The River Sound

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Overview

A strikingly beautiful book of poems from one of our finest poets, exhibiting his artistry in the style he has made his own. To his lyrics Merwin adds three long narrative poems: "Lament for the Makers" is his tribute to fellow poets who are gone and who had his admiration, from Dylan Thomas to James Merrill; "Testimony" is a tour de force, an autobiographical poem in the manner of Francois Villon; "Suite in the Key of Forgetting" is a remarkable poem about memory and memories. All in all, a masterly work by a major poet.
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Overview

A strikingly beautiful book of poems from one of our finest poets, exhibiting his artistry in the style he has made his own. To his lyrics Merwin adds three long narrative poems: "Lament for the Makers" is his tribute to fellow poets who are gone and who had his admiration, from Dylan Thomas to James Merrill; "Testimony" is a tour de force, an autobiographical poem in the manner of Francois Villon; "Suite in the Key of Forgetting" is a remarkable poem about memory and memories. All in all, a masterly work by a major poet.

Editorial Reviews

From Barnes & Noble
Pulitzer Prize-winner and translator extraordinaire W. S. Merwin started his poetic career at age five, writing hymns for his minister father. Merwin's new book shows off that early hymn training -- plus all the other reasons why he's been a major figure in American poetry for nearly five decades.

Ever since poet W. H. Auden chose him as the Yale Younger Poet in 1952, Merwin has symbolized high standards. In fact, last year, when Merwin judged the prestigious Yale contest, no entrant seemed to meet his definition of excellence. Merwin refused to name a winner, causing a flurry of nasty letters to literary magazines from disappointed young poets. Auden, of course, twice refused to name a winner.

So what can a guy who's written 20-plus books do that's new? Well, Merwin starts off with a skillful twist on the age-old elegy. Instead of writing a poem about the loss of a lover or a parent -- standard poetic fare -- Merwin writes about a lost body part. The book's first poem, "Ceremony After an Amputation," opens with a fabulous, incantatory stanza. In these dreamy yet powerful first lines, the son of a minister and the lifelong translator clearly makes use of his experiences in both spiritual and foreign places:

spirits of the place who were here before I saw it
to whom I have made such offerings as I have known how to make
wanting from the first to approach you with recognition

Then Merwin gets personal, addressing what appear to be spirits directly.

you have taught me without meaning and have lifted me up
without talk or promise and again and again reappeared to me
unmistakable and changing and unpronounceable as a face

A phrase like "unpronounceable as a face" is why Merwin wins prize after prize, year after year, wowing his fans with each new volume. Merwin is a master of mixing. He can blend spellbinding lines with colloquial asides, and he can borrow from the Spanish and French poetic traditions. In fact, a big chunk of the book is a long poem called "Testimony," heavily influenced by French medieval poet François Villon's poem "The Testament." Merwin keeps the tight rhyme and eight-syllable line, but he makes it his own by using his personal life story as material.

Merwin also takes repeated risks when it comes to form. His shapely, flab-free stanzas often look formal, but for the most part, he writes in free verse. Like Auden, he delights in inventing or adjusting forms for the occasion. And just like Auden, Merwin displays a healthy sense of humor. Even though the book is about getting older and looking back at youth through an old man's eyes, Merwin is still able to laugh at the serious theme of the body's weakening and the nearing of death. For instance, here's what he says to his lost body part in that incantatory amputation poem:

you who did as well as we could through all those hours at the piano
and who helped undo the bras and found our way to the treasure
and who held the fruit and the pages and knew how to button
my right cuff and to wash my left ear...

"Undo the bras," "held the fruit" -- this grand poem is actually about a small piece of a finger! Merwin keeps pulling those kinds of tricks, mourning in new ways and often making fun of himself while doing it. He's got a poem titled "Suite in the Key of Forgetting," and a fantastic poem called "Lamentation for the Makers," which weaves in the names of poets -- or poem-makers -- who have died over the past few decades.

