A House

"Long bellies of clouds..."
Gorgeous. You've made this look easy as if the words were holding hands when you found them. How did you do that? Uhhh... re-read... amazing.

Oooh... veddy nice indeed. Spooky, to me.

There are poems whose shape I respond to on a visceral level. I have receptor sites for them. This is one of them (and content fills the shape perfectly).

(...that little nugget shape, like something you'd find on the beach, or on the banks of a smallish river.)

"as if the words were holding hands when you found them"

That's exactly what I meant about the organic, found, pre-existing quality of the shape!

Sam - this is the voice of the Hopper I know. Perfect.

Thanks for the read, Martha. I'm not certain how a poem like this makes it to the page. It sort of falls there. From the original draft in my journal, I cut two lines that seemed to get in the way.

Matt, I appreciate your close consideration of the piece. Thanks.

Thanks, Walter. I like your connecting voice in lyric with voice in paint. An amazing notion.

I can definitely see this the way I see Hopper. I feel what this line expresses when I look at many Hopper paintings.
"there's no way of knowing
what world the road bends to —"
Not a small thing--to be able to capture in words what a painting evokes.

Very fine poem. I like "bellies of cloud," and "wind at the chimney's mouth."

Just lovely, Sam.

Thanks, Jane, for your comment. The painter - and the musician (though not the lyricist ) - can get closer to the focus than words allow. As a writer you try, but you don't always get there.

Thanks for the comment on the imagery, Matthew. I appreciate that.

I always appreciate your reading my work, Marcelle. Thanks.

lovely, sam

hopper continues to knock me out. the other day i went past his house in nyack and moaned a prayer of thanks

do you know mark strand's book on hopper?

is essential--

sigh. you capture that painting better than the painting. no favorite lines here, they're all equally right. peace...

Oh my, Linda. There's no way - though I do appreciate the comment about this little poem.

oh, this is terrific Sam. Hopper, yes.

I enjoyed this. Your imagery in it is lovely.

Thanks, Meg and Felicia, for the read and comments on the piece.

The force generated in your minimal lines reminds me of why we pursue Art:

The medium of expression can not be tainted by the dangers of losing sight to what Art chooses to do and become. Thank you, Sam.

Thanks, Hazar. Great about the pursuit of art. And I appreciate your reading this work.

I hope Corrium included a repo. of the painting, which to me is a powerful reminder of a rural road in Minnesota that I traveled many times.

Thanks, Sam.

Mr. Bell thinks this poem is A-OK!!

Your poem stands alone as art, yes. And to a wannabe poet, like myself, your poem is also an instructive exercise in poetic composition when combined with the painting.

Completely enfolds the reader within its words. Beautiful.

Thanks for the comment, J. Mykell.

And Susan, I appreciate your read and comment.

Just adding to the chorus to say this poem is exquisite. Not only do I know what Matt is saying about the shape, I totally agree. And Hopper would indeed be pleased.

The poem gives me the feel of a door opened by the wind on a fall day, and I can smell it and hear the leaves scatter inside.

What a wonderful description of the poem. A writer couldn't ask for more than that. Thanks, Lou.

I copy, pasted printed and then read this aloud with the painting on the screen in front of me. Wonderful, Sam.

"...wind at the chimney's mouth..."

Made me lonesome. I love being lonesome. Thanks.

Thanks for the extra effort with the poem, Sheldon. I appreciate your comment.

I am toddler-new to reading poetry on a regular basis, but with fictionaut, more and more. I responded absolutely viscerally to this; the shape of it, little a gentle exhalation of breath, the underlying emptiness, of place and space, and surrounding white, the dash of still extant humanity.

i remember, nice

i remember, nice

Thanks for the comment, Cherise, on the structue. I like your take on the form - both what is there and what isn't.

Thanks, Gabriel.

Stunning poem, Sam, it seems to inhabit the reader as oppossed to the other way round

That's a neat take, Susan, and fits perfectly with my own explanation of how poetry works - at least in me. Thanks.

I was excited when I saw your new posting and once again I was not disappointed. Strong sense of place with just a hint that the house has an afterlife no one knows about except the "Someone
still comes here, still knows". In a metaphoric sense the house is one's body and who is it, that knows themselves? Loved it, Sam, Fav.

I really like your approach to the poem, Myra. Thanks for the read & comment.

I too love this particular sentiment: "Someone
still comes here, still knows." Satisfies my sense of the mysterious, as well as my sense of lonesome (like Sheldon, I like lonesome!)

Maybe it's the mystery in the painting - the who & when & where - that really connects with the lonseome state. Thanks for the read and comment, Beate.

we're starting a collaborative project betw writers and painters in my writing workshop -- we could learn a thing or two from you, Sam. Compact and rich: how I like 'em.

