia bionde. Il tuo cuore batte in quel ventre dove dorme il doppio sesso. Cammina di notte, muovendo delicatamente questa coscia, questa seconda coscia e questa gamba sinistra.
Song of the Highest Tower
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
Let it come, let it come,
The day when all hearts love as one.
I’ve endured so long
That I’d even forgotten
The pain and the terror.
I’ve visited heaven,
And yet a morbid thirst
Still darkens my veins.
Let it come, let it come,
The day when all hearts love as one.
Thus the neglected meadow
Given over to oblivion
Flowered, overgrown
With weeds and incense
As hordes of filthy flies
Buzzed nearby.
Let it come, let it come,
The day when all hearts love as one.
Rêvé Pour l'hiver (“Winter Dream”)
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
Come winter, we’ll leave in a little pink carriage
With blue cushions. We’ll be comfortable,
snuggled in our nest of crazy kisses.
You’ll close your eyes, preferring not to see, through the darkening glass,
The evening’s shadows leering.
Those snarling monstrosities, that pandemonium
of black demons and black wolves.
Then you’ll feel your cheek scratched...
A little kiss, like a crazed spider, will tickle your neck...
And you’ll say to me: "Get it!" as you tilt your head back,
and we’ll take a long time to find the crafty creature,
the way it gets around...
Rêvé Pour l'hiver
L'hiver, nous irons dans un petit wagon rose
Avec des coussins bleus.
Nous serons bien. Un nid de baisers fous repose
Dans chaque coin moelleux.
Tu fermeras l'oeil, pour ne point voir, par la glace,
Grimacer les ombres des soirs,
Ces monstruosités hargneuses, populace
De démons noirs et de loups noirs.
Puis tu te sentiras la joue égratignée…
Un petit baiser, comme une folle araignée,
Te courra par le cou...
Et tu me diras : "Cherche !", en inclinant la tête,
- Et nous prendrons du temps à trouver cette bête
- Qui voyage beaucoup...
Dawn
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch
I embraced the august dawn.
Nothing stirred the palaces. The water lay dead still. Battalions of shadows still shrouded the forest paths.
I walked briskly, dreaming the gemlike stones watched as wings soared soundlessly.
My first adventure, on a path now faintly aglow with glitterings, was a flower who whispered her name.
I laughed at the silver waterfall teasing me nakedly through pines; then on her summit, I recognized the goddess.
One by one, I lifted her veils, in that tree-lined lane, waving my arms across the plain, as I notified the cock.
Back to the city, she fled among the roofs and the steeples; scrambling like a beggar down the marble quays, I chased her.
Above the road near a laurel thicket, I caught her in gathered veils and felt her immense body. Dawn and the child collapsed together at the edge of the wood.
When I awoke, it was noon.
RIMBAUDIAN POEMS
I have something in common with Rimbaud because we both had poems published that we wrote at age fifteen, and we were both prolific poets by age sixteen. (I’m not saying I was as good, just as voluble!) These are my earliest-written published poems. I will begin with my most Rimbaudian verses…
An Illusion, circa age 15-16
by Michael R. Burch
The sky was as hushed as the breath of a bee
and the world was bathed in shades of palest gold
when I awoke.
She came to me with the sound of falling leaves
and the scent of new-mown grass;
I held out my arms to her and she passed
into oblivion ...
Published by Borderless Journal (Singapore)
This little dream-poem appeared in my high school literary journal, the Lantern, so I was no older than 18 when I wrote it, probably younger. I will guess around age 15-16. This feels like one of my early Romantic effusions.
When last my love left me, circa age 15-16
by Michael R. Burch
The sun was a smoldering ember
when last my love left me;
the sunset cast curious shadows
over green arcs of the sea;
she spoke sad words, departing,
and teardrops drenched the trees.
This poem was published by my college literary journal, Homespun 1976-1977. I believe I wrote the original version around age 15-16.
Bound, circa age 14-15
by Michael R. Burch
Now it is winter—the coldest night.
And as the light of the streetlamp casts strange shadows to the ground,
I have lost what I once found
in your arms.
Now it is winter—the coldest night.
