50 Must-Read Best Poems

Like the sweet apple which reddens upon the topmost bough,
Atop on the topmost twig,—which the pluckers forgot, somehow,—
Forget it not, nay; but got it not, for none could get it till now.

II

Like the wild hyacinth flower which on the hills is found,
Which the passing feet of the shepherds for ever tear and wound,
Until the purple blossom is trodden in the ground.

William Shakespeare, “Sonnet 73: That time of year thou mayst in me behold”

That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire,
Consum’d with that which it was nourish’d by.
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must leave ere long.

John Donne, “The Flea”

Mark but this flea, and mark in this,
How little that which thou deniest me is;
It sucked me first, and now sucks thee,
And in this flea our two bloods mingled be;
Thou know’st that this cannot be said
A sin, nor shame, nor loss of maidenhead,
Yet this enjoys before it woo,
And pampered swells with one blood made of two,
And this, alas, is more than we would do.

Oh stay, three lives in one flea spare,
Where we almost, nay more than married are.
This flea is you and I, and this
Our marriage bed, and marriage temple is;
Though parents grudge, and you, w’are met,
And cloistered in these living walls of jet.
Though use make you apt to kill me,
Let not to that, self-murder added be,
And sacrilege, three sins in killing three.

Cruel and sudden, hast thou since
Purpled thy nail, in blood of innocence?
Wherein could this flea guilty be,
Except in that drop which it sucked from thee?
Yet thou triumph’st, and say’st that thou
Find’st not thy self, nor me the weaker now;
’Tis true; then learn how false, fears be:
Just so much honor, when thou yield’st to me,
Will waste, as this flea’s death took life from thee.

Matsuo Bashō, “In Kyoto”

In Kyoto,
hearing the cuckoo,
I long for Kyoto.

Anne Bradstreet, “To My Dear and Loving Husband”

If ever two were one, then surely we.
If ever man were loved by wife, then thee.
If ever wife was happy in a man,
Compare with me, ye women, if you can.
I prize thy love more than whole mines of gold,
Or all the riches that the East doth hold.
My love is such that rivers cannot quench,
Nor ought but love from thee give recompense.
Thy love is such I can no way repay;
The heavens reward thee manifold, I pray.
Then while we live, in love let’s so persever,
That when we live no more, we may live ever.

William Blake, “London”

I wander thro’ each charter’d street,
Near where the charter’d Thames does flow.
And mark in every face I meet
Marks of weakness, marks of woe.

In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban,
The mind-forg’d manacles I hear

How the Chimney-sweepers cry
Every blackning Church appalls,
And the hapless Soldiers sigh
Runs in blood down Palace walls

But most thro’ midnight streets I hear
How the youthful Harlots curse
Blasts the new-born Infants tear
And blights with plagues the Marriage hearse.

John Keats, “Ode to a Nightingale“

Here is the first stanza of one of Keats’s most famous odes:

My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
‘Tis not through envy of thy happy lot,
But being too happy in thine happiness,—
That thou, light-winged Dryad of the trees
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.

Christina Rossetti, “Goblin Market“

Here is the first section of Christina Rossett’s long (but very fun and readable!) poem “Goblin Market”:

Morning and evening
Maids heard the goblins cry:
“Come buy our orchard fruits,
Come buy, come buy:
Apples and quinces,
Lemons and oranges,
Plump unpeck’d cherries,
Melons and raspberries,
Bloom-down-cheek’d peaches,
Swart-headed mulberries,
Wild free-born cranberries,
Crab-apples, dewberries,
Pine-apples, blackberries,
Apricots, strawberries;—
All ripe together
In summer weather,—
Morns that pass by,
Fair eves that fly;
Come buy, come buy:
Our grapes fresh from the vine,
Pomegranates full and fine,
Dates and sharp bullaces,
Rare pears and greengages,
Damsons and bilberries,
Taste them and try:
Currants and gooseberries,
Bright-fire-like barberries,
Figs to fill your mouth,
Citrons from the South,
Sweet to tongue and sound to eye;
Come buy, come buy.”

Walt Whitman, “When Lilacs Last in the Dooryard Bloom’d“

This is the first section of Whitman’s poem, an elegy on the death of Abraham Lincoln:

When lilacs last in the dooryard bloom’d,
And the great star early droop’d in the western sky in the night,
I mourn’d, and yet shall mourn with ever-returning spring.

Ever-returning spring, trinity sure to me you bring,
Lilac blooming perennial and drooping star in the west,
And thought of him I love.

