Blog

  • Writing on the Fly

    Writing on the Fly

    It’s not often that a confluence of time, space, energy, and opportunity converge to create an ideal environment for writing. But just such a convergence did occur Friday afternoon, September 12, at the Pitt Writing Center with the workshop “Poetry in Everyday Stories: Celebrating the Empathy of Ed Ochester” facilitated by Pittsburgh’s rock star poet, Jan Beatty.

    As facilitator, Beatty expounded the power of nuance and understatement, the efficacy of concrete detail, and the vibrancy of dialogue. Using the brilliant work of Ed Ochester as model and illustration, she also emphasized the role of witness, empathy, and relationship in creating great poetry.

    We looked at Ochester’s “This Poem is for Margaret” and “Mary Mihalik” and drew from them inspiration for the series of writing prompts Beatty next led us through as we held in mind people we know or had recently engaged with in our everyday lives, noting that “there is great humainity in the people and the situations we run into every day, and that often these small meetings go unspoken.”

    Encouraging empathy with each progressive step toward a completed poem draft, Beatty suggested the utilization of direct address, such as that used in “This Poem is for Margaret” and stories from our past or our community’s past, such as is used in “Mary Mihalik.”

    For the first poem prompt I wrote about my encounter with an angry man at the garage who yelled at me because of where I’d parked my car and for the second prompt I wrote about a favorite aunt.

    Participants were completely absorbed in their writing and clearly enjoyed the experience. Many also generously shared their responses with the group when asked. I came away feeling encouraged and looking forward to developing the drafts I’d begun.

    Preciously what a workshop should do.

  • XLV As imperceptibly as grief

    XLV As imperceptibly as grief

    Emily Dickinson

  • Post Solstice Academics and Poem Acceptance

    Having a featured poem on Vox Populi this Saturday morning, belonging to late 2025 is a wonderful benchmark and a real acknowledgement of my continued integration into the Pittsburgh literary community.

    Thanks to friend Ruth E. Hendricks for the connection and to editor Michael Simms for choosing “Post Solstice Academics” for today’s poem!

    Now, back to grading papers!

  • Lunch Between Poets

    Lunch Between Poets

    Among the number of talented, well-known poets that the University of Pittsburgh Press brought in from around the country this weekend to celebrate the life and work of former editor, Ed Ochester, was the poet Denise Duhamel, my mentor turned friend and colleague.

    Like most people who encounter her, I sort of fell in love with Denise’s warm energy and enthusiasm right off the bat. She was my faculty mentor for two out of four semesters at Converse University, but we continued our interactions well beyond the workshop arena. She’s oh so sharp when it comes to poetry and I grew tremendously as a result of working with her, not just in my writing, but in my confidence as a poet and in learning how to navigate the “poe-biz” (poetry business).

    We had been emailing each other about her Pittsburgh visit since sometime early last year, so had plenty of time to make plans, and to build anticipation for our reunion — despite knowing it would be brief and filled with other obligations.

    We caught up over lunch yesterday and shared news we most wanted from one another: how is the job, the partner, the writing, the next book, have you heard/seen ______? what’s happening with ______ , how are you navigating the current political climate?

    It was an easy back and forth, as it always is — a gentle re-centering, a moment to celebrate successes with someone how cares, to commiserate common or respective griefs with someone who understands. And, for me, a moment to take stock of how far I’ve come in my chosen life and career as a poet.

  • Albuquerque Homecoming

    Albuquerque Homecoming

    They didn’t have to throw a parade for G and me. I thought that was awful nice though. Saying it was for the state fair was a good cover. keeps us humble.

    Rockin the drolics
  • List of Submission Deadlines

    This is a suggested timeline just to give the project some structure and motivate those of you who work best with a deadline.