And as the light of distant Venus fails to penetrate dark panes,
I have remade all my chains
and am bound.
Published by Setu (India)
This poem appeared in my high school journal, the Lantern, in 1976. I seem to remember writing "Bound" around age 14 or 15. I have made slight changes but the poem is essentially the same as what I wrote in my early teens.
Sharon, circa age 15-16
by Michael R. Burch
apologies to Byron
I.
Flamingo-minted, pink, pink cheeks,
dark hair streaked with a lisp of dawnlight;
I have seen your shadow creep
through eerie webs spun out of twilight...
And I have longed to kiss your lips,
as sweet as the honeysuckle blooms;
to hold your pale albescent body,
more curvaceous than the moon...
II.
Black-haired beauty, like the night,
stay with me till morning's light.
In shadows, Sharon, become love
until the sun lights our alcove.
Red, red lips reveal white stone:
whet my own, my passions hone.
My all in all I give to you,
in our tongues' exchange of dew.
Now all I ever ask of you
is: do with me what now you do.
In shadows, Sharon, shed your gown;
let all night's walls come tumbling down.
III.
Now I will love you long, Sharon,
as long as longing may be.
Published by The HyperTexts
The first and third sections are all I can remember of a "Sharon" poem that I destroyed in a fit of frustration about my writing, around age 15. The middle section was a separate poem written around age 16-17. My "Sharon" poems were influenced by the Rose of Sharon and Lord Byron's famous poem "She Walks in Beauty (Like the Night)."
Burn, Ovid, circa age 15-??
by Michael R. Burch
"Burn Ovid"—Austin Clarke
Sunday School,
Faith Free Will Baptist, 1973:
I sat imagining watery folds
of pale silk encircling her waist.
Explicit sex was the day's "hot" topic
(how breathlessly I imagined hers)
as she taught us the perils of lust
fraught with inhibition.
I found her unaccountably beautiful,
rolling implausible nouns off the edge of her tongue:
adultery, fornication, masturbation, sodomy.
Acts made suddenly plausible by the faint blush
of her unrouged cheeks,
by her pale lips
accented only by a slight quiver,
a trepidation.
What did those lustrous folds foretell
of our uncommon desire?
Why did she cross and uncross her legs
lovely and long in their taupe sheaths?
Why did her breasts rise pointedly,
as if indicating a direction?
"Come unto me,
(unto me),"
together, we sang,
cheek to breast,
lips on lips,
devout, afire,
my hands
up her skirt,
her pants at her knees:
all night long,
all night long,
in the heavenly choir.
Published by The HyperTexts
This poem is set at Faith Christian Academy in Goldsboro, NC, which I attended for a year during the ninth grade, in 1972-1973. While the poem definitely had its genesis there, I believe I revised it more than once and didn't finish it till 2001, nearly 28 years later, according to my notes. Another poem, "Sex 101," was also written about my experiences at FCA that year. These poems have been more heavily edited than most of the poems in this collection.
Sex 101, circa age 15-??
by Michael R. Burch
That day the late spring heat
steamed through the windows of a Crayola-yellow schoolbus
crawling its way up the backwards slopes
of Nowheresville, North Carolina ...
Where we sat exhausted
from the day's skulldrudgery
and the unexpected waves of muggy,
summer-like humidity ...
Giggly first graders sat two abreast
behind senior high students
sprouting their first sparse beards,
their implausible bosoms, their stranger affections ...
The most unlikely coupling—
Lambert, 18, the only college prospect
on the varsity basketball team,
the proverbial talldarkhandsome
swashbuckling cocksman, grinning ...
Beside him, Wanda, 13,
bespectacled, in her primproper attire
and pigtails, staring up at him,
fawneyed, disbelieving ...
And as the bus filled with the improbable musk of her,
as she twitched impaled on his finger
like a dead frog jarred to life by electrodes,
I knew ...
that love is a forlorn enterprise,
that I would never understand it.
Published by The HyperTexts
This companion poem to "Burn, Ovid" is also set at Faith Christian Academy, in 1972-1973.
Have I been too long at the fair?, circa age 15
by Michael R. Burch
Have I been too long at the fair?