Despite all the emphasis on death, Merwin takes a fresh look at getting old by trying to recall how he thought of death as a young man. Here, for example, is the opening to "A Night Fragrance":

Now I am old enough to remember
people speaking of immortality
as though it were something known to exist
a tangible substance that might be acquired
to be used perhaps in the kitchen

Those last two lines pretty much capture Merwin's achievement. He produces poems that are tangible, hymns that can be recited in a kitchen as well as a classroom. THE RIVER SOUND is a treasure chest of well-sculpted poems, masterworks by a maker with decades of practice.

-- Aviya Kushner is a freelance writer whose work is forthcoming in Harvard Review and The Boston Phoenix Literary Supplement.

Kushner

The River Sound


Pulitzer Prize-winner and translator extraordinaire W. S. Merwin started his poetic career at age five, writing hymns for his minister father. Merwin's new book shows off that early hymn training -- plus all the other reasons why he's been a major figure in American poetry for nearly five decades.

Ever since poet W. H. Auden chose him as the Yale Younger Poet in 1952, Merwin has symbolized high standards. In fact, last year, when Merwin judged the prestigious Yale contest, no entrant seemed to meet his definition of excellence. Merwin refused to name a winner, causing a flurry of nasty letters to literary magazines from disappointed young poets. Auden, of course, twice refused to name a winner.

So what can a guy who's written 20-plus books do that's new? Well, Merwin starts off with a skillful twist on the age-old elegy. Instead of writing a poem about the loss of a lover or a parent -- standard poetic fare -- Merwin writes about a lost body part. The book's first poem, "Ceremony After an Amputation," opens with a fabulous, incantatory stanza. In these dreamy yet powerful first lines, the son of a minister and the lifelong translator clearly makes use of his experiences in both spiritual and foreign places:

spirits of the place who were here before I saw it
to whom I have made such offerings as I have known how to make
wanting from the first to approach you with recognition
Then Merwin gets personal, addressing what appear to be spirits directly.

you have taught me without meaning and have lifted me up
without talk or promise and again and again reappeared to me
unmistakable and changing and unpronounceable as a face

A phrase like "unpronounceable as a face" is why Merwin wins prize after prize, year after year, wowing his fans with each new volume. Merwin is a master of mixing. He can blend spellbinding lines with colloquial asides, and he can borrow from the Spanish and French poetic traditions. In fact, a big chunk of the book is a long poem called "Testimony," heavily influenced by French medieval poet François Villon's poem "The Testament." Merwin keeps the tight rhyme and eight-syllable line, but he makes it his own by using his personal life story as material.

Merwin also takes repeated risks when it comes to form. His shapely, flab-free stanzas often look formal, but for the most part, he writes in free verse. Like Auden, he delights in inventing or adjusting forms for the occasion. And just like Auden, Merwin displays a healthy sense of humor. Even though the book is about getting older and looking back at youth through an old man's eyes, Merwin is still able to laugh at the serious theme of the body's weakening and the nearing of death. For instance, here's what he says to his lost body part in that incantatory amputation poem:

you who did as well as we could through all those hours at the piano
and who held the fruit and the pages and knew how to button
my right cuff and to wash my left ear...

"Undo the bras," "held the fruit" -- this grand poem is actually about a small piece of a finger! Merwin keeps pulling those kinds of tricks, mourning in new ways and often making fun of himself while doing it. He's got a poem titled "Suite in the Key of Forgetting," and a fantastic poem called "Lamentation for the Makers," which weaves in the names of poets -- or poem-makers -- who have died over the past few decades.

Despite all the emphasis on death, Merwin takes a fresh look at getting old by trying to recall how he thought of death as a young man. Here, for example, is the opening to "A Night Fragrance":

Now I am old enough to remember
people speaking of immortality
as though it were something known to exist
a tangible substance that might be acquired
to be used perhaps in the kitchen

Those last two lines pretty much capture Merwin's achievement. He produces poems that are tangible, hymns that can be recited in a kitchen as well as a classroom. THE RIVER SOUND is a treasure chest of well-sculpted poems, masterworks by a maker with decades of practice.