    Poems for April 1-6 prompts are due August 31, 2025:

    Poems for April 7-12 prompt are due September 30, 2025:

    Poems for April 13-18 prompts are due October 31, 2025:

    Poems for April 19-24 prompts are due November 30, 2025:

    Poems for April 25-30 prompts are due December 33, 2025:

    Full Submission Guidelines

    2026 Editorial Calendar

    PromptDue DatePub Date Range
    April 1: Journal MiningAug. 31Jan. 1-11
    April 2: ProtectionAug. 31Jan. 12-23
    April 3: BeginningsAug. 31Jan. 24-Feb 4
    April 4: Whispers of WorkAug. 31Feb. 5-16
    April 5: Absences UnfoldedAug. 31Feb. 17-28
    April 6: TransformationAug. 31Mar. 1-11
    April 7: HumorSept. 30Mar. 12-23
    April 8: UtteranceSept. 30Mar. 24-Apr. 4
    April 9: ContradictionsSept. 30Apr. 4-16
    April 10: Game OnSept. 30Apr. 17-28
    April 11: Collect, Remix, RepeatSept. 30Apr. 29-May 10
    April 12: Pro-prose-alSept. 30May 11-22
    April 13: What You Leave BehindOct. 31May 23-Jun 3
    April 14: The Thin VeilOct. 31Jun 4-15
    April 15: EyesoreOct. 31Jun 16-27
    April 16: ApocryphalOct. 31Jun 28-July 9
    April 17: 17 SyllablesOct. 31July 10-21
    April 18: ElementalOct. 31July 22-July 31
    April 19: Chance ItNov. 31Aug. 1-11
    April 20: Temp-oralityNov. 31Aug. 12-23
    April 21: Focus PromptNov. 31Aug. 24-Sept. 4
    April 22: Intangible InheritanceNov. 31Sept. 5-16
    April 23: By Any Other NameNov. 31Sept. 17-28
    April 24: Hands OnNov. 31Sept. 29-Oct. 10
    April 25: In TuneNov. 31Oct. 11-22
    April 26: Not the Kind You FlipDec. 31Oct. 23-31
    April 27: Top of the MorningDec. 31Nov. 1-11
    April 28: Child’s PlayDec. 31Nov. 11-22
    April 29: Endings that Shape UsDec. 31Nov. 23-Dec. 3
    April 30: Course and MethodDec. 31Dec. 3-14
    Revision PromptsDec. 31Dec. 15-31
  • Accepting Poems!

    The Zingara Poetry Project celebration of prompts continues. Please send poems for the following prompts by September 30, 2025:

    While I have several nice poems to represent prompts posted during tose first week of April, I am still accepting submissions for the following categories:

    I’m asking poets to send 1-2 previously unpublished poems inspired by these prompts in the body of an email to ZingaraPoet(at)gmail.com with the NAME OF THE PROMPT included in the subject line. (Replace the (at) with @)

    Please also include a few sentences about your writing process (how you got from prompt to final draft) in your email, including any of the revision prompts that helped you along the way (if you used one). I want to know about why you made the choices you made. If even one line, image, or theme from your original draft appears in the final version, it qualifies for this challenge.

    Feel free to include an image to accompany your poem.

    Poems may be overtly related to any of the prompts, or have only a thread of connection. If you wrote a poem in response to a prompt and threw out all but one line during revision, that counts. Surprising is preferred to the predictable.

    Include a brief professional biography of 50 words or fewer, also in the body of your email.

    Simultaneous submissions are fine, just please let me know immediately if submitted work is accepted elsewhere.

