In this this episode, I discuss the poem 'What You Missed that Day You Were Absent from Fourth Grade', by Brad Modlin.

What You Missed that Day You Were Absent from Fourth Grade 
by Brad Modlin

Mrs. Nelson explained how to stand still and listen
to the wind, how to find meaning in pumping gas,
 
how peeling potatoes can be a form of prayer. She took
questions on how not to feel lost in the dark.
 
After lunch she distributed worksheets
that covered ways to remember your grandfather’s
 
voice. Then the class discussed falling asleep
without feeling you had forgotten to do something else—
 
something important—and how to believe
the house you wake in is your home. This prompted
 
Mrs. Nelson to draw a chalkboard diagram detailing
how to chant the Psalms during cigarette breaks,
 
and how not to squirm for sound when your own thoughts
are all you hear; also, that you have enough.
 
The English lesson was that I am
is a complete sentence.
 
And just before the afternoon bell, she made the math equation look easy. The one that proves that hundreds of questions,
 
and feeling cold, and all those nights spent looking
for whatever it was you lost, and one person
 
add up to something.

How to Find Meaning in Pumping Gas

In this episode, I discuss the poem 'Wishing Well' by Gregory Pardlo.

Wishing Well 
by Gregory Pardlo

Outside the Met a man walks up sun
tweaking the brim sticker on his Starter cap
and he says pardon me Old School he
says you know is this a wishing well?
Yeah Son I say sideways over my shrug.
Throw your bread on the water.
I tighten my chest wheezy as Rockaway beach
sand with a pull of faux smoke on my e-cig
to cozy the truculence I hotbox alone
and I am at the museum because it is not a bar.
Because he appears not to have changed
them in days I eye the heel-chewed hems
of his pants and think probably he will
ask me for fifty cents any minute now wait
for it. A smoke or something. Central Park displays
the frisking transparency of autumn. Tracing
paper sky, leaves like eraser crumbs gum
the pavement. As if deciphering celestial
script I squint and purse off toward the roof
line of the museum aloof as he fists two
pennies from his pockets mumbling and then
aloud my man he says hey my man I’m going
to make a wish for you too.
I am laughing now so what you want
me to sign a waiver? He laughs along ain’t
say all that he says but you do have to
hold my hand. And close your eyes.
I make a starless night of my face before
he asks are you ready. Yeah dawg I’m ready.
Sure? Sure let’s do this his rough hand
in mine inflates like a blood pressure cuff and I
squeeze back as if we are about to step together
from the sill of all resentment and timeless
toward the dreamsource of un-needing the two
of us hurtle sharing the cosmic breast
of plenitude when I hear the coins blink against
the surface and I cough up daylight like I’ve just
been dragged ashore. See now
you’ll never walk alone he jokes and is about
to hand me back to the day he found me in
like I was a rubber duck and he says you got to let
go but I feel bottomless and I know he means
well though I don’t believe
and I feel myself shaking
my head no when he means let go his hand.

Letting Go of Aloneness

In this episode, I discuss the poem 'Living Together' by David Whyte.

Living Together 
by David Whyte

We are like children in the master’s violin shop
not yet allowed to touch the tiny planes or the rare wood
but given brooms to sweep the farthest corners
of the room, to gather shavings, mop spilled resins
and watch with apprehension the tender curves
emerging from apprenticed hands.  The master
rarely shows himself but whenever he does he demonstrates
a concentrated ease so different from the willful accumulation
of experience we have come to expect,
a stripping away, a direct appreciation of all the elements
we are bound, one day, to find beneath our hands.
He stands in our minds so clearly now, his confident back
caught in the light from pale clerestory windows
and we note the way the slight tremor of his palms
disappears the moment they encounter wood.
In this light we hunger for maturity, see it not as stasis
but a form of love.  We want the stillness and confidence
of age, the space between self and all the objects of the world
honoured and defined, the possibility that everything
left alone can ripen of its own accord,
all passionate transformations arranged only
through innocent meetings, one to another,
the way we see resin allowed to seep into the wood
in the wood’s own secret time.  We intuit our natures
becoming resonant with one another according
to the grain of the way we are made.  Nothing forced
or wanted until it ripens in our own expectant hands.
But for now, in the busy room, we stand in the child’s
first shy witness of one another, and see ourselves again,
gladly and always, falling in love with our future.

Apprenticeship as a Form of Love

In this episode I discuss the poem 'Gate C22' by Ellen Bass

Gate C22

At gate C22 in the Portland airport
a man in a broad-band leather hat kissed
a woman arriving from Orange County.
They kissed and kissed and kissed. Long after
the other passengers clicked the handles of their carry-ons
and wheeled briskly toward short-term parking,
the couple stood there, arms wrapped around each other
like he’d just staggered off the boat at Ellis Island,
like she’d been released at last from ICU, snapped
out of a coma, survived bone cancer, made it down
from Annapurna in only the clothes she was wearing.
Neither of them was young. His beard was gray.
She carried a few extra pounds you could imagine
her saying she had to lose. But they kissed lavish
kisses like the ocean in the early morning,
the way it gathers and swells, sucking
each rock under, swallowing it
again and again. We were all watching—
passengers waiting for the delayed flight
to San Jose, the stewardesses, the pilots,
the aproned woman icing Cinnabons, the man selling
sunglasses. We couldn’t look away. We could
taste the kisses crushed in our mouths.
But the best part was his face. When he drew back
and looked at her, his smile soft with wonder, almost
as though he were a mother still open from giving birth,
as your mother must have looked at you, no matter
what happened after—if she beat you or left you or
you’re lonely now—you once lay there, the vernix
not yet wiped off, and someone gazed at you
as if you were the first sunrise seen from the Earth.
The whole wing of the airport hushed,
all of us trying to slip into that woman’s middle-aged body,
her plaid Bermuda shorts, sleeveless blouse, glasses,
little gold hoop earrings, tilting our heads up.

