“Soft as the massacre of Suns” (1127) by Emily Dickinson [w/ Audio]

Soft as the massacre of Suns
By Evening's Sabres slain

“The Human Abstract” by William Blake [w/ Audio]

Pity would be no more
If we did not make somebody Poor;
And Mercy no more could be
If all were happy as we.

And mutual fear brings peace,
Till the selfish loves increase;
Then Cruelty knits a snare,
And spreads his baits with care.

He sits down with holy fears,
And waters the ground with tears;
Then Humility takes its root
Underneath his foot.

Soon spreads the dismal shade
Of Mystery over his head;
And the Catterpiller and Fly
Feed on the Mystery.

And it bears the fruit of Deceit,
Ruddy and sweet to eat;
And the Raven his nest has made
In its thickest shade.

The Gods of the earth and sea
Sought thro' Nature to find this Tree;
But their search was all in vain:
There grows one in the Human Brain.

“On Dongting Lake: To Premier Zhang” [临洞庭上张丞相] by Meng Haoran [孟浩然] [w/ Audio]

The lake is glassy in August.
The air and sky are oh-so clear.
Vapor steams off of Yunmeng ponds,
Ripples lap at Yueyang's piers.
There're no boats to cross the water.
Shame! I couldn't emulate sages.
I sit and watch a fisherman
And envy his catch and his wages.

This is poem #124 in 300 Tang Poems [唐诗三百首.] Original Poem in Simplified Chinese:

八月湖水平, 涵虚混太清。
气蒸云梦泽, 波撼岳阳城。
欲济无舟楫, 端居耻圣明。
坐观垂钓者, 空有羡鱼情。

Wen Fu 6 [文赋六] “Modes of Writing” by Lu Ji [陆机]

Poetry is poignant and ornate;
Essays are deep and content-centric.
Stele entries are true to the essence;
Paeans, moving and melancholic.
Inscriptions are concise and kindly;
Telltales have a logic and cadence.
Odes show great grace and refinement;
Op-eds are unrepressed and intense.
Music 's penetrating and stately;
Speeches must sparkle with cleverness.
Though there ever so many forms,
All thwart evil and allow release:
Expression, sans pride overweening,
With no waste of words or lost meaning.

Original in Simplified Chinese:

诗缘情而绮靡,赋体物而浏亮。
碑披文以相质,诔缠绵而凄怆。
铭博约而温润,箴顿挫而清壮。
颂优游以彬蔚,论精微而朗畅。
奏平彻以闲雅,说炜晔而谲诳。
虽区分之在兹,亦禁邪而制放。
要辞达而理举,故无取乎冗长。

“Drinking at Night in Dongpo” by Su Shi [w/ Audio]

Drunk at night in Dongpo.
I sober, then drink once more;
I return at three A.M.
To hear boy's thunderous snores.
I knock but there's no answer --
Lean on my staff and listen
To water, and feel my regrets
As ripples in river glisten.
I could vanish in this boat,
And see out my life afloat.

Note: The Song Dynasty poet Su Shi [苏轼] was also known as Dongpo [東坡] or Zizhan [子瞻.]

“One of the ‘Hundred Views of Fuji,’ by Hokusai” by Amy Lowell [w/ Audio]

     Being thirsty,
I filled a cup with water,
And, behold! -- Fuji-yama lay upon the water,
Like a dropped leaf!

“A Carafe, that is a Blind Glass” by Gertrude Stein [w/ Audio]

A kind in glass and a cousin, a spectacle and
nothing strange a single hurt color and an
arrangement in a system to pointing. All
this and not ordinary, not unordered in not
resembling. The difference is spreading.

“The Oven Bird” by Robert Frost

There is a singer everyone has heard,
Loud, a mid-summer and a mid-wood bird,
Who makes the solid tree trunks sound again.
He says that leaves are old and that for flowers
Mid-summer is to spring as one to ten.
He says the early petal-fall is past
When pear and cherry bloom went down
in showers
On sunny days a moment overcast;
And comes that other fall we name the fall.
He says the highway dust is over all.
The bird would cease and be as other birds
But that he knows in singing not to sing.
The question that he frames in all but words
Is what to make of a diminished thing.

“Mending Wall” by Robert Frost [w/ Audio]

Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
'Stay where you are until our backs are turned!'
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, 'Good fences make good neighbors.'
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
'Why do they make good neighbors? Isn't it
Where there are cows? But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offense.
Something there is that doesn't love a wall,
That wants it down.' I could say 'Elves' to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, 'Good fences make good neighbors.'

BOOKS: “The Last Brother” by Nathacha Appanah

The Last BrotherThe Last Brother by Nathacha Appanah
My rating: 5 of 5 stars

Publisher Site — Gray Wolf Press

When Mauritius made it onto my shortlist for upcoming travel, I needed to find an enlightening work of Mauritian literature, and this book was prominently discussed as one that might fit the bill.

The book is narrated by an old man telling a story from his boyhood. It is a poignant and riveting tale. The book’s title, The Last Brother reflects the protagonist’s (Raj’s) first tragedy, losing his two brothers in a natural disaster in Mapou, Mauritius. Raj’s family then moved south where his father got work in a prison.

Much of the book revolves around a strange historical event — the imprisonment of a large number of Jews on Mauritius during World War II. These Jews had fled Europe and were trying to make their way to Palestine but were not granted entry because of a lack of acceptable documentation. They were then sent to Mauritius where they were imprisoned in a detention camp.

The reader only sees this event through the relationship of Raj and David. Raj is taken to the prison infirmary after being beaten by his alcoholic father. There he meets David, a Jewish boy in the detention camp. It isn’t until the very end of the book that the author presents the facts of the historic event. I think this is a wise move, allowing the reader only knowledge of what the characters would know (which – as nine-year-olds – is not much.) The late reveal adds to the tension and makes some of the characters’ decisions more understandable.

The last part of the book is a little reminiscent of Huck Finn, except without Twain’s lightheartedness and with a more melancholic and tragic tone and ending, but featuring two young men on the lam for different reasons.

I found this novel to be a potent read and would highly recommend it for readers of global literature — especially if you expect to find yourself in Mauritius at some point.

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