    Revision Prompts

    Be Kind, Rewind

    Stanza Is Another Name for Room

    Find Your Rhythm

    Submission Guidelines

    2026 Editorial Calendar with Due Dates and Publication Ranges

    PromptDue DatePub Date Range
    April 1: Journal MiningAug. 31Jan. 1-11
    April 2: ProtectionAug. 31Jan. 12-23
    April 3: BeginningsAug. 31Jan. 24-Feb 4
    April 4: Whispers of WorkAug. 31Feb. 5-16
    April 5: Absences UnfoldedAug. 31Feb. 17-28
    April 6: TransformationAug. 31Mar. 1-11
    April 7: HumorSept. 30Mar. 12-23
    April 8: UtteranceSept. 30Mar. 24-Apr. 4
    April 9: ContradictionsSept. 30Apr. 4-16
    April 10: Game OnSept. 30Apr. 17-28
    April 11: Collect, Remix, RepeatSept. 30Apr. 29-May 10
    April 12: Pro-prose-alSept. 30May 11-22
    April 13: What You Leave BehindOct. 31May 23-Jun 3
    April 14: The Thin VeilOct. 31Jun 4-15
    April 15: EyesoreOct. 31Jun 16-27
    April 16: ApocryphalOct. 31Jun 28-July 9
    April 17: 17 SyllablesOct. 31July 10-21
    April 18: ElementalOct. 31July 22-July 31
    April 19: Chance ItNov. 31Aug. 1-11­
    April 20: Temp-oralityNov. 31Aug. 12-23
    April 21: Focus PromptNov. 31Aug. 24-Sept. 4
    April 22: Intangible InheritanceNov. 31Sept. 5-16
    April 23: By Any Other NameNov. 31Sept. 17-28
    April 24: Hands OnNov. 31Sept. 29-Oct. 10
    April 25: In TuneNov. 31Oct. 11-22
    April 26: Not the Kind You FlipDec. 31Oct. 23-31
    April 27: Top of the MorningDec. 31Nov. 1-11
    April 28: Child’s PlayDec. 31Nov. 11-22
    April 29: Endings that Shape UsDec. 31Nov. 23-Dec. 3
    April 30: Course and MethodDec. 31Dec. 3-14
    Revision PromptsDec. 31Dec. 15-31

  • Cultivating and Sustaining Writing Communities Panel

    Cultivating and Sustaining Writing Communities Panel

    For the first time in countless years of trying, an AWP panel I’m a part of has been accepted, my first and only so far.

    I’m very excited to be presenting with Emmy Perez, Lorna Dee Cervantes and Guadalupe Mendez and deeply appreciate Rebecca Aronson, our moderator, for pulling this excellent panel together and including me on the roster.

    So, this year I won’t just be tagging along or volunteering to man a booth or table, I’ll actually be part of the program.

  • Upcoming Bad Mouth Reading in Albuquerque

    Upcoming Bad Mouth Reading in Albuquerque

    Gary and I will be returning to one of our hometowns for Rebecca Aronson’s Bad Mouth poetry reading series in just under two weeks.

    We can hardly believe it has taken twelve years for us to return to Albuquerque.

    Leaving the mountains, the high desert, and our good friends that summer twelve years ago was heart wrenching and we thought for certain we would get back to visit often, even made promises to do so, but building careers and navigating hurricanes with limited funds and, of course, dealing with the Covid Pandemic all bent our futures and our wills to other priorities.

    Actually, I was scheduled to do a live Bad Mouth reading back in 2020, but lock-down conditions required we do a virtual event instead. I think one person has viewed it in all these years, probably because I am terrible at self-promoting, but I read poems from my first collection, Flint & Fire (Word Works Books) for that reading, which you can view here, as a kind of teaser, if you are interested: 2020 Bad Mouth Reading with Lisa Hase-Jackson.

    I have since published my second collection, Insomnia in another Town (Clemson University Press), from which I will be reading on September 6.

    Gary will be reading from his newly published collection, Small Lives (UNM Press), as well as from his previous two collections, Origin Story (UNM Press) and Missing You Metropolis (Graywolf Press). This is the first time he will be reading from Small Lives, so I guess that makes this a kind of book launch. Appropriate, since UNM Press is locating in Albuquerque.

    Now that I think about it, Gary and I read together at a salon-style gathering in Rebecca’s home that last week we were in Albuquerque, so I guess this means we’ve come full circle. Or at least completed one of the many circles we find our selves a part of.

    So, if you’re in Albuquerque on September 6, please do try to come by. As the flyer mentions, most of the proceeds from donations will go to support NM Dream Team, which I’ve linked here so you can get a sense of the good work they do.

    If you are unable to make the Saturday reading, Gary will also be interviewing with Sara Daniele Rivera at Beastly Books (yes, the bookstore owned by George R.R. Martin) up in Santa Fe the night before, Friday September 5, from 5-6:30 PM.