The summer has faded,
the leaves have turned brown;
the Ferris wheel teeters ...
not up, yet not down.
Have I been too long at the fair?
This is one of my very earliest poems, written around age 15 when we were living with my grandfather within walking distance of the Nashville fairgrounds. That was before my sophomore year of high school. I believe the Ferris wheel only operated during the state fair, so my "educated guess" is that this poem was written during the 1973 state fair, or shortly thereafter. I remember watching people hanging suspended in mid-air, waiting for carnies to deposit them safely on terra firma again. In any case, this poem was published in my high school literary journal, the Lantern.
Smoke, circa age 14-15
by Michael R. Burch
The hazy, smoke-filled skies of summer I remember well;
farewell was on my mind, and the thoughts that I can't tell
rang bells within (the din was in) my mind, and I can't say
if what we had was good or bad, or where it is today.
The endless days of summer's haze I still recall today;
she spoke and smoky skies stood still as summer slipped away ...
"Smoke" appeared in my high school journal, the Lantern, in 1976. It also appeared in my college literary journal, Homespun, in 1977. It has since been published by The Eclectic Muse (Canada), Lost Love (Potcake Chapbooks), Fullosia Press and Better Than Starbucks, and has been translated into Romanian and published by Petru Dimofte in Poezii.
Leave Taking, circa age 14-15
by Michael R. Burch
Brilliant leaves abandon battered limbs
to waltz upon ecstatic winds
until they die.
But the barren and embittered trees,
lament the frolic of the leaves
and curse the bleak November sky ...
Now, as I watch the leaves' high flight
before the fading autumn light,
I think that, perhaps, at last I may
have learned what it means to say—
goodbye.
I think the sounds here are pretty good for a young poet "testing his wings." This poem started out as a stanza in a much longer poem, "Jessamyn's Song," that dates to around age 14-16. "Leave Taking" has been published by The Lyric, Mindful of Poetry, Silver Stork Magazine and There is Something in the Autumn (an anthology).
Flying, circa age 15-16
by Michael R. Burch
i shall rise
and try the bloody wings of thought
ten thousand times
before i fly ...
and then i'll sleep
and waste ten thousand nights
before i dream;
but when at last ...
i soar the distant heights of undreamt skies
where never hawks nor eagles dared to go,
as i laugh among the meteors flashing by
somewhere beyond the bluest earth-bound seas ...
if i'm not told
i'm just a man,
then i shall know
just what I am.
Published by Borderless Journal (Singapore)
This is one of my early "I Am" poems, written around age 15-16. According to my notes, I may have revised the poem later, in 1978, but if so the changes were minor because the poem remains very close to the original.
Sanctuary at Dawn, circa age 15-16
by Michael R. Burch
I have walked these thirteen miles
just to stand outside your door.
The rain has dogged my footsteps
for thirteen miles, for thirty years,
through the monsoon seasons ...
and now my tears
have all been washed away.
Through thirteen miles of rain I slogged,
I stumbled and I climbed
rainslickened slopes
that led me home
to the hope that I might find
a life I lived before.
The door is wet; my cheeks are wet,
but not with rain or tears ...
as I knock I sweat
and the raining seems
the rhythm of the years.
Now you stand outlined in the doorway
—a man as large as I left—
and with bated breath
I take a step
into the accusing light.
Your eyes are grayer
than I remembered;
your hair is grayer, too.
As the red rust runs
down the dripping drains,
our voices exclaim—
"My father!"
"My son!"
This poem appeared in my 1978 poetry contest manuscript, so it was written either in high school or during my first two years of college. While 1973 is an educated guess, it was definitely written sometime between 1973 and 1978. At that time thirty seemed "old" to me and I used that age more than once to project my future adult self. For instance, in the poem "You."
Published by Borderless Journal (Singapore)
Playmates, circa age 13-15
by Michael R. Burch
WHEN you were my playmate and I was yours,
we spent endless hours with simple toys,
and the sorrows and cares of our indentured days
were uncomprehended ... far, far away ...
for the temptations and trials we had yet to face
were lost in the shadows of an unventured maze.
