The HyperTexts
Michael R. Burch Reviews and Criticism
This is a page of reviews of the American poet Michael R. Burch
— of his poetry books, individual poems and his
work in general. Included are full-length
reviews, interviews and comments by literary critics who
include Dr. Alfred Dorn, Dr. Joseph S. Salemi, Joseph Charles Mackenzie, Esther
Cameron, Lewis Turco, Sunil Sharma, R.S. Gwynn, other poets, and the
editors of a number of literary journals.
Michael R. Burch is an American poet who lives in Nashville, Tennessee with his
wife Beth, their son Jeremy, two outrageously spoiled puppies and a talkative
parakeet. Burch's poems, translations, essays, articles,
reviews, short stories, epigrams, quotes, puns, jokes and letters have appeared
more than 9,000 times in publications which include TIME, USA Today, The
Hindu, BBC Radio 3, CNN.com, Daily Kos, The Washington Post and
hundreds of literary journals, websites and blogs. Please click here for the
Bio and
Curriculum Vitae of Michael R. Burch.
REVIEWS, LITERARY CRITICISM AND COMMENTARY
Links to full-length reviews, interviews and podcasts appear at the bottom of
this page.
REVIEWS OF BURCH'S POETRY BOOKS AND HIS POETRY IN GENERAL
•
"Burch has set the standard for translation of the greats. No contest."
(David
Gosselin, editor of New Lyre and The Chained Muse)
• "I know of few great poets working in our language today, such as
Michael Burch..." (B. K. Neifert, responding to a question about the most
significant poets born since World War II, listed Burch's name first.)
•
"Not enough appreciation has been shown to Michael R. Burch, who will have left
an unparalleled record of living poetry written during his lifetime. His name
will be quoted and remembered long after the names of many poets have been
forgotten.
(Janet Kenny, an accomplished Australian poet, opera singer and peace activist)
• "One can actually feel the intensity of emotion bleeding through the pages."
(Jim Dunlap, poet)
• Jim Dunlap also called Burch's Best Poems compilation "a tour de force
of great moment."
• "These poems, all of them, possess an extraordinary emotional depth
and tenderness, and resonate in the heart as well as in the mind." (Robert
Lavett Smith, an accomplished American poet, reviewing Violets for Beth)
• "Not many poets in this current era can
write great love poems, but Michael R. Burch certainly can, based on the
evidence on show in Violets for Beth. All the poems included here are
passionate, lyrical, musical—and, at times, feel as if they are burning on the
page. A truly stunning collection of love poems!" (Martin Mc Carthy, an
accomplished Irish poet)
• "Michael R. Burch is one of the best living
poets, if not the best. His poems are truly meaningful and exquisitely
well-crafted. He is also, without doubt, the finest translator of poems into
English, and his translations of Sappho, Rilke, Baudelaire, Neruda, Dante, etc.
have set the standard for all others to aspire to." (Martin Mc Carthy)
• "In this collection, the poet Michael R. Burch
writes with love, passion and affection about the human, earthly angels who
sometimes inhabit our harsh, real worlds of pain, and somehow manage—through
constant small acts of kindness and caring—to make them more tolerable and
wondrous than they are. O, Terrible Angel is no less than passionate,
realistic love poetry at its very best. I totally recommend it. (Martin Mc
Carthy)
• "I'll begin my review by borrowing a line
spoken by the character Ms. Shields in the classic and beloved holiday movie
A Christmas Story. As Ms. Shields clutched Ralphie's essay to her breast,
she shouted "Poetry, sheer Poetry!" (Elizabeth Steed Harris in her review of
O, Terrible Angel)
• "The poems you sent me are astonishingly beautiful. I really love them." (Karen
Shenfield, poet)
• "Oh these are so beautiful. Like you I still believe that love is what matters
and your poems glow with it." (Janet Kenny, poet, opera singer and peace
activist)
• "You have birthed a depth of poetry I've
never see before and strengthened my faith." (Robert Funderburk, poet)
• "In celebration of your creative excellence, I resolved to write u as a friend
in absentia who enjoys reading ur works. I do not love u in an ordinary way but
in an uncommon way. Your poems really enticed me and have raised a lot of dust
within the circle of my friends." (Anyatonwu
Ikechukwu Collins, Aba, Nigeria)
• Astonishingly excellent work, really
outstanding. I will publish your work gradually over the next year [2025]. ...
But absolutely incredible, your talent is extraordinary — you deserve all the
many accolades, awards and successes. (Peter Devonald, poet and editor)
• "Michael R. Burch is a truly magnificent
poet, among the finest America has ever produced. His 'Mother's Smile,' 'Leave
Taking,' and 'Will There Be Starlight,' and especially his wonderful Ars Poetica,
are truly tremendous lyric poetry. In
sum, Burch is worthy of study and admiration by any lover of poetry." — Malcolm
Ernest, published poet, essayist, critic, artist, musician, logician,
mathematician and historian
INDIVIDUAL POEMS: COMMENTS BY POETS, EDITORS, TEACHERS AND STUDENTS
Epitaph for a Palestinian Child
by Michael R. Burch
I lived as best I could, and then I died.
Be careful where you step: the grave is wide.
The epitaph above has been published widely with different titles over the
years, including "A Child's Epitaph" and "Epitaph for a Child of the Holocaust."
