“Leavetaking” by Anne Porter
Nearing the start of that mysterious last season
Which brings us to the close of the other four,
I’m somewhat afraid and don’t know how to prepare
So I will praise you.
I will praise you for the glaze on buttercups
And for the pearly scent of wild fresh water
And the great crossbow shapes of swans flying over
With that strong silken threshing sound of wings
Which you gave them when you made them without voices.
And I will praise you for crickets.
On starry autumn nights
When the earth is cooling
Their rusty diminutive music
Repeated over and over
Is the very marrow of peace.
And I praise you for crows calling from treetops
The speech of my first village,
And for the sparrow’s flash of song
Flinging me in an instant
The joy of a child who woke
Each morning to the freedom
Of her mother’s unclouded love
And lived in it like a country.
And I praise you that from vacant lots
From only broken glass and candy wrappers
You raise up the blue chicory flowers.
I thank you for that secret praise
Which burns in every creature,
And I ask you to bring us to life
Out of every sort of death
And teach us mercy.
This poem appears in Living Things: Collected Poems (Hanover, NH: Zoland Books/Steerforth Press, 2006) and is used here by permission of the publisher.
Anne Porter (1911–2011) is one of the last century’s foremost poets of thanks and praise. She wrote all her life, occasionally sharing poems with friends and family, but she focused mainly on raising five kids with her husband, Fairfield Porter, who was a painter.
She wrote “Leavetaking” upon entering old age, and after her husband had died. As her body grew weaker and more burdensome and death drew nearer, she still found much to praise God for—for the regal shape of swans’ wings overhead, for the “rusty diminutive music” of crickets on starry nights, for the vast love between mother and child, for the hope of resurrection preached in abandoned lots where flowers rise out of debris.
Some years later, Porter’s friend David Shapiro, a literary critic and fellow poet, asked if for his birthday, she could compile some of her poems for him. She gathered up what she could find in the house, and without her foreknowledge, he submitted it to a publisher. The resulting collection, An Altogether Different Language (1994), was published when she was eighty-three and was named a finalist for the National Book Award.
In the foreword to that first book of hers, Shapiro wrote,
If we have problems, because so much of the language of belief has grown connotatively encrusted, then we wait for the poets who believe enough and can freshen this dialect.
Anne Porter is one of the rare poets who believes enough, who lives in days and holidays, and who has stunningly found a language to transmit her Franciscan joy in created things.
Also from the foreword:
- “Her faith has enlarged her, not the reverse, and her poetry has the grandeur of seeing things ‘as if for the first time.’”
- “Her greatest emotional perspective is that of praise.”
- She is “an American religious poet of stature who reminds us that the idea of the holy is still possible for us.”
- “For Anne Porter, the holy is found in a commitment to Christ the Mediator and his triumph in suffering for a suffering world. However, she gives a constant, almost pantheistic pressure to the theme that the Kingdom of God is within and without, so that her radiant if concise imagism is all in the service of God.”
Whereas many modern and contemporary poets write about the hiddenness of God, the deus absconditus, Porter wrote unabashedly about the myriad ways in which God reveals himself in the world. Her second and last book, Living Things: Collected Poems (2006), brings together thirty-nine new poems with those published in the previous volume.
In 2010, theologian and biblical scholar Ellen F. Davis wrote a beautiful article for the Christian Century titled “Our proper place: The poetry of care and loss,” in which she discusses Porter’s poetry alongside that of Mary Oliver. Like Oliver, she says, Porter is a “direct descendant of the psalmists”; she “clarif[ies] what is at stake in the Psalter: nothing less than the possibility of praising God truly.”