    Or, better yet, come to BOTH readings!!

    It’s so cool that we get to promote our newest books and do a mini book tour together. Please come out and help us celebrate. We’re excited to get to see everyone again!

  • The Finest Liar in the World

    The Finest Liar in the World

    Gearing up to prep and teach this semester’s “The Fairy Tale and the Poem” topics in poetry class beginning August 26.


    At the edge of a wood there lived an old man who had only one son, and one day he called the boy to him and said he wanted some corn ground, but the youth must be sure never to enter any mill where the miller was beardless.

    The boy took the corn and set out, and before he had gone very far he saw a large mill in front of him, with a beardless man standing in the doorway.

    ‘Good greeting, beardless one!’ cried he.

    ‘Good greeting, sonny,’ replied the man.

    ‘Could I grind something here?’

    ‘Yes, certainly! I will finish what I am doing and then you can grind as long as you like.’

    But suddenly the boy remembered what his father had told him, and bade farewell to the man, and went further down the river, till he came to another mill, not knowing that as soon as his back was turned the beardless man had picked up a bag of corn and run hastily to the same mill before him. When the boy reached the second mill, and saw a second beardless man sitting there, he did not stop, and walked on till he came to a third mill. But this time also the beardless man had been too clever for him, and had arrived first by another road. When it happened a fourth time the boy grew cross, and said to himself, ‘It is no good going on; there seems to be a beardless man in every mill’; and he took his sack from his back, and made up his mind to grind his corn where he was.

    The beardless man finished grinding his own corn, and when he had done he said to the boy, who was beginning to grind his, ‘Suppose, sonny, we make a cake of what you have there.’

    Now the boy had been rather uneasy when he recollected his father’s words, but he thought to himself, ‘What is done cannot be undone,’ and answered, ‘Very well, so let it be.’

    Then the beardless one got up, threw the flour into the tub, and made a hole in the middle, telling the boy to fetch some water from the river in his two hands, to mix the cake. When the cake was ready for baking they put it on the fire, and covered it with hot ashes, till it was cooked through. Then they leaned it up against the wall, for it was too big to go into a cupboard, and the beardless one said to the boy:

    ‘Look here, sonny: if we share this cake we shall neither of us have enough. Let us see who can tell the biggest lie, and the one who lies the best shall have the whole cake.’

    The boy, not knowing what else to do, answered, ‘All right; you begin.’

    So the beardless one began to lie with all his might, and when he was tired of inventing new lies the boy said to him, ‘My good fellow, if THAT is all you can do it is not much! Listen to me, and I will tell you a true story.

    ‘In my youth, when I was an old man, we had a quantity of beehives. Every morning when I got up I counted them over, and it was quite easy to number the bees, but I never could reckon the hives properly. One day, as I was counting the bees, I discovered that my best bee was missing, and without losing a moment I saddled a cock and went out to look for him. I traced him as far as the shore, and knew that he had crossed the sea, and that I must follow. When I had reached the other side I found a man had harnessed my bee to a plough, and with his help was sowing millet seed.

    ‘ “That is my bee!” I shouted. “Where did you get him from?” ‘ “Brother,” replied the man, “if he is yours, take him.” And he not only gave me back my bee, but a sack of millet seed into the bargain, because he had made use of my bee. Then I put the bag on my shoulders, took the saddle from the cock, and placed it on the back of the bee, which I mounted, leading the cock by a string, so that he should have a rest. As we were flying home over the sea one of the strings that held the bag of millet broke in two, and the sack dropped straight into the ocean. It was quite lost, of course, and there was no use thinking about it, and by the time we were safe back again night had come. I then got down from my bee, and let him loose, that he might get his supper, gave the cock some hay, and went to sleep myself. But when I awoke with the sun what a scene met my eyes! During the night wolves had come and had eaten my bee. And honey lay ankle-deep in the valley and knee-deep on the hills. Then I began to consider how I could best collect some, to take home with me.