Then simple pleasures were easy to find
and if they cost us a little, we didn't mind;
for even a penny in a pocket back then
was one penny too many, a penny to spend.
Then feelings were feelings and love was just love,
not a strange, complex mystery to be understood;
while "sin" and "damnation" meant little to us,
since forbidden cookies were our only lusts!
Then we never worried about what we had,
and we were both sure—what was good, what was bad.
And we sometimes quarreled, but we didn't hate;
we seldom gave thought to the uncertainties of fate.
Hell, we seldom thought about the next day,
when tomorrow seemed hidden—adventures away.
Though sometimes we dreamed of adventures past,
and wondered, at times, why things couldn't last.
Still, we never worried about getting by,
and we didn't know that we were to die ...
when we spent endless hours with simple toys,
and I was your playmate, and we were boys.
"Playmates" was originally published by The Lyric.
This is probably the poem that "made" me, because my high school English teacher, Anne Meyers, called it "beautiful" and I took that to mean I was surely the Second Coming of Percy Bysshe Shelley! "Happiness" was my first longish poem and "Playmates" was the second, at least as far as I can remember. I had written some shorter epigrams and puns, such as "Bible Libel," around the same time or a bit earlier, but at that time I wasn't really thinking of myself as a poet. "Happiness" and "Playmates" were the first substantial poems I wrote after deciding to become a poet. There were intervening minor poems, but they were lost forever when I destroyed all my work in frustration at my lack of progress. Fortunately, I was able to recover my better poems from memory, other than "Gone" (which was appropriately titled) and "The Seven Stairs."
All My Children, circa age 14-15
by Michael R. Burch
It is May now, gentle May,
and the sun shines pleasantly
upon the blousy flowers
of this backyard cemet'ry,
upon my children as they sleep.
Oh, there is Hank in the daisies now,
with a mound of earth for a pillow;
his face as harsh as his monument,
but his voice as soft as the wind through the willows.
And there is Meg beside the spring
that sings her endless sleep.
Though it's often said of stiller waters,
sometimes quicksilver streams run deep.
And there is Frankie, little Frankie,
tucked in safe at last,
a child who weakened and died too soon,
but whose heart was always steadfast.
And there is Mary by the bushes
where she hid so well,
her face as dark as their berries,
yet her eyes far darker still.
And Andy ... there is Andy,
sleeping in the clover,
a child who never saw the sun
so soon his life was over.
And Em'ly, oh my Em'ly!,
the prettiest of all ...
now she's put aside her dreams
of beaus kind, dark and tall
for dreams dreamed not at all.
It is May now, gentle May
and the sun shines pleasantly
upon this backyard garden,
on the graves of all my children ...
God, keep them safe until
I join them, as I will.
God, guard their tender dust
until I meet them, as I must.
Published by Spillwords
This is a poem I had forgotten for nearly 50 years until another poet, Robert Lavett Smith, mentioned the poem "We Are Seven" by William Wordsworth. As I read Wordsworth's poem about a little girl who refused to admit that some of her siblings were missing, I suddenly remembered a poem I had written as a teenager about a mother who clung as tenaciously to the memory of her children. The line "It is May now, merry May" popped into my head and helped me locate the poem in my archives. I believe I wrote this poem about the same time as "Jessamyn's Song," which would place it around 1972-1973 at age 14-15, or thereabouts. I can tell it's one of my early poems because I was still allowing myself archaisms like "cemet'ry" which I would have avoided in my later teens. "All My Children" is admittedly a sentimental poem, but then human beings are sentimental creatures. I believe the poem was influenced by Little Women, the first adult book that made me cry as a boy, circa age 11-12.
Am I, circa age 14-15
by Michael R. Burch
Am I inconsequential;
do I matter not at all?
Am I just a snowflake,
to sparkle, then to fall?
Am I only chaff?
Of what use am I?
Am I just a flame,
to flicker, then to die?
Am I inadvertent?
For what reason am I here?
Am I just a ripple
in a pool that once was clear?
Am I insignificant?
Will time pass me by?
Am I just a flower,
to live one day, then die?