Emily Dickinson, “Because I could not stop for Death—”

Because I could not stop for Death—
He kindly stopped for me—
The Carriage held but just Ourselves—
And Immortality.

We slowly drove—He knew no haste
And I had put away
My labor and my leisure too,
For His Civility—

We passed the School, where Children strove
At Recess—in the Ring—
We passed the Fields of Gazing Grain—
We passed the Setting Sun—

Or rather—He passed Us—
The Dews drew quivering and Chill—
For only Gossamer, my Gown—
My Tippet—only Tulle—

We paused before a House that seemed
A Swelling of the Ground—
The Roof was scarcely visible—
The Cornice—in the Ground—

Since then—’tis Centuries—and yet
Feels shorter than the Day
I first surmised the Horses’ Heads
Were toward Eternity—

Gerard Manley Hopkins, “Pied Beauty”

Glory be to God for dappled things—
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced—fold, fallow, and plough;
And áll trádes, their gear and tackle and trim.

All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Praise him.

Best Poems from the Twentieth Century

Paul Laurence Dunbar, “We Wear the Mask”

We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.

Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.

We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise
We wear the mask!

William Carlos Williams, “The Red Wheelbarrow”

so much depends
upon

a red wheel
barrow

glazed with rain
water

beside the white
chickens

Anna Akhmatova, “The Last Toast“

Marianne Moore, “Poetry”

I, too, dislike it: there are things that are important beyond all this fiddle.
Reading it, however, with a perfect contempt for it, one discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a

high-sounding interpretation can be put upon them but because they are
useful. When they become so derivative as to become unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to

eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twinkling his skin like a horse that feels a flea, the base—
ball fan, the statistician—
nor is it valid
to discriminate against ‘business documents

and school-books’; all these phenomena are important. One must make a distinction
however: when dragged into prominence by half poets, the result is not poetry,

nor till the poets among us can be
‘literalists of
the imagination—’ above
insolence and triviality and can present

for inspection, ‘imaginary gardens with real toads in them,’ shall we have
it. In the meantime, if you demand on one hand,
the raw material of poetry in
all its rawness, and
that which is on the other hand
genuine, then you are interested in poetry.

Claude McKay, “America”

Although she feeds me bread of bitterness,
And sinks into my throat her tiger’s tooth,
Stealing my breath of life, I will confess
I love this cultured hell that tests my youth.
Her vigor flows like tides into my blood,
Giving me strength erect against her hate,
Her bigness sweeps my being like a flood.
Yet, as a rebel fronts a king in state,
I stand within her walls with not a shred
Of terror, malice, not a word of jeer.
Darkly I gaze into the days ahead,
And see her might and granite wonders there,
Beneath the touch of Time’s unerring hand,
Like priceless treasures sinking in the sand.

Dorothy Parker, “Resumé“

Edna St. Vincent Millay, “What lips my lips have kissed, and where, and why”

What lips my lips have kissed, and where, and why,
I have forgotten, and what arms have lain
Under my head till morning; but the rain
Is full of ghosts tonight, that tap and sigh
Upon the glass and listen for reply,
And in my heart there stirs a quiet pain
For unremembered lads that not again
Will turn to me at midnight with a cry.

Thus in the winter stands the lonely tree,
Nor knows what birds have vanished one by one,
Yet knows its boughs more silent than before:
I cannot say what loves have come and gone,
I only know that summer sang in me
A little while, that in me sings no more.

T.S. Eliot, “The Love Song of J. Alfred Prufrock“

Here is how Eliot’s famous poem “The Love Song of J. Alfred Prufrock” begins:

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question…
Oh, do not ask, “What is it?”
Let us go and make our visit.

In the room the women come and go
Talking of Michelangelo.

Robert Frost, “The Road Not Taken”

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.

Wilfred Owen, “Dulce Et Decorum Est”

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.

Gas! GAS! Quick, boys!—An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.

In all my dreams before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

Langston Hughes, “Harlem“

E.E. Cummings, “next to of course god america i”

next to of course god america i
love you land of the pilgrims’ and so forth oh
say can you see by the dawn’s early my
country ’tis of centuries come and go
and are no more what of it we should worry
in every language even deafanddumb
thy sons acclaim your glorious name by gorry
by jingo by gee by gosh by gum
why talk of beauty what could be more beaut-
iful than these heroic happy dead
who rushed like lions to the roaring slaughter
they did not stop to think they died instead
then shall the voice of liberty be mute?

