Published: 23 October 2012 Stanley Moss (b. 1925) has always written challenging poems that argue for the necessity of myth in modern life, even while questioning the role of religion. Writing in American Poetry Review, the poet and critic Christopher Buckley described how the strength of Mosss poems lies in the fact that he can continue the argument and keep it immediate to our lives, where we are at the end of all this time in relation to God, myth, skepticism, the unreviseable facts of death on an individual and large scale. Indeed, Moss often approaches his subjects with a mix of authority and humility, especially when confronting the issue of our alienation from the natural world. Like most of Mosss poems, The Seagull unfolds slowly, beginning with what might seem mere nostalgia, until the speaker describes how A pigeon in a blizzard fluttered / against a kitchen window, / my first clear memory of terror. But was it his own terror that the bird might break through the glass, or was it that of the pigeon? Moss gives us no clear answers, and captures the openness with which we approach the world as children, unclouded by fixed ideas. In telling us how he hung a grey and white stuffed / felt seagull from the cord of my window shade, the speaker demonstrates our basic human need to make a senseless symbol of what we find in nature. In this sense, the poem is a kind of elegy for a time of communion, when the speaker encountered an animal, put himself in its place and felt what it felt. The Seagull When I was a child, before I knew the word for a snowstorm, before I remember a tree or a field, I saw an endless grey slate afternoon coming, I knew a bird singing in the sun was the same as a dog barking in the dark. A pigeon in a blizzard fluttered against a kitchen window, my first clear memory of terror, I kept secret, my intimations I kept secret. This winter I hung a grey and white stuffed felt seagull from the cord of my window shade, a reminder of good times by the sea, of Chekhov and impossible love. I took comfort from the gull, the graceful shape sometimes lifted a wing in the drafty room. Once when I looked at the gull I saw
through the window a living seagull glide
toward me then disappear, what a rush of life! I remember its hereness, while inside the room the senseless symbol little more than a bedroom slipper dangled on a string. Beyond argument, my oldest emotion hangs like a gull in the distant sky. Eyes behind bars of mud and salt see some dark thing below, my roof under the sea. Only the sky is taken for granted. In the quiet morning light, terrors the only bird I know, although birds have fed from my hand. STANLEY MOSS (1982)