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Stanley Plumly

1939–2019

Stanley Plumly was born in Barnesville, Ohio, in 1939. Plumly graduated from Wilmington College in 1962, and received his MA from Ohio University in 1968, where he also did course work toward a PhD.

Plumly's books of poetry include Orphan Hours: Poems (W. W. Norton, 2013); Old Heart (W. W. Norton, 2007), nominated for the National Book Award, and winner of the Los Angeles Times Book Prize and the Paterson Poetry Prize; The Marriage in the Trees (Ecco Press, 1997); Boy on the Step (1989); Summer Celestial (1983); Out-of-the-Body Travel (1977), which won the William Carlos Williams Award and was nominated for the National Book Critics Circle Award; Giraffe (1973); and In the Outer Dark (1970), which won the Delmore Schwartz Memorial Award.

Plumly also published the nonfiction books The Immortal Evening: A Legendary Dinner with Keats, Wordsworth, and Lamb (W. W. Norton, 2016), winner of the Truman Capote Award; Posthumous Keats: A Personal Biography (W. W. Norton, 2008); and Argument & Song: Sources & Silences in Poetry (Other Press, 2003).

He edited the Ohio Review from 1970 to 1975 and the Iowa Review from 1976 to 1978. He has taught at numerous institutions including Louisiana State University, Ohio University, Princeton, Columbia, and the Universities of Iowa, Michigan, and Houston, as well as at the Bread Loaf Writers' Conference in 1978 and 1979.

Plumly's honors include a Guggenheim Fellowship, an Ingram-Merrill Foundation Fellowship, and a National Endowment for the Arts Fellowship. He served as a professor of English at the University of Maryland, College Park. He died on April 11, 2019.

By This Poet

13

Woman on Twenty-Second Eating Berries

She's not angry exactly but all business,
eating them right off the tree, with confidence,
the kind that lets her spit out the bad ones
clear of the sidewalk into the street. It's
sunny, though who can tell what she's tasting,
rowan or one of the serviceberries—
the animal at work, so everybody,
save the traffic, keeps a distance. She's picking
clean what the birds have left, and even,
in her hurry, a few dark leaves. In the air
the dusting of exhaust that still turns pennies
green, the way the cloudy surfaces
of things obscure their differences,
like the mock orange or the apple rose that
cracks the paving stone, rooted in the plaza.
No one will say your name, and when you come to
the door no one will know you, a parable
of the afterlife on earth. Poor grapes, poor crabs,
wild black cherry trees, on which some forty-six
or so species of birds have fed, some boy's dead
weight or the tragic summer lightning killing
the seed, how boyish now that hunger
to bring those branches down to scale,
to eat of that which otherwise was waste,
how natural this woman eating berries, how alone.

Infidelity

The two-toned Olds swinging sideways out of
the drive, the bone-white gravel kicked up in
a shot, my mother in the deathseat half

out the door, the door half shut--she's being
pushed or wants to jump, I don't remember.
The Olds is two kinds of green, hand-painted,
and blows black smoke like a coal-oil fire. I'm
stunned and feel a wind, like a machine, pass
through me, through my heart and mouth; I'm standing
in a field not fifty feet away, the
wheel of the wind closing the distance.
Then suddenly the car stops and my mother
falls with nothing, nothing to break the fall . . .

One of those moments we give too much to,
like the moment of acknowledgment of
betrayal, when the one who's faithless has
nothing more to say and the silence is
terrifying since you must choose between
one or the other emptiness. I know
my mother's face was covered black with blood
and that when she rose she too said nothing.
Language is a darkness pulled out of us.
But I screamed that day she was almost killed,
whether I wept or ran or threw a stone,
or stood stone-still, choosing at last between
parents, one of whom was driving away.

Wildflower

Some—the ones with fish names—grow so north
they last a month, six weeks at most.
Some others, named for the fields they look like,
last longer, smaller.

And these, in particular, whether trout or corn lily,
onion or bellwort, just cut
this morning and standing open in tapwater in the kitchen,
will close with the sun.

It is June, wildflowers on the table.
They are fresh an hour ago, like sliced lemons,
with the whole day ahead of them.
They could be common mayflower lilies of the valley,

day lilies, or the clustering Canada, large, gold,
long-stemmed as pasture roses, belled out over the vase--
or maybe Solomon's seal, the petals
ranged in small toy pairs

or starry, tipped at the head like weeds.
They could be anonymous as weeds.
They are, in fact, the several names of the same thing,
lilies of the field, butter-and-eggs,

toadflax almost, the way the whites and yellows juxtapose,
and have "the look of flowers that are looked at,"
rooted as they are in water, glass, and air.
I remember the summer I picked everything,

flower and wildflower, singled them out in jars
with a name attached. And when they had dried as stubborn
as paper I put them on pages and named them again.
They were all lilies, even the hyacinth,

even the great pale flower in the hand of the dead.
I picked it, kept it in the book for years
before I knew who she was,
her face lily-white, kissed and dry and cold.