Derek Walcott Venus

This will be small-minded.

First, an aside.

I could not help but notice a strange parallel between Robert Graves in the trenches (1915?), the bombardments, (Goodbye to All That) and Elizabeth Smart's (1938?) kangaroos in a garden (on the subject of time).

Now, the unwelcome gristle.

Walcott "North and South" (1981) has Venus rising in an opening stanza that also carries both a full moon and a sunset.

Through the weeks, you might speak of Venus rising in the west (when first seen at sunset.)  But the rising Venus of morning is the only rising Venus, whether, as he reminds us, she survives translation or not.

Poetic license ?  Not with the planets.

More a question of knowing eastern and western, whether to your north or to your south.

Geddes has a photon flashing innumerable times among crystals in the snow.  Can he escape knowing that a photon takes millions of years to translate from the solar core to the shell of the sun ?  Was this his parallel? What is the poet to know of the local inferno ? The flipping magnetic poles ?

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By Grand Central Station I Sat Down and Wept

In a curious moment in By Grand Central Station I Sat Down and Wept, Elizabeth Smart echoes Rilke as
“ Who, if I cried, would hear me among the angelic orders?”

The Rilke text has Schriee which gives cry out or scream — schriller Schrei would be shriek.

But here a curiosity: the Rilke echos schreibe or write which has curious twist in English where shrive, confess, is from the same verb but for the written assignment of a penance.  And then there is the scrivener.

Wer, wenn ich schriee, hörte mich denn aus der Engel
Ordnungen?

A closer reading might be:

For who, were I to cry out, would hear me from the ranks of the angels?

For who — as in  So who — not For whom.

Do we cry out, if there is no one whose attention we might attract?  Do we not then scream?

Did the author choose this variant with care? Her title is not "At" but rather "By" — attentive or arbitrary?

cf: Psalm 137 and its mistranslations.