Thanks for reading this piece, Michelle - The collaborative project sounds great.

Nice!

"Long bellies of cloud hug
such a thin edge of ground
there's no way of knowing
what world the road bends to"

Excellent use of enjambment. Wordsworthian!

I appreciate your comment, Bill, and your reading the piece.

anything that resembles Hopper, makes me wish I could find that old print of his I had, Diner.

lovely

Sam--
You've clearly hit the mark. When you look at the comments, you can see that people were visually engaged by the work, whether it be the shape or the imagery that inspired it. A triumph.

Thanks for the read, Estelle. I hope you find the print.

And Mark, thanks for the comment. I appreciate it.

I agree with Matt Dennison's description of the internal workings of the poem & see his ideas (by way of critique).

I think I tried to paint like this when I was young. I'm looking at the little branch that reaches in front of the upper window, odd as nature.

"such a thin edge of ground
there's no way of knowing
what world the road bends to —

"

*

Thanks for the comment, Ann. I would love to be able to paint -

Sam, gorgeous piece here. The little hairs on my arm stood up a bit! Especially like "long bellies of cloud..."

Thanks for living in the moment of the poem, Sara. I appreciate your reading the piece.

i'm late to this one, but want to echo all that's been said: about form and loveliness -- and how you make the birthing of a perfect, tidy (crazy hard) thing look plain easy. the mood, as evoked by your careful word choice, touches the reader in a place that's just right.

Thanks, Sara. I appreciate your comments about the design/language - which really can't be separated - in such a brief piece.

Sam--again your work here is concise, well formed and simply beautiful. You continue to inspire. Write on writer!

Thanks, Michael, for your read, and for your words.

I love this, Sam...very hauntingly beautiful.

Thanks, Terri. I appreciate the read.

Sam=nourishment. Reading your work fills me with joy,admiration and makes me glad for words. You are a supreme poet my friend of the highest order. Fantastic!

A bit of hyperbole there, DP. I appreciate your words about the poem. Thanks for reading.

beautiful.

I can hear this one. So great, Sam.

Thanks, Julie, for reading this piece.

I appreciate your comment, Jason.

Love this, Sam. Every image is so perfectly rendered, they're almost visual music.

Thanks, Kim. I appreciate your comment on imagery & music here.

INteresting soundscape, I like how assonances and rhythms wrap up this short poem, which seems much larger 'inside', doesn't it. Very well constructed. Kudos.

I like your view of sound and how it works in the piece, Marcel. Thanks for your comment and read.

Lovely, Sam. I love the way it gives sound to this intensely visual place, and the juxtaposition of "there's no way of knowing" and someone who "still knows."

I appreciate your comment on the poem, Stephanie. Thanks for reading.

I am so behind in my reading! Many have commented before me, all that I would say - 'soundscape' sums it up the best. It sticks to the ribs and aches. I so love and admire your work, Sam.

So is it a good thing for the poetry to ache? I would say yes. Thanks for the read and comment, Jennifer.

The poem moves from the visual to the aural. At the same time, the perspective moves from middle distance (where Hopper has the viewer?) to up close. In all, an artful movement and an emotionally rich one. Thanks for sharing.

Indeed, "Brevity creates intensity". I won't forget this line for awhile:. . . what world the road bends to-- Hopper's paintings have certain loneliness and you've captured the moment.

Thanks, Robert, for reading and for the comment about distance in the poem. Sorry for the delay of my response.

I appreciate your comment, Ramon, about the connection between loneliness in the poem and Hopper's works. Thanks for reading.

which line did I like best... hard to say.

I've never (consciously) seen the painting, but after reading this, I feel I've been there.. very nice.

Fine handling of an artistic 'remove'...the knowing regardless of the seeing,how that plays into history/histories beneath the details. Wonderful poem.

Thanks for commenting, Randal. In the author's note, there's a link to the painting.

I appreciate your reading the piece, Joan - and commenting. I like your point about knowing and seeing. Thanks.

I came looking for a little slice of Sam Rasnake this morning to cheer me up and found this. It's just the medicine. How did you get poetry to evoke Hopper? I'm in awe. Not going to quote a passage because every word is beautiful. Big (late) fave.

Thanks for the comment, Claire. Always pleased when you read my work.

Love these lines especially: "Long bellies of cloud hug / such a thin edge of ground".

Just now found your comment, Elizabeth. Sorry for the delay. I appreciate your comment here. Thanks.

Wow, like you need another comment... but, I'll comment anyway.

So, I too am fascinated with Hopper. This poem is lovely in that the contrast of a still scene is acknowledged alongside those telling signs of life, the movement that occurs both within the house and out.

Glad you connect with the piece, Jen. Thanks for the read. I like your idea about movement here.