He spoke. And drank rapidly a glass of water

Gwendolyn Brooks, “We Real Cool“

Elizabeth Bishop, “One Art”

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.

Dylan Thomas, “Do Not Go Gentle Into That Good Night”

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

Randall Jarrell, “Death of the Ball Turret Gunner”

From my mother’s sleep I fell into the State,
And I hunched in its belly till my wet fur froze.
Six miles from earth, loosed from its dream of life,
I woke to black flak and the nightmare fighters.
When I died they washed me out of the turret with a hose.

Theodore Roethke, “My Papa’s Waltz”

The whiskey on your breath
Could make a small boy dizzy;
But I hung on like death:
Such waltzing was not easy.

We romped until the pans
Slid from the kitchen shelf;
My mother’s countenance
Could not unfrown itself.

The hand that held my wrist
Was battered on one knuckle;
At every step you missed
My right ear scraped a buckle.

You beat time on my head
With a palm caked hard by dirt,
Then waltzed me off to bed
Still clinging to your shirt.

Derek Walcott, “A Far Cry From Africa”

A wind is ruffling the tawny pelt
Of Africa. Kikuyu, quick as flies,
Batten upon the bloodstreams of the veldt.
Corpses are scattered through a paradise.
Only the worm, colonel of carrion, cries:
“Waste no compassion on these separate dead!”
Statistics justify and scholars seize
The salients of colonial policy.
What is that to the white child hacked in bed?
To savages, expendable as Jews?

Threshed out by beaters, the long rushes break
In a white dust of ibises whose cries
Have wheeled since civilization’s dawn
From the parched river or beast-teeming plain.
The violence of beast on beast is read
As natural law, but upright man
Seeks his divinity by inflicting pain.
Delirious as these worried beasts, his wars
Dance to the tightened carcass of a drum,
While he calls courage still that native dread
Of the white peace contracted by the dead.

Again brutish necessity wipes its hands
Upon the napkin of a dirty cause, again
A waste of our compassion, as with Spain,
The gorilla wrestles with the superman.
I who am poisoned with the blood of both,
Where shall I turn, divided to the vein?
I who have cursed
The drunken officer of British rule, how choose
Between this Africa and the English tongue I love?
Betray them both, or give back what they give?
How can I face such slaughter and be cool?
How can I turn from Africa and live?

Sylvia Plath, “Metaphors”

I’m a riddle in nine syllables,
An elephant, a ponderous house,
A melon strolling on two tendrils.
O red fruit, ivory, fine timbers!
This loaf’s big with its yeasty rising.
Money’s new-minted in this fat purse.
I’m a means, a stage, a cow in calf.
I’ve eaten a bag of green apples,
Boarded the train there’s no getting off.

Adrienne Rich, “Diving into the Wreck“

This is the first stanza of one of Rich’s greatest and best-known poems:

Seamus Heaney, “Digging”

Between my finger and my thumb
The squat pen rests; snug as a gun.

Under my window, a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down

Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.

The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked,
Loving their cool hardness in our hands.

By God, the old man could handle a spade.
Just like his old man.

My grandfather cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.

The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I’ve no spade to follow men like them.

Between my finger and my thumb
The squat pen rests.
I’ll dig with it.

Mary Oliver, “Wild Geese“

Best Poems by Living Writers

Simon Ortiz, “My Father’s Song”

Wanting to say things,
I miss my father tonight.
His voice, the slight catch,
the depth from his thin chest,
the tremble of emotion
in something he has just said
to his son, his song:

We planted corn one spring at Acu—
we planted several times
but this one particular time
I remember the soft damp sand
in my hand.

My father had stopped at one point
to show me an overturned furrow;
the plowshare had unearthed
the burrow nest of a mouse
in the soft moist sand.

Very gently, he scooped tiny pink animals
into the palm of his hand
and told me to touch them.
We took them to the edge
of the field and put them in the shade
of a sand moist clod.

I remember the very softness
of cool and warm sand and tiny alive mice
and my father saying things.

Sharon Olds, “Sex Without Love”

How do they do it, the ones who make love
without love? Beautiful as dancers,
gliding over each other like ice-skaters
over the ice, fingers hooked
inside each other’s bodies, faces
red as steak, wine, wet as the
children at birth whose mothers are going to
give them away. How do they come to the
come to the come to the God come to the
still waters, and not love
the one who came there with them, light
rising slowly as steam off their joined
skin? These are the true religious,
the purists, the pros, the ones who will not
accept a false Messiah, love the
priest instead of the God. They do not
mistake the lover for their own pleasure,
they are like great runners: they know they are alone
with the road surface, the cold, the wind,
the fit of their shoes, their over-all cardio-
vascular health—just factors, like the partner
in the bed, and not the truth, which is the
single body alone in the universe
against its own best time.