-- Aviya Kushner

Melanie Rehak
Much of The River Sound is given over to worrying about the failure of words....Perhaps it's that Merwin wants to settle the old debts to confusion and ignorance that we all have before it's too late....[He's] ...taking care of the "need to make some kind of house/Out of the life lived, out of the love spent."
The New York Times Book Review

Product Details

  • ISBN-13: 9780375704352
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 8/28/2000
  • Edition description: Reprint
  • Pages: 144
  • Product dimensions: 6.17 (w) x 9.06 (h) x 0.49 (d)

Meet the Author

W. S. Merwin was born in New York City in 1927 and grew up in Union City, New Jersey, and in Scranton, Pennsylvania. From 1949 to 1951 he worked as a tutor in France, Portugal, and Majorca. He has since lived in many parts of the world, most recently on Maui in the Hawaiian Islands. His many books of poems, prose, and translations are listed at the beginning of this volume. He has been the recipient of many awards and prizes, including the Fellowship of the Academy of American Poets (of which he is now a Chancellor), the Pulitzer Prize in Poetry, and the Bollingen Prize in Poetry; most recently he has received the Governor's Award for Literature of the state of Hawaii, the Tanning Prize for mastery in the art of poetry, a Lila Wallace-Reader's Digest Writers' Award, and the Ruth Lilly Poetry Prize.

Read an Excerpt

WAVES IN AUGUST

There is a war in the distance with the distance growing smaller the field glasses lying at hand are for keeping it far away

I thought I was getting better about that returning childish wish to be living somewhere else that I knew was impossible and now I find myself wishing to be here to be alive here it is impossible enough to still be the wish of a child

in youth I hid a boat under the bushes beside the water knowing I would want it later and come back and would find it there someone else took it and left me instead the sound of the water with its whisper of vertigo

terror reassurance an old old sadness it would seem we knew enough always about parting but we have to go on learning as long as there is anything

THE CAUSEWAY

This is the bridge where at dusk they hear voices far out in the meres and marshes or they say they hear voices

the bridge shakes and no one else is crossing at this hour somewhere along here is where they hear voices

this is the only bridge though it keeps changing from which some always say they hear voices

the sounds pronounce an older utterance out of the shadows sometimes stifled sometimes carried from clear voices

what can be recognized in the archaic syllables frightens many and tells others not to fear voices

travellers crossing the bridge have forgotten where they were going in a passage between the remote and the near voices

there is a tale by now of a bridge a long time before this one already old before the speech of our day and the mere voices

when the Goths were leaving their last kingdom in Scythia they could feel the bridge shaking under their voices

the bank and the first spans are soon lost to sight there seemed no end to the horses carts people and all their voices

in the mists at dusk the whole bridge sank under them into the meres and marshes leaving nothing but their voices

they are still speaking the language of their last kingdom that no one remembers who now hears their voices

whatever translates from those rags of sound persuades some who hear them that they are familiar voices

grandparents never seen ancestors in their childhoods now along the present bridge they sound like dear voices

some may have spoken in my own name in an earlier language when last they drew breath in the kingdom of their voices

Table of Contents

Ceremony after an Amputation 3
The Stranger 5
The Gardens of Versailles 8
Chorus 9
What is a Garden 10
A Night Fragrance 11
Night Turn 12
Before a Departure in Spring 13
Remembering 14
Another River 15
Echoing Light 16
Returns after Dark 17
227 Waverly Place 18
Sixth Floor Walk-up 19
Legend 20
Clear Water 21
Harm's Way 22
Whoever you are 23
The Causeway 24
The Chinese Mountain Fox 25
The Old Year 29
Lament for the Makers 33
Suite in the Key of Forgetting 40
Testimony 50
Inauguration 111
A Claim 112
That Music 113
The Wren 114
Syllables 115
Wanting to See 116
Orioles 117
Jeanne Duval 118
Sheep Passing 120
Moissac 121
Seed Time 122
Frame 123
Shore Birds 124
Waves in August 125
Travelling West at Night 126
This Time 127
The Notes 128
Left Hand 129
Late Glimpse 130
Accompaniment 131
Field Note 132
The String 133