Am I unimportant?
Do I matter either way?
Or am I just an echo—
soon to fade away?
Published by Borderless Journal (Singapore)
This seems like a pretty well-crafted poem for a teenage poet just getting started. I believe I was around 14 or 15 when I wrote it. The title is a reversal of the biblical "I Am."
Time, circa age 14-15
by Michael R. Burch
Time,
where have you gone?
What turned out so short,
had seemed like so long.
Time,
where have you flown?
What seemed like mere days
were years come and gone.
Time,
see what you've done:
for now I am old,
when once I was young.
Time,
do you even know why
your days, minutes, seconds
preternaturally fly?
"Time" is a companion piece to "Am I." It appeared in my high school project notebook "Poems" along with "Playmates," so I was probably around 14 or 15 when I wrote it. This seems like a pretty well-crafted poem for a teenage poet just getting started. "Time" and "Am I" were written on the same day, or within a short period of time, if I remember correctly. They were among the earliest of what I call my "I Am" and "Am I" poems. Such poems would later evolve into what I call my “Gaud” and “Ur” poems.
Morning, circa age 14-16
by Michael R. Burch
It was morning
and the bright dew drenched the grasses
like tears the trembling lashes of my lover;
another day had come.
And everywhere the flowers
were turning to the sun,
just as the night before
I had turned to the one
for whom my heart yearned.
I believe I wrote this poem around age 14, then according to my notes revised it around age 17. In any case, it was published in my high school literary journal.
Paradise, circa age 15
by Michael R. Burch
There's a sparkling stream
And clear blue lake
A home to beaver,
Duck and drake
Where the waters flow
And the winds are soft
And the sky is full
Of birds aloft
Where the long grass waves
In the gentle breeze
And the setting sun
Is a pure cerise
Where the gentle deer
Though timid and shy
Are not afraid
As we pass them by
Where the morning dew
Sparkles in the grass
And the lake's as clear
As a looking glass
Where the trees grow straight
And tall and green
Where the air is pure
And fresh and clean
Where the bluebird trills
Her merry song
As robins and skylarks
Sing along
A place where nature
Is at her best
A place of solitude
Of quiet and rest
Published by Borderless Journal (Singapore)
This is one of my very earliest poems, written as a song. It appears in my high school poetry assignment notebook.
Gone, circa age 14-15
by Michael R. Burch
Tonight, it is dark
and the stars do not shine.
A man who is gone
was a good friend of mine.
We were friends.
And the sky was the strangest shade of orange on gold
when I awoke to find him gone ...
"Gone" is actually gone, destroyed in a moment of frustration along with other poems I have not been able to recreate from memory. At some point, probably in late 1972 or early 1973, I destroyed all the poems I had written, out of frustration. I was able to recreate some of the poems from memory, but not all. "Gone" is the poem that haunts me the most. I have resurrected a few lines, but the rest appear to be gone forever. Another poem I regret destroying was titled "The Seven Stairs" and was inspired by one of my favorite rock songs, "Stairway to Heaven." The westerns of Zane Grey and Louis L'Amour were the primary inspiration for and influence on "Gone" and the western-themed poems that follow…
Desperado, age 15
by Michael R. Burch
Have you ridden the fences
of plains never-ending
as the wind sighed for lovers
long past, or long gone?
Have you dreamt of a night
with a pale moon ascending,
as Death stole a kiss
from your lips before dawn?
If love is the gold that you seek,
are you fleeing
for fear that its luster
may blind you again?
Oh, desperate lover, I loved you
not knowing
you would flee from my arms
through this cold, driving rain
to wander alone where the stars do not shine
having stolen the brightness from love — yours and mine.
Published by The HyperTexts
This poem was inspired by the Eagles song "Desperado" and was probably written in 1973 when I was 15 years old during my songwriting phase.
Blue Cowboy, circa age 15-16
by Michael R. Burch
He slumps against the pommel,
a lonely, heartsick boy—
his horse his sole companion,
his gun his only toy
—and bitterly regretting
he ever came so far,
forsaking all home's comforts
to sleep beneath the stars,
he sighs.