    ‘Now it happened that I had with me a small hatchet, and this I took to the wood, hoping to meet some animal which I could kill, whose skin I might turn into a bag. As I entered the forest I saw two roe-deer hopping on one foot, so I slew them with a single blow, and made three bags from their skins, all of which I filled with honey and placed on the back of the cock. At length I reached home, where I was told that my father had just been born, and that I must go at once to fetch some holy water to sprinkle him with. As I went I turned over in my mind if there was no way for me to get back my millet seed, which had dropped into the sea, and when I arrived at the place with the holy water I saw the seed had fallen on fruitful soil, and was growing before my eyes. And more than that, it was even cut by an invisible hand, and made into a cake.

    ‘So I took the cake as well as the holy water, and was flying back with them over the sea, when there fell a great rain, and the sea was swollen, and swept away my millet cake. Ah, how vexed I was at its loss when I was safe on earth again.

    ‘Suddenly I remembered that my hair was very long. If I stood it touched the ground, although if I was sitting it only reached my ears. I seized a knife and cut off a large lock, which I plaited together, and when night came tied it into a knot, and prepared to use it for a pillow. But what was I to do for a fire? A tinder box I had, but no wood. Then it occurred to me that I had stuck a needle in my clothes, so I took the needle and split it in pieces, and lit it, then laid myself down by the fire and went to sleep. But ill-luck still pursued me. While I was sleeping a spark from the fire lighted on the hair, which was burnt up in a moment. In despair I threw myself on the ground, and instantly sank in it as far as my waist. I struggled to get out, but only fell in further; so I ran to the house, seized a spade, dug myself out, and took home the holy water. On the way I noticed that the ripe fields were full of reapers, and suddenly the air became so frightfully hot that the men dropped down in a faint. Then I called to them, “Why don’t you bring out our mare, which is as tall as two days, and as broad as half a day, and make a shade for yourselves?” My father heard what I said and jumped quickly on the mare, and the reapers worked with a will in the shadow, while I snatched up a wooden pail to bring them some water to drink. When I got to the well everything was frozen hard, so in order to draw some water I had to take off my head and break the ice with it. As I drew near them, carrying the water, the reapers all cried out, “Why, what has become of your head?” I put up my hand and discovered that I really had no head, and that I must have left it in the well. I ran back to look for it, but found that meanwhile a fox which was passing by had pulled my head out of the water, and was tearing at my brains. I stole cautiously up to him, and gave him such a kick that he uttered a loud scream, and let fall a parchment on which was written, “The cake is mine, and the beardless one goes empty-handed.” ‘

    With these words the boy rose, took the cake, and went home, while the beardless one remained behind to swallow his disappointment.

    From The Violet Fairy Book edited by Andrew Lange

  • Submission Deadline Approaching

    Submission Deadline Approaching

    The deadline for submitting poems written in response to prompts 1-6 posted during this year’s Poem-a-Day challenge is Sunday, August 31.

    PROMPT 1: Journal Splunking – Skim entries from old journals and diaries from a year or more ago jotting down interesting words, lines, phrases, sentences or images as you do so. The goal is to compile a page (or more) of fragments that still resonate emotionally but resist nostalgia and thwart typical associations or your own predictable writing patterns.

    PROMPT 2: Protection – What are you protecting yourself from? What are you protecting your loved ones from? Make a short list of items, people, parts of self, or conditions you feel you need to protect or to be protected from. Next, select one or two items from your list, perhaps related, to write about. Describe why protection is needed an how to protect persons, places, items, or condition you listed.

    PROMPT 3: Beginnings – There are several websites who post poems by well-regarded literary poets on a daily basis, including Poets.Org, Poetry Foundation, and Verse Daily. For this prompt, read poems posted for today on one or all three of these websites. Select a first line of your choice to begin a poem of your own. Once your poem draft is more or less complete, remove the first line and give your poem a new and unique title. Alternatively, if you decide to keep the first line, just credit the poem and poet from which the line is borrowed using an epigraph. Something like “after Emily Dickinson.”

