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Category: Poets

Richard Blanco’s inaugural poem ‘One Today’

The following poem was delivered by inauguration poet Richard Blanco at President Obama’s second inaugural today. The text of the poem was provided by the Presidential Inaugural Committee.

“One Today”

One sun rose on us today, kindled over our shores,
peeking over the Smokies, greeting the faces
of the Great Lakes, spreading a simple truth
across the Great Plains, then charging across the Rockies.
One light, waking up rooftops, under each one, a story
told by our silent gestures moving behind windows.

My face, your face, millions of faces in morning’s mirrors,
each one yawning to life, crescendoing into our day:
pencil-yellow school buses, the rhythm of traffic lights,
fruit stands: apples, limes, and oranges arrayed like rainbows
begging our praise. Silver trucks heavy with oil or paper — bricks or milk, teeming over highways alongside us,
on our way to clean tables, read ledgers, or save lives — to teach geometry, or ring up groceries as my mother did
for twenty years, so I could write this poem.

All of us as vital as the one light we move through,
the same light on blackboards with lessons for the day:
equations to solve, history to question, or atoms imagined,
the “I have a dream” we keep dreaming,
or the impossible vocabulary of sorrow that won’t explain
the empty desks of twenty children marked absent
today, and forever. Many prayers, but one light
breathing color into stained glass windows,
life into the faces of bronze statues, warmth
onto the steps of our museums and park benches
as mothers watch children slide into the day.

One ground. Our ground, rooting us to every stalk
of corn, every head of wheat sown by sweat
and hands, hands gleaning coal or planting windmills
in deserts and hilltops that keep us warm, hands
digging trenches, routing pipes and cables, hands
as worn as my father’s cutting sugarcane
so my brother and I could have books and shoes.

The dust of farms and deserts, cities and plains
mingled by one wind — our breath. Breathe. Hear it
through the day’s gorgeous din of honking cabs,
buses launching down avenues, the symphony
of footsteps, guitars, and screeching subways,
the unexpected song bird on your clothes line.

Hear: squeaky playground swings, trains whistling,
or whispers across cafe tables, Hear: the doors we open
for each other all day, saying: hello, shalom,
buon giorno, howdy, namaste, or buenos días
in the language my mother taught me — in every language
spoken into one wind carrying our lives
without prejudice, as these words break from my lips.

One sky: since the Appalachians and Sierras claimed
their majesty, and the Mississippi and Colorado worked
their way to the sea. Thank the work of our hands:
weaving steel into bridges, finishing one more report
for the boss on time, stitching another wound
or uniform, the first brush stroke on a portrait,
or the last floor on the Freedom Tower
jutting into a sky that yields to our resilience.

One sky, toward which we sometimes lift our eyes
tired from work: some days guessing at the weather
of our lives, some days giving thanks for a love
that loves you back, sometimes praising a mother
who knew how to give, or forgiving a father
who couldn’t give what you wanted.

We head home: through the gloss of rain or weight
of snow, or the plum blush of dusk, but always — home,
always under one sky, our sky. And always one moon
like a silent drum tapping on every rooftop
and every window, of one country — all of us —
facing the stars
hope — a new constellation
waiting for us to map it,
waiting for us to name it — together

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Poet Richard Blanco to read at President Obama’s Inaugural

The Presidential Inaugural Committee has announced that Richard Blanco has been chosen to read a poem at President Obama’s inauguration ceremony on Jan. 21. The choice marks a couple firsts: Blanco will become the first Hispanic and the first gay poet to read at a presidential inauguration. He will also, at 44, be the youngest poet to do so.

In a recent posting on the NPR website, Blanco said, “Even though it’s been a few weeks since I found out, just thinking about my parents and my grandparents and all the struggles they’ve been through, and how, you know, here I am, first-generation Cuban-American, and this great honor that has just come to me, and just feeling that sense of just incredible gratitude and love.”