He thinks about the lover
who awaits his kiss no more
till a tear anoints his lashes,
lit by uncaring stars.
He reaches to his aching breast,
withdraws a golden lock,
and kisses it in silence
as empty as his thoughts
while the wind sighs.
Blue cowboy, ride that lonesome ridge
between the earth and distant stars.
Do not fall; the scorpions
would leap to feast upon your heart.
Blue cowboy, sift the burnt-out sand
for a drop of water warm and brown.
Dream of streams like silver seams
even as you gulp it down.
Blue cowboy, sing defiant songs
to hide the weakness in your soul.
Blue cowboy, ride that lonesome ridge
and wish that you were going home
as the stars sigh.
Published by The HyperTexts
I wrote this poem during my songwriting phase, around age 15.
Cowpoke, circa age 15-16
by Michael R. Burch
Sleep, old man...
your day has long since passed.
The endless plains,
cool midnight rains
and changeless ragged cows
alone remain
of what once was.
You cannot know
just how the Change
will rape the windswept plains
that you so loved...
and so sleep now,
O yes, sleep now...
before you see just how
the Change will come.
Sleep, old man...
your dreams are not our dreams.
The Rio Grande,
stark silver sands
and every obscure brand
of steed and cow
are sure to pass away
as you do now.
Published by The HyperTexts
I believe this poem was written around the same time as "Blue Cowboy," perhaps on the same day.
Roll On, Red River, circa age 15-16
by Michael R. Burch
Roll on, Red River,
a cowboy has died.
Roll on; we lay him
down here at your side.
Carry him off
to the wild, raging sea...
Roll on, Red River,
and set his soul free.
Roll on, Red River,
roll on to the sea,
and sing him to sleep
as you roll up his dreams.
Sing him to sleep
with some old, lonesome song...
Now roll on, Red River,
and roll him along.
Roll on, Red River
and say a kind word
for an old surly cowhand
who died poor and hurt:
poor as a pauper
and hurt by his friends...
Roll on, Red River,
roll on to the end.
Roll on, Red River,
a cowboy has died.
Nobody loved him
and nobody cried.
A cowboy's not much,
but at least he's a man...
So roll on, Red River,
roll on and be damned.
Published by The HyperTexts
I believe I wrote the original version of this poem around the time I wrote "Blue Cowboy" and "Cowpoke." I had been reading Zane Grey and Louis L'Amour around this time, and I religiously watched the Kung Fu western TV series from 1972 to 1975.
The next two poems are the longest and most ambitious of my early poems.
"Jessamyn's Song" was inspired by Claude Monet's oil painting "The Walk, Woman with a Parasol," which I interpreted as a walk in a meadow or heather. The woman's dress and captivating loveliness made me think of an impending wedding, with dances and festivities. The boy made me think of a family. I gave the woman a name, Jessamyn, and wrote her story, thinking along these lines, while in high school. The opening lines were influenced by "Fern Hill" by the Welsh poet Dylan Thomas, one of my boyhood favorites and still a favorite today. "Jessamyn's Song" was substantially complete by around age 16, my first long poem, although I was not happy with the longer poem, overall, and eventually published the closing stanza as an independent poem, "Leave Taking." I have touched up the longer poem here and there over the last half century, ironing out a few rough spots, but it remains substantially the same as the original poem.
Jessamyn's Song, circa age 14-16
by Michael R. Burch
16
There are meadows heathered with thoughts of you,
where the honeysuckle winds
in fragrant, tangled vines
down to the water's edge.
Through the wind-bent grass I watch time pass
slow with the dying day
on its lolling, rolling way ...
And I know you'll soon be mine.
17
There are oak trees haggard and gnarled by Time
where the shrewd squirrel makes his lair,
sleeping through winters unaware
of the white commotion below.
By the waning sun I keep watch upon
the earth as she spins—so slow!—
and I know within
they're absolved from sin
who sleep beneath the snow.
They have no sin, and we sin not
although we sleep and dream in bliss
while others rage, and charge ... and die,
and all our nights' elations miss.
For life is ours, and through our veins
it pulses with a tranquil flow,
though in others' it may surge and froth
and carry passions to and fro.