First Chapter

Excerpt


CEREMONY AFTER AN AMPUTATION


Spirits of the place who were here before I saw it
    to whom I have made such offerings as I have known how to make
    wanting from the first to approach you with recognition
    bringing for your swept ridge trees lining the wind with seedlings
    that have grown now to become these long wings in chorus
    where the birds assemble and settle their flying lives
    you have taught me without meaning and have lifted me up
    without talk or promise and again and again reappeared to me
    unmistakable and changing and unpronounceable as a face


dust of the time a day in late spring after the silk of rain
    had fallen softly through the night and after the green morning
    the afternoon floating brushed with gold and then the sounds
    of machines erupting across the valley and elbowing up the slopes
    pushing themselves forward to occupy you to be more of you
    who remain the untouched silence through which they are passing
    I try to hear you remembering that we are not separate
    to find you who cannot be lost or elsewhere or incomplete


nature of the solitary machine coming into the story
    from the minds that conceived you and the hands that first conjured up
    the phantom of you in fine lines on the drawing board
    you for whom function is all the good that exists
    you to whom I have come with nothing but purpose
    a purpose of my own as though it was something we shared
    you that were pried from the earth without anyone
    consulting you and were carried off burned beaten metamorphosed
    according to plans and lives to which you owed nothing


let us be at peace with each other let peace be what is between us
    and you now single vanished part of my left hand bit of bone finger-
          end index
    who began with me in the dark that was already my mother
    you who touched whatever I could touch of the beginning
    and were how I touched and who remembered the sense of it
    when I thought I had forgotten it you in whom it waited
    under your only map of one untrodden mountain
    you who did as well as we could through all the hours at the piano
    and who helped undo the bras and found our way to the treasure


and who held the fruit and the pages and knew how to button
    my right cuff and to wash my left ear and had taken in
    heart beats of birds and beloved faces and hair by day and by night
    fur of dogs ears of horses tongues and the latches of doors
    so that I still feel them clearly long after they are gone
    and lake water beside the boat one evening of an ancient summer
    and the vibration of a string over which a bow was moving
    as though the sound of the note were still playing
    and the hand of my wife found in the shallows of waking


you who in a flicker of my inattention
    signalled to me once only my error telling me
    of the sudden blow from the side so that I looked down
    to see not you any longer but instead a mouth
    full of blood calling after you who had already gone gone
    gone ahead into what I cannot know or reach or touch
    leaving in your place only the cloud of pain rising
    into the day filling the light possessing every sound
    becoming the single color and taste and direction


yet as the pain recedes and the moment of it
    you remain with me even in the missing of you
    small boat moving before me on the current under the daylight
    whatever you had touched and had known and took with you
    is with me now as you are when you are already there
    unseen part of me reminding me warning me
    pointing to what I cannot see never letting me forget
    you are my own speaking only to me going with me
    all the rest of the way telling me what is still here


THE STRANGER

             (After a Guarani legend recorded by Ernesto Morales)


One day in the forest there was somebody
who had never been there before
it was somebody like the monkeys but taller
and without a tail and without so much hair
standing up and walking on only two feet
and as he went he heard a voice calling Save me


as the stranger looked he could see a snake
a very big snake with a circle of fire
that was dancing all around it
and the snake was trying to get out
but every way it turned the fire was there


so the stranger bent the mink of a young tree
and climbed out over the fire until he
could hold a branch down to the snake
and the snake wrapped himself around the branch
and the stranger pulled the snake up out of the fire


and as soon as the snake saw that he was free
he twined himself around the stranger
and started to crush the life out of him
but the stranger shouted No No
I am the one who has just saved your life
and you pay me back by trying to kill me


but the snake said I am keeping the law
it is the law that whoever does good
receives evil in return
and he drew his coils tight around the stranger
but the stranger kept on saying No No
I do not believe that is the law


so the snake said I will show you
I will show you three times and you will see
and he kept his coils tight around the stranger's neck
and all around his arms and body
but he let go of the stranger's legs
Now walk he said to the stranger Keep going


so they started out that way and they came
to a river and the river said to them
I do good to everyone and look what they
do to me I save them from dying of thirst
and all they do is stir up the mud
and fill my water with dead things