    PROMPT 4: Whispers of Work – Write a poem about a profession which does not exist anymore or which is phasing out. If you like, you can aim for an ode, a lament, a diatribe, a docu-poem, narrative poem, or found poem with your chosen profession as the central image, setting, or source. Examples of extinct professions: ice cutter, elevator operator, milkman, lamplighter, switchboard operator; Examples of professions phasing away: farmer, travel agent, mason, tailor, literary translator: Professions at serious risk: writer, teacher, librarian, journalist.

    PROMPT 5: Absence Unfolding – Freewrite about absence, absenteeism, or absent things. Start with real, ordinary absences, both abstract and concrete, then progressively write about larger absences, each growing in size and scope, even to the point of hyperbole, until you find an absence that feels larger than all other absences, larger than the world, larger than the universe. Make one of them the subject of your poem.

    Prompt 6: Transformation – Make a list things in life that you find ugly, shameful, or repulsive–things like foot odor, rudeness, cockroaches, road kill, belching in public, etc. Choose one or more items from your list to include in a poem. For an extra challenge, see if you can transform something usually deemed ugly into something desirable, beautiful, and worthy of admiration.

    GUIDELINES

    Please send 1-2 poems inspired by any prompt posted during National Poetry Month April, 2025 in the body of an email to ZingaraPoet(at)gmail.com.

    Include NAME OF THE PROMPT in the subject line of your email.

    Include a few sentences about your writing process (how you got from prompt to final draft) in your email. It’s not necessary to explain what your poem is about, rather I am interested in why you made the choices that you made. For instance, why did you chose couplets (or other stanza length)? How did you discover the imagery or metaphors used in your poem? How many revisions did you make? Not these exact questions, but questions like these can serve as your guide.

    For a great example of a poet writing about their process, take a look at the most recent guest blog post at Marsh Hawk Press in which Ellen Bass explicates some of her work. You do not have to be anywhere as involved or detailed as this example, but it does exemplify the kind of approach I am looking for.

    Poems may be overtly related to any of the prompts, or have only a thread of connection. If you wrote a poem in response to a prompt and threw out all but one line during revision, that counts. Surprising is preferred to the predictable.

    Be sure to also mention if you happened to use any of the revision prompts posted during May and June in the process.

    Include a brief professional biography of 50 words or fewer, also in the body of your email.

    Simultaneous submissions are fine, but please let ZPR know immediately if submitted work is accepted elsewhere.

  • Call for Submissions and Submission Deadlines

    Submissions for the 2025 Poetry Prompt-a-Day challenge have been trickling in nicely. Please keep sending!!

    For the sake of structure, a bit of motivation, and to keep everyone engaged, here are submissions deadlines:

    • Submit poems responding to prompts 1-6 by August 31, 2025
    • Submit poems responding to prompts 7-12 by September 30, 2025
    • Submit poems responding to prompts 13-18 by October 31, 2025
    • Submit poems responding to prompts 19-24 by November 30, 2025
    • Submit poems responding to prompts 25-30 by December 31, 2025

    Submit poems to me at zingarapoet(at)gmail.com and REMEMBER Include the NAME OF THE PROMPT in the subject line of your email. Several emails have not. Paste your poem submission(s) into THE BODY OF YOUR EMAIL.

    Also remember to Include a few sentences about your writing process (how you got from prompt to final draft) in your email. It’s not necessary to explain what your poem is about, rather I am interested in why you made the choices that you made. For instance, why did you chose couplets (or other stanza length)? How did you discover the imagery or metaphors used in your poem? How many revisions did you make? Not these exact questions, but questions like these can serve as your guide.

    For a great example of a poet writing about their process, take a look at the most recent guest blog post at Marsh Hawk Press in which Ellen Bass explicates some of her work. You do not have to be anywhere as involved or detailed as this example, but it does exemplify the kind of approach I am looking for.

    Poems may be overtly related to any of the prompts, or have only a thread of connection. If you wrote a poem in response to a prompt and threw out all but one line during revision, that counts. Surprising is preferred to the predictable.

