Poetry Denise Levertov and Charles Olson: Although she always had a sense of the perishability of life, neither her diaries nor poems of this period show a preoccupation with death.
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A few of her closest friends knew of her lymphoma, but most did not. If asked about her illness, she brushed aside the query. Her sense of privacy kept her guarded. But mostly she appears to have been incapable of acknowledging that she would not live. She writes about experiencing God. These poems are breakthrough poems for her. She writes about a mountain, which becomes a metaphor for life and God. When clouds cover a mountain, it is still huge and massive and in existence.
God is the same, she says. Even when He is clouded, we know He is there.
Her poems tend to shift away from constantly questioning religion to accepting it simply. This acceptance of the paradoxes of faith marks the end of her "spiritual journey". In Levertov married Mitchell Goodman, an American writer, and a year later they moved to America.
They settled in New York City, spending summers in Http://cocktail24.info/blog/what-to-put-on-resume-reason-for-leaving.php. Their son Nickolai was born in She became a naturalized U. The maturation of Denise Levertov's political vision. Edited and annotated by Paul A. Lacey and Anne Dewey, with an introduction by Eavan Boland.
New Directions Books, Urbana, Chicago, and Springfield, IL: University of Illinois Press, The Life of Denise Levertov. Berkeley, Los Angeles, London: University of California Press.
Did the people of Viet Nam use lanterns of stone? Did they hold ceremonies to reverence the opening of buds? Were they inclined to quiet laughter? Did they use bone and ivory, jade and silver, for ornament?
Had they an epic poem?
Did they distinguish between speech and singing? Sir, their light hearts turned to stone. It is not remembered whether in gardens stone gardens illumined pleasant ways.
5 Poems by Denise Levertov
Perhaps they gathered once to delight in blossom, but after their children were killed there were no more buds. Sir, laughter is bitter to the burned. We see it in a child drinking in language the way a thirsty amaryllis soaks up water. We feel it in the dusky warmth of our own interiority as we search for, remember, and rehearse the words we need to strike our notes.
We hear it in our elders when they tell stories of days closer to the beginnings of names: We encounter it vividly in our poets: And words, as fragile, durable, and enduring as faith, cast a light into our dreary lives, our compressed limits.
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