Yusef Komunyakaa, “Facing It”

My black face fades,
hiding inside the black granite.
I said I wouldn’t
dammit: No tears.
I’m stone. I’m flesh.
My clouded reflection eyes me
like a bird of prey, the profile of night
slanted against morning. I turn
this way—the stone lets me go.
I turn that way—I’m inside
the Vietnam Veterans Memorial
again, depending on the light
to make a difference.
I go down the 58,022 names,
half-expecting to find
my own in letters like smoke.
I touch the name Andrew Johnson;
I see the booby trap’s white flash.
Names shimmer on a woman’s blouse
but when she walks away
the names stay on the wall.
Brushstrokes flash, a red bird’s
wings cutting across my stare.
The sky. A plane in the sky.
A white vet’s image floats
closer to me, then his pale eyes
look through mine. I’m a window.
He’s lost his right arm
inside the stone. In the black mirror
a woman’s trying to erase names:
No, she’s brushing a boy’s hair.

Joy Harjo, “A Map to the Next World“

Here are the first few lines of Harjo’s poem, which ends with the powerful line, “You must make your own map.”

In the last days of the fourth world I wished to make a map for
those who would climb through the hole in the sky.

My only tools were the desires of humans as they emerged
from the killing fields, from the bedrooms and the kitchens.

For the soul is a wanderer with many hands and feet.

The map must be of sand and can’t be read by ordinary light. It
must carry fire to the next tribal town, for renewal of spirit.

Alberto Ríos, “Nani”

Sitting at her table, she serves
the sopa de arroz to me
instinctively, and I watch her,
the absolute mamá, and eat words
I might have had to say more
out of embarrassment. To speak,
now-foreign words I used to speak,
too, dribble down her mouth as she serves
me albondigas. No more
than a third are easy to me.
By the stove she does something with words
and looks at me only with her
back. I am full. I tell her
I taste the mint, and watch her speak
smiles at the stove. All my words
make her smile. Nani never serves
herself, she only watches me
with her skin, her hair. I ask for more.

I watch the mamá warming more
tortillas for me. I watch her
fingers in the flame for me.
Near her mouth, I see a wrinkle speak
of a man whose body serves
the ants like she serves me, then more words
from more wrinkles about children, words
about this and that, flowing more
easily from these other mouths. Each serves
as a tremendous string around her,
holding her together. They speak
nani was this and that to me
and I wonder just how much of me
will die with her, what were the words
I could have been, or was. Her insides speak
through a hundred wrinkles, now, more
than she can bear, steel around her,
shouting, then, What is this thing she serves?

She asks me if I want more.
I own no words to stop her.
Even before I speak, she serves.

Billy Collins, “Sonnet“

Rita Dove, “American Smooth”

We were dancing—it must have
been a foxtrot or a waltz,
something romantic but
requiring restraint,
rise and fall, precise
execution as we moved
into the next song without
stopping, two chests heaving
above a seven-league
stride—such perfect agony,
one learns to smile through,
ecstatic mimicry
being the sine qua non
of American Smooth.
And because I was distracted
by the effort of
keeping my frame
(the leftward lean, head turned
just enough to gaze out
past your ear and always
smiling, smiling),
I didn’t notice
how still you’d become until
we had done it
(for two measures?
four?)—achieved flight,
that swift and serene
magnificence,
before the earth
remembered who we were
and brought us down.

Cathy Song, “Spaces We Leave Empty”

The jade slipped from my wrist
with the smoothness of water
leaving the mountains,

silk falling from a shoulder,
melon slices sliding across the tongue,
the fish returning.

The bracelet worn since my first birthday
cracked into thousand-year-old eggshells.
The sound could be heard
ringing across the water

where my mother woke in her sleep crying thief.
Her nightgown slapped in the wind
as he howled clutching his hoard.

The cultured pearls.
The bone flutes.
The peppermint disks of jade.

The clean hole
in the center, Heaven:
the spaces we left empty.

Harryette Mullen, “We Are Not Responsible”

We are not responsible for your lost or stolen relatives.
We cannot guarantee your safety if you disobey our instructions.
We do not endorse the causes or claims of people begging for handouts.
We reserve the right to refuse service to anyone.