Love this, Sam. I don't know anyone who makes more powerful writing from their interaction with and response to art. IMO some of these (I won't disrespect any artists by mentioning titles) are stronger work than the art you drew inspiration from. *

Glad you like the Hopper piece, Mark. I appreciate your comment here. Thanks.

Wow! So many beautiful images here!

Appreciate the read & comment, Tawnysha.

Really gorgeous language, Sam. Like a literary red velvet cupcake.

Thanks for reading the piece, Sophie. I appreciate your comment on the language here.

I like the human qualities you give this house - "Long bellies of cloud" and "the chimney's mouth," beautiful poem.

Thanks for reading the piece, Erin, and for your comment on the imagery here.

'An after thought of scattered pines' - wistful, rhapsodic and lovely.

Glad you like the phrasing, DJ. I appreciate your read.

Missed this one, Sam. I'm glad you drew my attention to it. Love Hopper and love this.*

Appreciate the read, Joani. Glad you like the piece. Hopper's work is a world unto itself.

Sam, it looks like I faved this story without commenting on it, which I do, sometimes. I remember reading this in Corium and it's a pleasure to read it again. It's one of my favorites of yours. Fantastic.

Glad you remembered the piece from Corium, Kathy. That must mean I'm doing something right.

I'm a huge Edward Hopper fan and you have reached out and put your foot and my mind solidly into his world of paint, form, texture and light and his lonely houses, stark and beautiful in their desolation. This is a taut and compact and pretty damn perfect poem.*

Thanks for the comment, Michael. Glad this ekphrastic piece resonates for you.

This is wonderful. Even without seeing the painting at first there was a good tone to this.

I appreciate the read, Eric, and your comment about tone.

Beautiful homage to Hopper's Solitude, reflecting it's simplicity, clarity and mystery. A fave*.

I appreciate your reading the poem, Gloria, and your commenting about the connections between the piece and the painting. Thanks.

lovely work, Sam

these lines esp, for me

"there's no way of knowing
what world the road bends to — " *

Thanks for reading, Bobbi. I'm glad you like the imagery here.

I am biased, but I really do love this.

I'm glad the Hopper piece works for you, Collin. Small poems are tough writes. Thanks for the read.

i love your voice sam, how you work the painting, it must´ve been tough! your opening thought sets the mood for everything to come.

Thanks for reading the Hopper piece, Juan. Appreciate your words about the voice in the poem. Once the line about clouds appeared, everything else seemed to work.

I agree with Juan, about your voice: very fresh indeed. I like "what world the road bends to —" *

I appreciate your comment, Quirina. If the poem has any success in it, it's the compacted imagery. Thanks.

There's something very haunting about the poem, as well as the Hopper painting. Love the images. Fave.

Thanks, Kyle. I agree about the haunting nature of the painting - all of Hopper's work really. Glad the poem worked for you.

Sam,I really like the spirit underneath the words. I agree with the comments above about how the words seem so natural, as though they merely unfolded on the page. But the larger dimension you have captured here is really quite profound. Amazing how simplicity can do that sometimes! It just vibrates...

I like your term vibrates, Deborah. I'm glad the phrasing does pulsate a bit. i was hoping for that. It's a small poem, but I'm pleased it connects with you. Appreciate the read.

This is so good Sam. So very good.

So glad you like this little piece, Didi. The poem wrote itself. Thanks for the read.

The painting...your poem...how does one live without the other?
Catching up on old "most read" and ran across this. So glad I did.
Thank you.

I appreciate your reading this little poem, Patti. I'm glad you connected with it.

I like the balance of tentative hope and melancholy in this that echoes Hopper's painting. The lines,
"there's no way of knowing
what world the road bends to — " conveys his tone well (in so many of his other works as well as this one).

The phrasing "tentative hope and melancholy" is a perfect fit for Hopper's works I think. Glad you liked this poem, Laura. Appreciate the read and comment.

Buddha once said there are only two mistakes one can make along the road to truth; not going all the way, and not starting. But the poem is right-does anyone really know- "what world the road bends to?"

That would take the fun out of it, for someone that takes the time to visit.

Knowing would also take the life out of it. Thanks for reading, Linda.

Wind at the chimney's mouth... incredible, Sam

Thanks, Teri. Glad you like the poem.

Vivid snapshot of dereliction

This is so incredibly startling and beautiful. Every line, every line leads to the next in such power and vision. So glad to read. *****

Liked a lot. Poundian.

Love this, Sam. Thank you.

A long time favourite, glad to still find it here Sam! x AB

Thanks for reading the piece - Reva, Philip, Iain, Dianne, and Amantine. I appreciate your comments.

This is simply Hopper. With his stark longing and soothing lyricism. There is something about certain houses (for me, the ones I grew up in) that have a hold on us no matter how brown the grass is that surrounds it as the years go by. I agree with all the comments, so I'll just say thank you.