18
By murmuring streams I sometimes dream
of whirling reels, of taut bows lancing,
when my partner's the prettiest dancing,
and she is always you.
So let the meadows rest in peace,
and let the woodlands lie ...
Life's the pulse in your heart and in mine—
let us not let it die.
19
By the windmill we have often kissed
as your clothing slipped,
exposing pale breasts and paler hips
to the naked glory of the sun.
Yes, my darling, I do love you
with all my wicked heart.
Promise that you'll be my bride
and these lips will never part
for any other's.
20
There are daisies plaited through the fields
that make the valleys shine
(though the darker hawthorns wind
up to the highest ledge).
As the rising sun
blinks lazily on
the horizon's eastern edge,
I watch the tangerine dawn
congeal to a brighter lime.
Oh, the season I love best is fall—
the trees coyly shedding their leaves, and all
creation watching, in thrall.
And you in your wedding dress, so calm,
seem less of this earth than the sky.
I expect you at any moment to
ascend through the brightening dimensionless blue
to softly go floating by—
a cloud or a pure-white butterfly.
21
There are rivers sparkling bright as spring
and others somber as the Nile,
but whether they may frown or smile,
none can match this brilliant stream
beside whose banks I lie and dream;
her waters, flowing swift, yet mild,
lull to sleep my new-born child!
22
There are mountains purple and pocked with Time,
home to goats and misfit trees ...
in lofty grandeur above vexed seas
they lift their haughty heads.
When the sun explodes over tonsured domes
and bright fountains splash in youthful ruin
against the strange antediluvian runes
of tales to this day untold ...
I taste with my eyes the dawn's harsh gold
and breathe the frigid mountain air,
drinking deeply, wondering where
the magic days of youth have flown.
23
There are forests aged and ripe with rain
that loom at the brink of the trout's blue home.
There deer go to feast of the frothy foam,
to lap the gurgling water.
In murky shallows, swamped with slime,
the largemouth bass now sleeps,
his muddy memories dark and deep,
safe 'neath the sodden loam.
And often I have wondered
how it must feel to sleep
for timeless ages, fathoms deep
within a winter dream.
26
By the window ledge where the candle begs
the night for light to live,
the deepening darkness gives
the heart good cause to shudder.
For there are curly, tousled heads
that know one use for bed
and not any other ...
"Goodnight father."
"Goodnight mother."
"Goodnight sister."
"Goodnight brother."
"Tomorrow new adventures
we surely shall discover!"
30
Brilliant leaves abandon battered limbs
to waltz upon ecstatic winds
until they die.
But the barren and embittered trees,
lament the frolic of the leaves
and curse the bleak November sky.
Now, as I watch the leaves' high flight
before the fading autumn light,
I think that, perhaps, at last I may
have learned what it means to say
goodbye.
The first stanza is slated to be published by The Lyric as "Ferns" and the closing stanza was originally published by The Lyric as "Leave Taking." The complete version of "Jessamyn's Song" appeared in my contest manuscript, circa age 19-20, but it was substantially complete by age 16, although it was too long for my high school or college journals.
Sea Dreams, circa age 16-18
by Michael R. Burch
I.
In timeless days
I've crossed the waves
of seaways seldom seen.
By the last low light of evening
the breakers that careen
then dive back to the deep
have rocked my ship to sleep,
and so I've known the peace
of a soul at last at ease
there where Time's waters run
in concert with the sun.
With restless waves
I've watched the days'
slow movements, as they hum
their antediluvian songs.
Sometimes I've sung along,
my voice as soft and low
as the sea's, while evening slowed
to waver at the dim
mysterious moonlit rim
of dreams no man has known.
In thoughtless flight,
I've scaled the heights
and soared a scudding breeze
over endless arcing seas
of waves ten miles high.
I've sheared the sable skies
on wings as soft as sighs
and stormed the sun-pricked pitch
of sunset's scarlet-stitched,
ebullient dark demise.
I've climbed the sun-cleft clouds
ten thousand leagues or more
above the windswept shores
of seas no vessel's sailed
— great seas as grand as hell's,
shores littered with the shells
of men's "immortal" souls —
and I've warred with dark sea-holes
whose open mouths implored
their depths to be explored.