Your ticket does not guarantee that we will honor your reservations.
In order to facilitate our procedures, please limit your carrying on.
Before taking off, please extinguish all smoldering resentments.

If you cannot understand English, you will be moved out of the way.
In the event of a loss, you’d better look out for yourself.
Your insurance was cancelled because we can no longer handle
your frightful claims. Our handlers lost your luggage and we
are unable to find the key to your legal case.
You were detained for interrogation because you fit the profile.
You are not presumed to be innocent if the police
have reason to suspect you are carrying a concealed wallet.
It’s not our fault you were born wearing a gang color.
It is not our obligation to inform you of your rights.

Step aside, please, while our officer inspects your bad attitude.
You have no rights we are bound to respect.
Please remain calm, or we can’t be held responsible
for what happens to you.

Natasha Trethewey, “Myth”

I was asleep while you were dying.
It’s as if you slipped through some rift, a hollow
I make between my slumber and my waking,

the Erebus I keep you in, still trying
not to let go. You’ll be dead again tomorrow,
but in dreams you live. So I try taking

you back into morning. Sleep-heavy, turning,
my eyes open, I find you do not follow.
Again and again, this constant forsaking.
*
Again and again, this constant forsaking:
my eyes open, I find you do not follow.
You back into morning, sleep-heavy, turning.

But in dreams you live. So I try taking,
not to let go. You’ll be dead again tomorrow.
The Erebus I keep you in—still, trying—

I make between my slumber and my waking.
It’s as if you slipped through some rift, a hollow.
I was asleep while you were dying.

Julia Alvarez, “Poetry Makes Nothing Happen?”

“Poetry Makes Nothing Happen”
—W. H. Auden

Listening to a poem on the radio,
Mike Holmquist stayed awake on his drive home
from Laramie on Interstate 80,
tapping his hand to the beat of some lines
by Longfellow; while overcome by grief
one lonesome night when the bathroom cabinet
still held her husband’s meds, May Quinn reached out
for a book by Yeats instead and fell asleep
cradling “When You Are Old,” not the poet’s best,
but still…poetry made nothing happen,

which was good, given what May had in mind.
Writing a paper on a Bishop poem,
Jenny Klein missed her ride but arrived home
to the cancer news in a better frame of mind.
While troops dropped down into Afghanistan
in the living room, Naomi Stella clapped
to the nursery rhyme her father had turned on,
All the king’s horses and all the king’s men…
If only poetry had made nothing happen!
If only the president had listened to Auden!

Faith Chaney, Lulú Pérez, Sunghee Chen—
there’s a list as long as an epic poem
of folks who’ll swear a poem has never done
a thing for them…except…perhaps adjust
the sunset view one cloudy afternoon,
which made them see themselves or see the world
in a different light—degrees of change so small
only a poem registers them at all.
That’s why they can be trusted, why poems might
still save us from what happens in the world.

Elizabeth Alexander, “Ars Poetica #100: I Believe”

Poetry, I tell my students,
is idiosyncratic. Poetry

is where we are ourselves
(though Sterling Brown said

“Every ‘I’ is a dramatic ‘I’”),
digging in the clam flats

for the shell that snaps,
emptying the proverbial pocketbook.

Poetry is what you find
in the dirt in the corner,

overhear on the bus, God
in the details, the only way

to get from here to there.
Poetry (and now my voice is rising)

is not all love, love, love,
and I’m sorry the dog died.

Poetry (here I hear myself loudest)
is the human voice,

and are we not of interest to each other?

Tracy K. Smith, “The United States Welcomes You”

Why and by whose power were you sent?
What do you see that you may wish to steal?
Why this dancing? Why do your dark bodies
Drink up all the light? What are you demanding
That we feel? Have you stolen something? Then
What is that leaping in your chest? What is
The nature of your mission? Do you seek
To offer a confession? Have you anything to do
With others brought by us to harm? Then
Why are you afraid? And why do you invade
Our night, hands raised, eyes wide, mute
As ghosts? Is there something you wish to confess?
Is this some enigmatic type of test? What if we
Fail? How and to whom do we address our appeal?

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I hope you have found new poems to love or revisited old favorites from this list. Are you feeling eager for even more great poetry? Check out this list of 50 Must-Read Best poetry books, 50 Must-Read 2019 poetry collections, and many more articles on poetry from our archives.