April 25, 2019
Ruth Daniell
The Grimm brothers grew up across the street
in a half-timbered magistrate's house:
studying Greek and Latin, collecting eggs,
and not thinking of magic. By all accounts
it was the best time of their lives. It is quiet here, calm,
unburdened by tourists and noise except
the gentle twittering of small, silver-winged birds.
Watching you squint in this particular light,
it occurs to me that most magic
in fairy tales is the kind that hurts, that traps
and twists and isolates—the happily ever after
is the return to the disenchanted life,
the confidence that love is enough. This must be
the solace those brothers sought to return to:
the nostalgia of afternoon sunlight on the castle
that stood in the neighborhood of their childhood. 
Strawberries from the market stain our hands. 
I can feel this picnic turn into memory
even as I busy myself with worry about my white sundress. 
The light is carefree, like a prince
just transformed from his animal skin or
a princess newly awakened—giddy
with the reward of ordinariness. 
Through no fairy intercession that I know of,
you are young and beautiful, and I am too,
and strawberry juice runs in rivulets down our wrists. 
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THROWING WEIGHT INTO SOUND: KAVEH AKBAR ON POETRY AND POWER
 

Kaveh Akbar talks about the genesis of his latest poem “The Palace,” and its depiction of America, and how it fits in his next collection.

via THE NEW YORKER 
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I took an introductory poetry writing class in my sophomore year of college because my schedule allowed it; I had mostly downed novels up until then. We were not assigned this Dickinson poem in class, and I can’t remember exactly how I came upon it. I was familiar with many of her famous poems, but something about this one made me feel both wonderfully repaired (from what? why?) and restive.
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