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POTD - Corson's Inlet by A.R. Ammons

Ryan Nance July 31, 2015

Corsons Inlet

BY A. R. AMMONS

I went for a walk over the dunes again this morning
to the sea,
then turned right along
   the surf
                         rounded a naked headland
                         and returned

   along the inlet shore:

it was muggy sunny, the wind from the sea steady and high,   
crisp in the running sand,
       some breakthroughs of sun
   but after a bit

continuous overcast:

the walk liberating, I was released from forms,   
from the perpendiculars,
      straight lines, blocks, boxes, binds
of thought
into the hues, shadings, rises, flowing bends and blends   
               of sight:

                         I allow myself eddies of meaning:   
yield to a direction of significance
running
like a stream through the geography of my work:   
   you can find
in my sayings

                         swerves of action
                         like the inlet’s cutting edge:
               there are dunes of motion,
organizations of grass, white sandy paths of remembrance   
in the overall wandering of mirroring mind:
but Overall is beyond me: is the sum of these events
I cannot draw, the ledger I cannot keep, the accounting
beyond the account:

in nature there are few sharp lines: there are areas of   
primrose
       more or less dispersed;
disorderly orders of bayberry; between the rows
of dunes,
irregular swamps of reeds,
though not reeds alone, but grass, bayberry, yarrow, all ...
predominantly reeds:

I have reached no conclusions, have erected no boundaries,   
shutting out and shutting in, separating inside
          from outside: I have
          drawn no lines:
          as

manifold events of sand
change the dune’s shape that will not be the same shape   
tomorrow,

so I am willing to go along, to accept   
the becoming
thought, to stake off no beginnings or ends, establish   
         no walls:

by transitions the land falls from grassy dunes to creek   
to undercreek: but there are no lines, though
       change in that transition is clear
       as any sharpness: but “sharpness” spread out,   
allowed to occur over a wider range
than mental lines can keep:

the moon was full last night: today, low tide was low:   
black shoals of mussels exposed to the risk
of air
and, earlier, of sun,
waved in and out with the waterline, waterline inexact,   
caught always in the event of change:   
       a young mottled gull stood free on the shoals
       and ate
to vomiting: another gull, squawking possession, cracked a crab,   
picked out the entrails, swallowed the soft-shelled legs, a ruddy
turnstone running in to snatch leftover bits:

risk is full: every living thing in
siege: the demand is life, to keep life: the small
white blacklegged egret, how beautiful, quietly stalks and spears
               the shallows, darts to shore
                            to stab—what? I couldn’t
       see against the black mudflats—a frightened
       fiddler crab?

               the news to my left over the dunes and
reeds and bayberry clumps was
               fall: thousands of tree swallows
               gathering for flight:
               an order held
               in constant change: a congregation
rich with entropy: nevertheless, separable, noticeable
          as one event,
                      not chaos: preparations for
flight from winter,
cheet, cheet, cheet, cheet, wings rifling the green clumps,
beaks
at the bayberries
    a perception full of wind, flight, curve,
    sound:
    the possibility of rule as the sum of rulelessness:
the “field” of action
with moving, incalculable center:

in the smaller view, order tight with shape:
blue tiny flowers on a leafless weed: carapace of crab:
snail shell:
            pulsations of order
            in the bellies of minnows: orders swallowed,   
broken down, transferred through membranes
to strengthen larger orders: but in the large view, no
lines or changeless shapes: the working in and out, together   
            and against, of millions of events: this,
                         so that I make
                         no form of
                         formlessness:

orders as summaries, as outcomes of actions override   
or in some way result, not predictably (seeing me gain   
the top of a dune,
the swallows
could take flight—some other fields of bayberry   
            could enter fall
            berryless) and there is serenity:

            no arranged terror: no forcing of image, plan,
or thought:
no propaganda, no humbling of reality to precept:

terror pervades but is not arranged, all possibilities   
of escape open: no route shut, except in   
   the sudden loss of all routes:

            I see narrow orders, limited tightness, but will   
not run to that easy victory:
            still around the looser, wider forces work:
            I will try
       to fasten into order enlarging grasps of disorder, widening   
scope, but enjoying the freedom that
Scope eludes my grasp, that there is no finality of vision,   
that I have perceived nothing completely,
that tomorrow a new walk is a new walk.



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POTD - The City Limits by A.R. Ammons

Ryan Nance March 27, 2015

The City Limits

by A. R. Ammons

When you consider the radiance, that it does not withhold
itself but pours its abundance without selection into every
nook and cranny not overhung or hidden; when you consider

that birds' bones make no awful noise against the light but
lie low in the light as in a high testimony; when you consider
the radiance, that it will look into the guiltiest

swervings of the weaving heart and bear itself upon them,
not flinching into disguise or darkening; when you consider
the abundance of such resource as illuminates the glow-blue

bodies and gold-skeined wings of flies swarming the dumped
guts of a natural slaughter or the coil of shit and in no
way winces from its storms of generosity; when you consider

that air or vacuum, snow or shale, squid or wolf, rose or lichen,
each is accepted into as much light as it will take, then
the heart moves roomier, the man stands and looks about, the

leaf does not increase itself above the grass, and the dark
work of the deepest cells is of a tune with May bushes
and fear lit by the breadth of such calmly turns to praise.


From The Selected Poems: 1951-1977, Expanded Edition, W. W. Norton & Company, Inc. Copyright © 1986 by A. R. Ammons.

City Limits by A.R. Ammons read by Ryan Scott Nance http://5thingsilearnedtoday.com

I love thinking how so much of Ammons' greatest poetry he wrote while an elementary school principal, a real estate salesman, an editor, and an executive in his father's biological glass company. His surprising and swerving mind embues the world we live our lives in with the radiance of meaning and beauty.

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