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    As Does New Hampshire: And Other Poems
    As Does New Hampshire: And Other Poems
    As Does New Hampshire: And Other Poems
    Ebook67 pages30 minutes

    As Does New Hampshire: And Other Poems

    By May Sarton

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    May Sarton’s exquisitely rendered tribute to her home state

    Over the course of her career, May Sarton wrote on a range of topics and places in both prose and poetry, and traveled across the world in search of new subjects. There is, however, one place that she always returned to in the end: Nelson, New Hampshire.
     
    Written in honor of the town’s bicentennial, As Does New Hampshire follows the course of a year in this rural hamlet. Sarton gracefully describes the ever-present role of nature, which always reminds humans that their presence on earth is temporary. She conveys both the beauty and the difficulty of a New England winter, and the full bloom of spring and summer. Above all, though, As Does New Hampshire is a lasting tribute not only to Sarton’s home, but to the greater concept of home found in the heart of every reader.

    LanguageEnglish
    PublisherOpen Road Media
    Release dateDec 23, 2014
    ISBN9781497689534
    As Does New Hampshire: And Other Poems
    Author

    May Sarton

    May Sarton (1912–1995) was born on May 3 in Wondelgem, Belgium, and grew up in Cambridge, Massachusetts. Her first volume of poetry, Encounters in April, was published in 1937 and her first novel, The Single Hound, in 1938. Her novels A Shower of Summer Days, The Birth of a Grandfather, and Faithful Are the Wounds, as well as her poetry collection In Time Like Air, all received nominations for the National Book Award. An accomplished memoirist, Sarton came out as a lesbian in her 1965 book Mrs. Stevens Hears the Mermaids Singing. Her memoir Journal of a Solitude (1973) was an account of her experiences as a female artist. Sarton spent her later years in York, Maine, living and writing by the sea. In her last memoir, Endgame: A Journal of the Seventy-Ninth Year (1992), she shares her own personal thoughts on getting older. Her final poetry collection, Coming into Eighty, was published in 1994. Sarton died on July 16, 1995, in York, Maine.

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      Book preview

      As Does New Hampshire - May Sarton

      As Does New Hampshire

      And Other Poems

      May Sarton

      FOR MY NEIGHBORS AT NELSON ON THE

      OCCASION OF THE BICENTENNIAL

      1767-1967

      Contents

      Publisher’s Note

      AS DOES NEW HAMPSHIRE

      REFLECTIONS BY A FIRE

      THE HOUSE IN WINTER

      A FUGUE OF WINGS

      WINTER NIGHT

      CHRISTMAS TREE

      THE ANNEALING

      MUD SEASON

      MARCH-MAD

      METAMORPHOSIS

      STILL LIFE IN A SNOWSTORM

      APPLE TREE IN MAY

      AN OBSERVATION

      A FLOWER-ARRANGING SUMMER

      THE WORK OF HAPPINESS

      A RECOGNITION

      A GLASS OF WATER

      DRY SUMMER

      THE HORSE-PULLING

      MINTING TIME

      DEATH OF THE MAPLE

      HOUR OF PROOF

      A LATE MOWING

      WE HAVE SEEN THE WIND

      STONE WALLS

      A COUNTRY INCIDENT

      A GUEST

      AUGENBLICK

      OF HAVENS

      PLANT DREAMING DEEP

      ACKNOWLEDGMENTS

      A Biography of May Sarton

      Publisher’s Note

      Long before they were ever written down, poems were organized in lines. Since the invention of the printing press, readers have become increasingly conscious of looking at poems, rather than hearing them, but the function of the poetic line remains primarily sonic. Whether a poem is written in meter or in free verse, the lines introduce some kind of pattern into the ongoing syntax of the poem’s sentences; the lines make us experience those sentences differently. Reading a prose poem, we feel the strategic absence of line.

      But precisely because we’ve become so used to looking at poems, the function of line can be hard to describe. As James Longenbach writes in The Art of the Poetic Line, Line has no identity except in relation to other elements in the poem, especially the syntax of the poem’s sentences. It is not an abstract concept, and its qualities cannot be described generally or schematically. It cannot be associated reliably with the way we speak or breathe. Nor can its function be understood merely from its visual appearance on the page. Printed books altered our relationship to poetry by allowing us to see the lines more readily. What new challenges do electronic reading devices pose?

      In a printed book, the width of the page and the size of the type are fixed. Usually, because the page is wide enough and the type small enough, a line of poetry fits comfortably on the page: What you see is what you’re supposed to hear as a unit of sound. Sometimes, however, a long line may exceed the width of the page;

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