The New York Times writes that Blanco, a son of Cuban exiles, has felt “a spiritual connection” with Obama from the moment he burst onto the political scene. Like Mr. Obama, the Times reports, “Blanco has been on a quest for personal identity through the written word. He said his affinity for Mr. Obama springs from his own feeling of straddling different worlds; he is Latino and gay (and worked as a civil engineer while pursuing poetry). His poems are laden with longing for the sights and smells of the land his parents left behind.”

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Christmas Cards from Robert Frost with his poems printed on them

A 1942 card that includes the poem “The Gift Outright.” (Image courtesy of Rauner Special Collections Library)
Longing for some memorable holiday cards? How about a beautiful Christmas card from Robert Frost with one of his poems printed on it?

In 1926 a recently opened letterpress shop in New York City named Spiral Press printed a book of poems for Frost. One of the owners of the press, Joseph Blumenthal, printed one of the poems as a Christmas card for his wife. Robert Frost loved the card and thus began a working relationship between Blumenthal and Frost and several woodcut artists and engravers.

Frost sent the cards out annually from 1934 to 1962. The last year they were mailed, the print run was over 17,000. Some of the cards ran up to 20 pages and included such well-known Frost poems as “The Gift Outright” and “The Wood-Pile.”

Examples of the cards from the Rauner Special Collections can be viewed here.

Dartmouth College’s Officce of Alumni Relations recently posted the following notice about the cards on their blog:

Dartmouth’s Rauner Special Collections Library has an extensive collection of the cards, including copies of the first-ever example—“Christmas Trees”—which was produced without Frost’s knowledge in 1929. Later, Frost expressed admiration for the card and he agreed to help produce them on an annual basis in 1934.

Rauner’s collection also includes cards with handwritten notes from Frost to librarians at Baker Library and other friends in Hanover. In 1951, Frost accompanied the “A Cabin in the Clearing” card with this note to Dartmouth bookstore employee Ruby Dagget: “in hopes that you will carry it like a lesson to your schoolhouse in the wilds of Vershire.” Vershire is a nearby town in Vermont.

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Mountain Interval by Robert Frost (1916)

The first edition of Robert Frost’s third collection of poems, Mountain Interval, was published in 1916 by Henry Holt and Company and was dedicated “To you who least need reminding that before this interval of the South Branch under black mountains, there was another interval, the Upper at Plymouth, where we walked in spring beyond the covered bridge; but that the first interval of all was the old farm, our brook interval, so called by the man we had it from in sale.” The “you” Frost refers to is his wife, Elinore, to whom he dedicated most of his books. The “South Branch” is the Frosts’ farm in Franconia, New Hampshire. The “Upper at Plymouth” is a reference to their time spent together in Plymouth, New Hampshire. “The first interval” is another reference to time spent together, this time in Derry, New Hampshire. And the brook is Hyla Brook, by Frost’s farm in Derry, which provided the title of one of the poems in this volume. According to Jay Parini in his biography of Robert Frost, Robert Frost: A Life (1999), an interval is a “New England dialect term for land in a valley.” Therefore “mountain interval” provides a double meaning, suggesting a “pause in a journey as well as a dip in the landscape” (278). “The Road Not Taken” opens the volume and perhaps makes reference to this “mountain interval.”

Initially the collection did not sell as many copies as Frost’s previous collection, North of Boston, probably because his publisher rushed the book into print. Nevertheless, it contains some of Frost’s best-known and most celebrated poems, such as “The Road Not Taken,” “Birches,” and “Out, Out—.” Frost wrote the majority of the poems during his stay in England; whereas he wrote a few before leaving for Europe and reworked them for book publication, such as “Birches” and “Putting in the Seed.”

Naturally, Frost was disappointed by the book’s lack of sales, but it was to be expected of a third volume following so quickly on the heels of two previous collections, A Boy’s Will and North of Boston. Despite the book’s abysmal sales figures, most scholars agree that it was a seminal book in the history of modern poetry, virtually on the basis of “The Road Not Taken” and “Birches.”

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