    Be sure to also mention if you happened to use any of the revision prompts posted during May or June in the process.

    Please include a brief professional biography of 50 words or fewer, also in the body of your email.

    Simultaneous submissions are fine, but please let ZPR know immediately if submitted work is accepted elsewhere.

    All poetry prompts from the 2025 challenge can be found under that tab 2025 POETRY PROMPTS or by clicking here: 2025 Poem-a-Day Challenge

    The plan is to begin posting poems, along with their explanations of process, in early 2026.

    Feel free to email or comment with questions. I look forward to reading your work!

  • Hellvellyn

    Hellvellyn

    by Sir Walter Scott

    “In the spring of 1805,” says Scott,” a young gentleman of talents, and of a most amiable disposition of talents, perished by losing his way on the mountain Hellvellyn. His remains were not discovered till three months afterwards, when they were found guarded by a faithful terrier, his constant attendant during frequent solitary rambles through the wilds of Cumberland and Westmoreland.” The poem was written at that time.

    I climbed the dark brow of the mighty Hellvellyn,
    Lakes and mountains beneath me gleamed misty and wide;
    All was still, save by fits, when the eagle was yelling,
    And starting around me the echoes replied.
    On the right, Striding-edge round the Red-tarn was bending,
    And Catchedicam its left verge was defending,
    One huge nameless rock in the front was ascending,
    When I marked the sad spot where the wanderer had died.

    Dark green was that spot ‘mid the brown mountain heather,
    Where the Pilgrim of Nature lay stretched in decay,
    Like the corpse of an outcast abandoned to weather,
    Till the mountain winds wasted the tenantless clay.
    Nor yet quite deserted, though lonely extended,
    For, faithful in death, his mute favourite attended,
    The much-loved remains of her master defended,
    And chased the hill-fox and the raven away.

    How long didst thou think that his silence was slumber?
    When the wind waved his garment, how oft didst thou start?
    How many long days and long weeks didst thou number,
    Ere he faded before thee, the friend of thy heart?
    And, oh! was it meet, that — no requiem read o’er him—
    No mother to weep, and no friend to deplore him,
    And thou, little guardian, alone stretched before him
    Unhonoured the Pilgrim from life should depart?

    When a prince to the fate of the peasant has yielded,
    The tapestry waves dark round the dim-lighted hall;
    With scutcheons of silver the coffin is shielded,
    And pages stand mute by the canopied pall:
    Through the courts, at deep midnight, the torches are gleaming;
    In the proudly-arched chapel the banners are beaming,
    Far adown the long aisle sacred music is streaming,
    Lamenting a chief of the people should fall.

    But meeter for thee, gentle lover of nature,
    To lay down thy head like the meek mountain lamb,
    When, wildered, he drops from some cliff huge in stature,
    And draws his last sob by the side of his dam.
    And more stately thy couch by this desert lake lying,
    Thy obsequies sung by the gray plover flying,
    With one faithful friend but to witness thy dying,
    In the arms of Hellvellyn and Catchedicam.

    From Scott’s Complete Poetical Works edited by Horace E. Scudder, copyright 1900

  • Three Days More

    Suiwo, the disciple of Hakuin, was a good teacher. During one summer seclusion period, a pupil came to him from a southern island of Japan.

    Suiwo gave him the problem: “Hear the sound of one hand.”

    The pupil remained three years but could not pass this test. One night he came in tears to Suiwo. “I must return south in shame and embarrassment,” he said, “for I cannot solved my problem.”

    “Wait one week more and meditate constantly,” advised Suiwo. Still no enlightenment came to the pupil. “Try for another week,” said Suiwo. The pupil obeyed, but in vain.

    “Still another week.” Yet this was of no avail. In despair the student begged to be released, but Suiwo requested another meditation of five days. They were without result. The he said: “Meditate for three days longer, then if you fail to attain enlightenment, you had better kill yourself.”

    On the second day the pupil was enlightened.

    From Zen Flesh Zen Bones: A Collection of Zen and Pre-Zen Writings compiled by Paul Reps and Nyogen Senzaki