Retrouvailles

In this episode I discuss the poem 'The Art of Disappearing' by Naomi Shihab Nye

The Art of Disappearing

When they say don’t I know you?
say no.

When they invite you to the party
remember what parties are like
before answering.
Someone is telling you in a loud voice
they once wrote a poem.
Greasy sausage balls on a paper plate.
Then reply.

If they say We should get together
say why?

It’s not that you don’t love them anymore.
You’re trying to remember something
too important to forget.
Trees. The monastery bell at twilight.
Tell them you have a new project.
It will never be finished.

When someone recognizes you in a grocery store
nod briefly and become a cabbage.
When someone you haven’t seen in ten years
appears at the door,
don’t start singing him all your new songs.
You will never catch up.

Walk around feeling like a leaf.
Know you could tumble any second.
Then decide what to do with your time.

Renunciation of Obligation

In this episode I discuss the poem 'French Horn' by Jane Hirshfield

French Horn

For a few days only,
the plum tree outside the window
shoulders perfection.
No matter the plums will be small,
eaten only by squirrels and jays.
I feast on the one thing, they on another,
the shoaling bees on a third.
What in this unpleated world isn’t someone’s seduction?
The boy playing his intricate horn in Mahler’s Fifth,
in the gaps between playing,
turns it and turns it, dismantles a section,
shakes from it the condensation
of human passage. He is perhaps twenty.
Later he takes his four bows, his face deepening red,
while a girl holds a viola’s spruce wood and maple
in one half-opened hand and looks at him hard.
Let others clap.
These two, their ears still ringing, hear nothing.
Not the shouts of bravo, bravo,
not the timpanic clamor inside their bodies.
As the plum’s blossoms do not hear the bee
nor taste themselves turned into storable honey
by that sumptuous disturbance.

Sumptuous Disturbances

In this episode I discuss the poem 'And What Good Will Your Vanity Be When The Rapture Comes' by Hanif Willis-Abdurraqib

And What Good Will Your Vanity Be When The Rapture Comes

And What Good Will Your Vanity Be When The Rapture Comes
says the man with a cart of empty bottles at the corner of church
and lincoln while I stare into my phone and I say
I know oh I know while trying to find the specific
filter that will make the sun’s near-flawless descent look

the way I might describe it in a poem and the man
says the moment is already right in front of you and I
say I know but everyone I love is not here and I mean
here like on this street corner with me while I turn

the sky a darker shade of red on my phone and I mean
here like everyone I love who I can still touch and not
pass my fingers through like the wind in a dream
but I look up at the man and he is a kaleidoscope

of shadows I mean his shadows have shadows
and they are small and trailing behind him and I know
then that everyone he loves is also not here and the man doesn’t ask
but I still say hey man I’ve got nothing I’ve got nothing even though I have plenty

to go home to and the sun is still hot even in its
endless flirt with submission and the man’s palm has a small
river inside I mean he has taken my hand now and here we are
tethered and unmoving and the man says what color are you making

the sky and I say what I might say in a poem I say all surrender
ends in blood and he says no, what color are you making the sky and
I say something bright enough to make people wish they were here
and he squints towards the dancing shrapnel of dying

light along a rooftop and he says I love things only as they are
and I’m sure I did once too but I can’t prove it to anyone these days
and he says the end isn’t always about what dies and I know I know
or I knew once and now I write about beautiful things

like I will never touch a beautiful thing again and the man
looks me in the eyes and he points to the blue-orange vault
over heaven’s gates and he says the face of everyone you miss
is up there and I know I know I can’t see them but I know

and he turns my face to the horizon and he says
we don’t have much time left and I get that he means the time
before the sun is finally through with its daily work or I
think I get that but I still can’t stop trembling and I close

my eyes and I am sobbing on the corner of church and
lincoln and when I open my eyes the sun is plucking everyone
who has chosen to love me from the clouds and carrying them
into the light-drunk horizon and I am seeing this and I know
I am seeing this the girl who kissed me as a boy in the dairy aisle

of meijer while our parents shopped and the older boy on the
basketball team who taught me how to make a good fist and swing
it into the jaw of a bully and the friends who crawled to my porch

in the summer of any year I have been alive they were all there
I saw their faces and it was like I was given the eyes of a newborn
again and once you know what it is to be lonely it is hard to
unsee that which serves as a reminder that you were not always

empty and I am gasping into the now-dark air and I pull my shirt
up to wipe whatever tears are left and I see the man walking in the
other direction and I chase him down and tap his arm and I say did
you see it did you see it like I did and he turns and leans into the

glow of a streetlamp and he is anchored by a single shadow now
and he sneers and he says have we met and he scoffs and pushes
his cart off into the night and I can hear the glass rattling even
as I watch him become small and vanish and I look down at my
phone and the sky on the screen is still blood red.

Neill Korobov

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