From The Writer's Almanac:

Man Writes Poem

This just in a man has begun writing a poem
in a small room in Brooklyn. His curtains
are apparently blowing in the breeze. We go now
to our man Harry on the scene, what's

the story down there Harry? 'Well Chuck
he has begun the second stanza and seems
to be doing fine, he's using a blue pen, most
poets these days use blue or black ink so blue

is a fine choice. His curtains are indeed blowing
in a breeze of some kind and what's more his radiator
is 'whistling' somewhat. No metaphors have been written yet,
but I'm sure he's rummaging around down there

in the tin cans of his soul and will turn up something
for us soon. Hang on—just breaking news here Chuck,
there are 'birds singing' outside his window, and a car
with a bad muffler has just gone by. Yes ... definitely

a confirmation on the singing birds.' Excuse me Harry
but the poem seems to be taking on a very auditory quality
at this point wouldn't you say? 'Yes Chuck, you're right,
but after years of experience I would hesitate to predict

exactly where this poem is going to go. Why I remember
being on the scene with Frost in '47, and with Stevens in '53,
and if there's one thing about poems these days it's that
hang on, something's happening here, he's just compared the curtains

to his mother, and he's described the radiator as 'Roaring deep
with the red walrus of History.' Now that's a key line,
especially appearing here, somewhat late in the poem,
when all of the similes are about to go home. In fact he seems

a bit knocked out with the effort of writing that line,
and who wouldn't be? Looks like ... yes, he's put down his pen
and has gone to brush his teeth. Back to you Chuck." Well
thanks Harry. Wow, the life of the artist. That's it for now,

but we'll keep you informed of more details as they arise.

"Poem: 'Man Writes Poem' by Jay Leeming,
from Dynamite on a China Plate.
© The Backwaters Press.

The New York Times reports:

I love the way men crack
open when their wives leave them,
their sheaths curling back like the split
shells of roasted chestnuts, exposing
the sweet creamy meat. They call you
and unburden their hearts the way a woman
takes off her jewels, the heavy
pendant earrings, the stiff lace gown and corset,and slips into a loose kimono.
It's like you've both had a couple shots
of really good scotch and snow is falling
in the cone of light under the street lamp—
large slow flakes that float down in the amber glow.

They tell you all the pain pressed into their flat chests,
their disappointed penises, their empty hands.
As they sift through the betrayals and regrets,
their shocked realization of how hard they tried,
they way they shouldered the yoke
with such stupid good faith—
they grow younger and younger. They cry
with the unselfconciousness of children.
When they hug you, they cling.
Like someone who's needed glasses for a long time—
and finally got them-they look around
just for the pleasure of it: the detail,
the sharp edges of what the world has to offer.

And when they fall in love again, it only gets better.
Their hearts are stuffed full as éclairs
and the custard oozes out at a touch.
They love her, they love you, they love everyone.
They drag out all the musty sorrows and joys
from the basement where they've been shoved
with mitts and coin collections. They tell you
things they've never told anyone.
Fresh from loving her, they come glowingl
ike souls slipping into the bodies
of babies about to be born.

Then a year goes by. Or two.
Like broken bones, they knit back together.
They grow like grass and bushes and trees
after a forest fire, covering the seared earth.
They landscape the whole thing, plant like mad
and spend every weekend watering and weeding.

by Ellen Bass, from Mules of Love, Vol. 1. © BOA Editions, Ltd., 2002