Poems List

Wail

Wail


Love has gone a-rocketing.
That is not the worst;
I could do without the thing,
And not be the first.


Joy has gone the way it came.
That is nothing new;
I could get along the same, --
Many people do.


Dig for me the narrow bed,
Now I am bereft.
All my pretty hates are dead,
And what have I left?
255

Unfortunate Coincidence

Unfortunate Coincidence

By the time you swear you're his,
Shivering and sighing,
And he vows his passion is
Infinite, undying -
Lady, make a note of this:
One of you is lying.
403

Verse For a Certain Dog

Verse For a Certain Dog

Such glorious faith as fills your limpid eyes,
Dear little friend of mine, I never knew.
All-innocent are you, and yet all-wise.
(For Heaven's sake, stop worrying that shoe!)
You look about, and all you see is fair;
This mighty globe was made for you alone.
Of all the thunderous ages, you're the heir.
(Get off the pillow with that dirty bone!)


A skeptic world you face with steady gaze;
High in young pride you hold your noble head,
Gayly you meet the rush of roaring days.
(Must you eat puppy biscuit on the bed?)
Lancelike your courage, gleaming swift and strong,
Yours the white rapture of a winged soul,
Yours is a spirit like a Mayday song.
(God help you, if you break the goldfish bowl!)


"Whatever is, is good" - your gracious creed.
You wear your joy of living like a crown.
Love lights your simplest act, your every deed.
(Drop it, I tell you- put that kitten down!)
You are God's kindliest gift of all - a friend.
Your shining loyalty unflecked by doubt,
You ask but leave to follow to the end.
(Couldn't you wait until I took you out?)
410

Two-Volume Novel

Two-Volume Novel

The sun's gone dim, and
The moon's turned black;
For I loved him, and
He didn't love back.
363

Tombstones in the Starlight

Tombstones in the Starlight

I. The Minor Poet
His little trills and chirpings were his best.
No music like the nightingale's was born
Within his throat; but he, too, laid his breast
Upon a thorn.

II. The Pretty Lady
She hated bleak and wintry things alone.
All that was warm and quick, she loved too well-
A light, a flame, a heart against her own;
It is forever bitter cold, in Hell.


III. The Very Rich Man
He'd have the best, and that was none too good;
No barrier could hold, before his terms.
He lies below, correct in cypress wood,
And entertains the most exclusive worms.


IV. The Fisherwoman
The man she had was kind and clean
And well enough for every day,
But, oh, dear friends, you should have seen
The one that got away!


V. The Crusader
Arrived in Heaven, when his sands were run,
He seized a quill, and sat him down to tell
The local press that something should be done
About that noisy nuisance, Gabriel.


VI. The Actress
Her name, cut clear upon this marble cross,
Shines, as it shone when she was still on earth;
While tenderly the mild, agreeable moss
Obscures the figures of her date of birth.
345

Thought For A Sunshiny Morning

Thought For A Sunshiny Morning

It costs me never a stab nor squirm
To tread by chance upon a worm.
"Aha, my little dear," I say,
"Your clan will pay me back one day."
334

To A Much Too Unfortunate Lady

To A Much Too Unfortunate Lady

He will love you presently
If you be the way you be.
Send your heart a-skittering.
He will stoop, and lift the thing.
Be your dreams as thread, to tease
Into patterns he shall please.
Let him see your passion is
Ever tenderer than his....
Go and bless your star above,
Thus are you, and thus is Love.


He will leave you white with woe,
If you go the way you go.
If your dreams were thread to weave
He will pluck them from his sleeve.
If your heart had come to rest,
He will flick it from his breast.
Tender though the love he bore,
You had loved a little more....
Lady, go and curse your star,
Thus Love is, and thus you are.
367

They Part

They Part

And if, my friend, you'd have it end,
There's naught to hear or tell.

But need you try to black my eye
In wishing me farewell.

Though I admit an edged wit
In woe is warranted,

May I be frank? . . . Such words as "-"
Are better left unsaid.

There's rosemary for you and me;
But is it usual, dear,

To hire a man, and fill a van
By way of souvenir?
278

Theory

Theory


Into love and out again,
Thus I went, and thus I go.
Spare your voice, and hold your penWell
and bitterly I know
All the songs were ever sung,
All the words were ever said;
Could it be, when I was young,
Some one dropped me on my head?
362

The White Lady

The White Lady

I cannot rest, I cannot rest
In straight and shiny wood,

My woven hands upon my breast-The
dead are all so good!

The earth is cool across their eyes;
They lie there quietly.

But I am neither old nor wise;
They do not welcome me.

Where never I walked alone before,
I wander in the weeds;

And people scream and bar the door,
And rattle at their beads.

We cannot rest, we never rest
Within a narrow bed

Who still must love the living best-Who
hate the pompous dead!
313

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Identification and basic context

Dorothy Parker, born Dorothy Rothschild, was a renowned American poet, short story writer, critic, and satirist. She is best known for her acerbic wit, her incisive social commentary, and her masterful use of the epigram. Parker was a central figure in the literary scene of New York City during the 1920s and 1930s, particularly associated with the famous Algonquin Round Table. Her work often reflected a disillusionment with conventional societal norms and explored themes of love, loss, and the absurdities of modern life. She was a significant voice of her time, known for her independent spirit and sharp intellect.