And I've grown and grown and grown
till I thought myself the king
of every silver thing . . .
But sometimes late at night
when the sorrowing wavelets sing
sad songs of other times,
I taste the windborne rime
of a well-remembered day
on the whipping ocean spray,
and I bow my head to pray . . .
II.
It's been a long, hard day;
sometimes I think I work too hard...
Tonight I'd like to take a walk
down by the sea —
down by those salty waves
brined with the scent of Infinity,
down by that rocky shore,
down by those cliffs I'd so often climb
when the wind was tart with the tang of lime
and every dream was a sailor's dream.
Then small waves broke light,
all frothy and white,
over the reefs in the ramblings of night,
and the pounding sea
—a mariner's dream—
was bound to stir a boy's delight
to such a pitch
that he couldn't desist,
but was bound to splash through the surf in the light
of ten thousand stars, all shining so bright!
Christ, those nights were fine,
like a well-seasoned wine,
yet more scalding than fire
with the marrow's desire.
Then desire was a fire
burning wildly within my bones,
fiercer by far than the frantic foam . . .
and every wish was a moan!
Oh, for those days to come again!
Oh, for a sea and sailing men!
Oh, for a little time!
It's almost nine
and I must be back home by ten,
and then . . . what then?
I have less than an hour to stroll this beach,
less than an hour old dreams to reach . . .
And then, what then?
Tonight I'd like to play old games—
games that I used to play
with the somber, sinking waves.
When their wraithlike fists would reach for me,
I'd dance between them gleefully,
mocking their witless craze
—their eager, unchecked craze—
to batter me to death
with spray as light as breath.
Oh, tonight I'd like to sing old songs—
songs of the haunting moon
drawing the tides away,
songs of those sultry days
when the sun beat down
till it cracked the ground
and the sea gulls screamed
in their agony
to touch the cooling clouds.
The distant cooling clouds.
Then the sun shone bright
with a different light
over sprightlier lands,
and I was always a pirate in flight.
Oh, tonight I'd like to dream old dreams,
if only for a while,
and walk perhaps a mile
along this windswept shore,
a mile, perhaps, or more,
remembering those days,
safe in the soothing spray
of the thousand sparkling streams
that tumble into this sea.
I like to slumber in the caves
of a sailor's dark sea-dreams . . .
oh yes, I'd love to dream,
to dream
and dream
and dream.
"Sea Dreams" is one of my longer and more ambitious early poems, along with the full version of "Jessamyn's Song." To the best of my recollection, I wrote "Sea Dreams" around age 18, circa 1976-1977. For years I thought I had written "Sea Dreams" around age 19 or 20, circa 1978. But then I remembered a conversation I had with a friend about the poem in my freshman dorm, so the poem must have been started around age 18 or earlier. Dating my early poems has been a bit tricky, because I keep having little flashbacks that help me date them more accurately, but often I can only say, "I know this poem was written by about such-and-such a date, because ..."
The next poem, "Son," is a companion piece to "Sea Dreams" that was written around the same time and discussed in the same freshman dorm conversation. I remember showing this poem to a fellow student and he asked how on earth I came up with a poem about being a father who abandoned his son to live on an island! I think the meter is pretty good for the age at which it was written.
Son, circa age 16-18
by Michael R. Burch
An island is bathed in blues and greens
as a weary sun settles to rest,
and the memories singing
through the back of my mind
lull me to sleep as the tide flows in.
Here where the hours pass almost unnoticed,
my heart and my home will be till I die,
but where you are is where my thoughts go
when the tide is high.
[etc., see handwritten version, the father laments abandoning his son]
Son, there where the skylarks sing to the sun
as the rain sprinkles lightly around,
understand if you can
the mind of a man
whose conscience so long ago drowned.
It's impossible to single out a specific Rimbaud poem here for special mention, because they are all so good, and these dynamic translations just set them alight. You could honestly say that the French Rimbaud and the U.S. Rimbaud seem to blend seamlessly into one. An excellent job!