the snake said One


the stranger said Let us go on and they did
and they came to a carandá-i palm
there were wounds running with sap on its trunk
and the palm tree was moaning I do good
to everyone and look what they do to me
I give them my fruit and my shade and they cut me
and drink from my body until I die


the snake said Two


the stranger said Let us go on and they did
and came to a place where they heard whimpering
and saw a dog with his paw in a basket
and the dog said I did a good thing
and this is what came of it
I found a jaguar who had been hurt
and I took care of him and he got better


and as soon as he had his strength again
he sprang at me wanting to eat me up
I managed to get away but he tore my paw
I hid in a cave until he was gone
and here in this basket I have
a calabash full of milk for my wound
but now I have pushed it too far down to reach


will you help me he said to the snake
and the snake liked milk better than anything
so he slid off the stranger and into the basket
and when he was inside the dog snapped it shut
and swung it against a tree with all his might
again and again until the snake was dead


and after the snake was dead in there
the dog said to the stranger Friend
I have saved your life
and the stranger took the dog home with him
and treated him the way the stranger would treat a dog


THE GARDENS OF VERSAILLES


At what moment can it be said to occur
the grand stillness of this symmetry
whose horizons become the horizon
and whose designer's name seems to be Ours


even when the designer has long since
vanished and the king his master whom
they called The Sun in his day is nobody again
here are the avenues of light reflected


and magnified and here the form's vast claim
to have been true forever as the law
of a universe in which nothing appears
to change and there was nothing before this


except defects of Nature and a waste of marshes
a lake a chaos of birds and wild things
a river making its undirected
way it was always the water that was


motion even while thirty six thousand men
and six thousand horses for more than three
decades diverted it into a thousand
fountains and when all those men and horses


had gone the water flowed on and the sound
of water falling echoes in the dream
the dream of water in which the avenues
all of them are the river on its own way


CHORUS


The wet bamboo clacking in the night rain
crying in the darkness whimpering softly
as the hollow columns touch and slide
along each other swaying with the empty
air these are sounds from before there were voices
gestures older than grief from before there was
pain as we know it the impossibly tall
stems are reaching out groping and waving
before longing as we think of it or loss
as we are acquainted with it or feelings
able to recognize the syllables
that might be their own calling out to them
like names in the dark telling them nothing
about loss or about longing nothing
ever about all that has yet to answer


WHAT IS A GARDEN


All day working happily down near the stream bed
       the light passing into the remote opalescence
it returns to as the year wakes toward winter
       a season of rain in a year already rich
in rain with masked light emerging on all sides
       in the new leaves of the palms quietly waving
time of mud and slipping and of overhearing
       the water under the sloped ground going on whispering
as it travels time of rain thundering at night
       and of rocks rolling and echoing in the torrent
and of looking up after noon through the high branches
       to see fine rain drifting across the sunlight
over the valley that was abused and at last left
       to fill with thickets of rampant aliens
bringing habits but no stories under the mango trees
       already vast as clouds there I keep discovering
beneath the tangle the ancient shaping of water
       to which the light of an hour comes back as to a secret
and there I planted young palms in places I had not pondered
       until then I imagined their roots setting out in the dark
knowing without knowledge I kept trying to see them standing
       in that bend of the valley in the light that would come


A NIGHT FRAGRANCE


Now I am old enough to remember
people speaking of immortality
as though it were something known to exist
a tangible substance that might be acquired
to be used perhaps in the kitchen
every day in whatever was made there
forever after and they applied the word
to literature and the names of things
names of persons and the naming of other
things for them and no doubt they repeated
that word with some element of belief
when they named a genus of somewhat more than
a hundred species of tropical trees and shrubs
some with flowers most fragrant at night
for James Theodore Tabernaemontanus
of Heidelberg physician and botanist
highly regarded in his day over
four centuries ago immortality
might be like that with the scattered species
continuing their various evolutions
the flowers opening by day or night
with no knowledge of bearing a name
of anyone and their fragrance if it
reminds at all not reminding of him

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