Childhood and education

Dorothy Parker's early life was marked by a sense of isolation and a precocious intellect. She received a formal education at the Convent of Mount St. Ursula and the Blessed Sacrament Academy. However, she was largely self-taught, devouring books and developing a keen observational eye from a young age. Her experiences with loss, including the early death of her mother and a difficult relationship with her father and stepmother, contributed to a certain cynicism and independence that would later permeate her writing. She possessed a natural talent for language and a dry sense of humor that set her apart.

Literary trajectory

Parker began her literary career in the advertising world before finding her voice in journalism and poetry. She worked for Vanity Fair and later contributed to The New Yorker, where her reviews and short pieces gained widespread attention. Her first collection of poems, "Enough Rope," published in 1926, was a critical and commercial success, establishing her as a significant literary figure. She continued to publish poetry collections, short stories, and plays throughout her career. Her trajectory saw her evolve from a young writer finding her way to a celebrated, albeit often controversial, literary personality.

Works, style, and literary characteristics

Parker's major works include the poetry collections "Enough Rope" (1926), "Sunset Gun" (1928), and "Death and Taxes" (1931), as well as numerous short stories and essays. Her dominant themes include the disappointments of love, the superficiality of society, disillusionment, and the search for meaning in a seemingly absurd world. Her style is characterized by its brevity, precision, and devastating wit. She was a master of the epigram, crafting memorable lines that often delivered a sharp, ironic punch. Her tone is typically cynical, satirical, and world-weary, though often laced with a profound underlying sadness. Her poetic voice is confessional yet detached, offering keen observations on the human condition. Parker's language is deceptively simple, but her word choices are always deliberate, creating a potent impact. She injected a modern, urban sensibility into her verse, capturing the zeitgeist of her era.

Cultural and historical context

Parker was deeply embedded in the vibrant cultural milieu of New York City during the Roaring Twenties and the Great Depression. She was a central figure in the Algonquin Round Table, a group of writers, critics, and actors who met regularly at the Algonquin Hotel, engaging in witty banter and intellectual sparring. This period fostered a climate of artistic experimentation and social liberation. Parker's work often critiqued the societal conventions and hypocrisies of the time, particularly concerning gender roles and the pressures faced by women. She was also politically active, often aligning with progressive causes, which sometimes led to controversy and blacklisting during the McCarthy era.

Personal life

Dorothy Parker's personal life was often tumultuous, marked by two marriages to Edwin Pond Parker II, and later to Alan Campbell, with whom she shared a complex relationship. Her romantic relationships often served as inspiration for her poignant and often sorrowful poems about love and heartbreak. She struggled with alcoholism and bouts of depression, issues that sometimes surfaced in her writing. Despite her public persona as a sophisticated wit, she harbored a deep sensitivity and a profound empathy for the marginalized. Her friendships within the literary circle were significant, but her sharp tongue also led to rivalries.

Recognition and reception

During her lifetime, Dorothy Parker achieved considerable fame and recognition for her wit and literary contributions. She was a beloved figure for her sharp observations and her ability to articulate the anxieties and ironies of modern life. However, her critical reception was sometimes divided; while admired for her skill, some found her cynicism too pervasive. Posthumously, her reputation as a literary icon has grown, with her works being anthologized and studied for their enduring relevance and stylistic brilliance. She is particularly celebrated for her contributions to the short story and her influence on conversational and ironic modes of writing.

Influences and legacy

Parker was influenced by classical poets and her contemporaries, but she forged a unique style. Her legacy lies in her mastery of wit and irony, and her ability to capture the nuances of human relationships and societal critique with remarkable brevity. She influenced generations of writers who sought to emulate her sharp, epigrammatic style. Her contributions to feminist literature and her outspokenness on social issues have also cemented her place as a significant cultural figure. Her works continue to be read and appreciated for their timeless insights into the human condition.

Interpretation and critical analysis

Parker's work is frequently analyzed for its sophisticated use of irony, its exploration of existential themes, and its critique of social norms. Her poems often reveal a profound sadness beneath the witty surface, exploring the anxieties of modern womanhood and the complexities of love. Critics have debated the extent to which her cynicism reflects genuine despair or a form of protective detachment. Her ability to distill complex emotions into concise, memorable lines continues to fascinate readers and scholars.

Curiosities and lesser-known aspects

Parker was famously known for her sharp retorts and her often-cynical outlook, but she also possessed a deep well of compassion, particularly for social justice causes. She was an ardent supporter of civil rights and a staunch opponent of fascism, actively participating in political activism. Her personal life was often more complex and melancholic than her public persona suggested, marked by struggles with addiction and depression. She was also known for her love of animals, particularly her dogs.

Death and memory

Dorothy Parker died in 1967. In accordance with her wishes, her ashes were sent to the Garden of Remembrance at the All Faiths Cemetery in Queens, New York. Her memory is kept alive through her enduring literary works, which continue to be read, quoted, and admired for their wit, intelligence, and poignant observations on life.