1. “Gentle Communion” by Pat Mora Even the long-dead are willing ...

1. “Gentle Communion” by Pat Mora
Even the long-dead are willing to move.
Without a word, she came with me from the desert.
Mornings she wanders through my rooms
making beds, folding socks.
Since she can’t hear me anymore,
Mamande ignores the questions I never knew
to ask, about her younger days, her red
hair, the time she fell and broke her nose
in the snow. I will never know.
When I try to make her laugh,
to disprove her sad album face, she leaves
the room, resists me as she resisted
grinning for cameras, make-up, English.
While I write, she sits and prays,
feet apart, legs never crossed,
the blue housecoat buttoned high
as her hair dries white, girlish
around her head and shoulders.
She closes her eyes, bows her head,
and like a child presses her hands together,
her patient flesh steeple, the skin
worn, like the pages of her prayer book.
Sometimes I sit in her wide-armed
chair as I once sat in her lap.
Alone, we played a quiet I Spy.
She peeled grapes I still taste.

She removes the thin skin, places
the luminous coolness on my tongue.
I know not to bite or chew. I wait
for the thick melt,
our private green honey.
2. “My Life had stood—a Loaded Gun” by Emily Dickinson
My Life had stood—a Loaded Gun—
In Corners—till a Day
The Owner passed—identified—
And carried Me away—
And now We roam in Sovereign Woods—
And now We hunt the Doe—
And every time I speak for Him—
The Mountains straight reply—
And do I smile, such cordial light
Upon the Valley glow—
It is as a Vesuvian face
Had let its pleasure through—
And when at Night—Our good Day done—
I guard My Master’s Head—
’Tis better than the Eider-Duck’s
Deep Pillow—to have shared—
To foe of His—I’m deadly foe—
None stir the second time—

On whom I lay a Yellow Eye—
Or an emphatic Thumb—
Though I than He—may longer live
He longer must—than I—
For I have but the power to kill,
Without—the power to die—
3. “One Art” by Elizabeth Bishop
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.
—Even losing you (the joking voice, a gesture

I love) I shan't have lied. It's evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.
4. “When We Two Parted” by Lord George Gordon Byron
When we two parted
In silence and tears,
Half broken-hearted
To sever for years,
Pale grew thy cheek and cold,
Colder thy kiss;
Truly that hour foretold
Sorrow to this.
The dew of the morning
Sunk chill on my brow—
It felt like the warning
Of what I feel now.
Thy vows are all broken,
And light is thy fame;
I hear thy name spoken,
And share in its shame.
They name thee before me,
A knell to mine ear;
A shudder comes o'er me—
Why wert thou so dear
They know not I knew thee,
Who knew thee too well—
Long, long I shall rue thee,

Too deeply to tell.
In secret we met—
In silence I grieve,
That thy heart could forget,
Thy spirit deceive.
If I should meet thee
After long years,
How should I greet thee
With silence and tears.
5. “Theme for English B” by Langston Hughes
The instructor said,
Go home and write
a page tonight.
And let that page come out of you—
Then, it will be true.
I wonder if it’s that simple
I am twenty-two, colored, born in Winston-Salem.
I went to school there, then Durham, then here
to this college on the hill above Harlem.
I am the only colored student in my class.
The steps from the hill lead down into Harlem,
through a park, then I cross St. Nicholas,
Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:

It’s not easy to know what is true for you or me
at twenty-two, my age. But I guess I’m what
I feel and see and hear, Harlem, I hear you:
hear you, hear me—we two—you, me, talk on this page.
(I hear New York, too.) Me—who
Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records—Bessie, bop, or Bach.
I guess being colored doesn’t make me not like
the same things other folks like who are other races.
So will my page be colored that I write
Being me, it will not be white.
But it will be
a part of you, instructor.
You are white—
yet a part of me, as I am a part of you.
That’s American.
Sometimes perhaps you don’t want to be a part of me.
Nor do I often want to be a part of you.
But we are, that’s true!
As I learn from you,
I guess you learn from me—
although you’re older—and white—
and somewhat more free.
This is my page for English B.
6. “Strange Fits of Passion Have I Known” by William Wordsworth

Strange fits of passion have I known:
And I will dare to tell,
But in the lover's ear alone,
What once to me befell.
When she I loved looked every day
Fresh as a rose in June,
I to her cottage bent my way,
Beneath an evening-moon.
Upon the moon I fixed my eye,
All over the wide lea;
With quickening pace my horse drew nigh
Those paths so dear to me.
And now we reached the orchard-plot;
And, as we climbed the hill,
The sinking moon to Lucy’s cot
Came near, and nearer still.
In one of those sweet dreams I slept,
Kind Nature’s gentlest boon!
And all the while my eye I kept
On the descending moon.
My horse moved on; hoof after hoof
He raised, and never stopped:
When down behind the cottage roof,
At once, the bright moon dropped.
What fond and wayward thoughts will slide
Into a Lover’s head!

“O mercy!” to myself I cried,
“If Lucy should be dead!”
7. “Ethics” by Linda Pastan
In ethics class so many years ago
our teacher asked this question every fall:
if there were a fire in a museum
which would you save, a Rembrandt painting
or an old woman who hadn’t many
years left anyhow Restless on hard chairs
caring little for pictures or old age
we’d opt one year for life, the next for art
and always half-heartedly. Sometimes
the woman borrowed my grandmother’s face
leaving her usual kitchen to wander
some drafty, half-imagined museum.
One year, feeling clever, I replied
why not let the woman decide herself
Linda, the teacher would report, eschews
the burdens of responsibility.
This fall in a real museum I stand
before a real Rembrandt, old woman,
or nearly so, myself. The colors
within this frame are darker than autumn,
darker even than winter—the browns of earth,
though earth’s most radiant elements burn
through the canvas. I know now that woman
and painting and season are almost one
and all beyond saving by children.

8. “Musée des Beaux Arts” by W. H. Auden
About suffering they were never wrong,
The Old Masters: how well, they understood
Its human position; how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer’s horse
Scratches its innocent behind on a tree.
In Breughel’s Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water; and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.