• "That poem made me feel cold, like a ghost
touched me!" (Maida Mohammed-Brown, poet and peace activist)
• "Very, very touching, like suffocating my chest." (Tri Raden Raden,
poet)
• "This epigram of Mike Burch, an American poet, is so heart-wrenching. It's hard
not to share it." (A. J. Anwar, who translated 'Epitaph for
a Palestinian Child' into Indonesian)
• "Stunning couplet." (John M. Ridland, poet)
• "I love the epitaph particularly." (Philip Quinlan, poet and editor of Angle)
• "Thanks for giving voice and reach to poets and poems dealing with large scale
crimes against humanity. Your internet reach is unparalleled." (Jemshed Khan,
poet)
• "I think this poem was the most blatant and honest poem I’ve ever heard." (D.
Featherston, student)
• "Beautifully staggering words. Thank you, for this. I will definitely use it
with my students." (Michael Hemingway, poet and teacher of an eighth-grade class
on the Holocaust)
• "My favorite poem was 'A Child's Epitaph.' Though it's only two sentences it
said a lot to me." (R. Thomas Gibson, student)
• "My absolute favorite poem was the very first one by Michael R. Burch; it was
called 'A Child's Epitaph.' This particular poem touches me and scares me at the
same time. (Mike Star, student)
• "Beautiful, heartbreaking." (Jennifer Peters Johnson, peace activist)
• "I read the couplet first, it caught my eye and I didn't get it. Then I read the
whole post and literally jumped in my chair. Oh my god. The whole world should
read this poem right now." (Laurie Hilton)
• "Love this epitaph especially—pithy, poignant and powerful. Extremely well
crafted." (James Sale, poet)
• "The diction was simple but managed to convey how children in Palestine
experienced hell before death." (Pena Riu)
• "Dear Mike, Loved every line, every sentiment, every beat that was felt with
every word...amazing!!!! This put me through a spin...felt like I have lost hold
without gravity but the sting it gave grounded me slowly." (Swati Gadgil)
• "Palestinian suffering! Children who are no longer sure of having a future are
silently killed by mortars or hit by buildings, very shocking. What I salute is
that an American poet is able to capture the wound very deeply and densely."
(Anonymous)
• "Other poets try to convey a message by chasing you around with a sledgehammer.
Michael R. Burch point-blanks you with fifty-caliber HE. You have barely enough
time to think 'what the hell?' just as the slug rips through your skull and
boom! That's your head, or what used to be, painting a thick layer of stickiness
across the carpet. ... Two lines. Two lines. But—not since Eliot—damn it, Burch!
Just ... damn. I don't think a single couplet has ever depressed me so much."
(This anonymous review on Live Journal appears in full at the link at the bottom
of this page)
OTHER POEMS BY MICHAEL R. BURCH
• "This morning I had 'Roses for a Lover, Idealized' going through my head. It
still gives me chills. (Celia Funk, poet and editor of Glass Facets of Poetry)
• "Both the pain and the hopefulness of your poem ['Infinity'] are hauntingly
beautiful." (Jane Morris, poet)
• "'Styx' is a perfect poem. I like when the intimacy of your lyricism is balanced
against the impersonality of your point of view. That’s why you make me think of
Byron." (Mark Schafer)
• Your poem ['Almost'] was delightful and
perfectly clear. (Orson Scott Card, the famous science fiction writer)
• "Jessamyn's Song" is "Lovely! Schubert or
Schumann." – Janet Kenny, poet and former opera singer
• "This is a truly magnificent poem ['Love Has a Southern Flavor']." (Dr. Joseph
S. Salemi, poet, literary critic, and editor of Trinacria)
• "Your poem 'Gallant Knight' is absolutely beautiful. (Dr. Joseph S. Salemi)
• "The Gardener's Roses" is a "fine" and "powerful" poem. (Dr. Joseph S. Salemi)
• "Free Fall" is a "very beautiful poem." (Dr. Joseph S. Salemi)
EDITORS OF LITERARY JOURNALS
• "Your contributions are a touchstone for me. (Vera Ignatowitsch, poet and editor of
Better Than Starbucks)
• Kevin N. Roberts, the founder and first editor of Romantics Quarterly,
led off the first issue of Romantics Quarterly with five poems by
Michael R. Burch.
• Jean Mellichamp Milliken, editor-in-chief of The Lyric, once modified
his bio to read: "Michael R. Burch ... whose poems can sometimes burn on the
page ..." and went on to call him a "poet and wizard of the virtual word."
• "You write this kind of poem ['The Divide'] better than anyone else I know
of now." (Esther Cameron, poet and editor of The Neovictorian/Cochlea
and The Deronda Review)
• "Your poems are absolutely amazing. I love them." (Mitali Chakravarty, poet and
editor of Borderless Journal)
• "When I find a submission like yours in the stack of generally mind-numbing
pages, I feel both thrilled and honored." (Harvey Stanbrough, editor of The
Raintown Review)
• "Your poems are more than marvelous—we gasped when reading them. Your love poems to your wife—how beautiful, how beautiful—even a poet's word
fail me." (Helen Bar-Lev, artist, poet and editor-in-chief of the Voices
Israel anthologies)
LITERARY CRITICS
"Burch is an outstanding metrical poet." (Dr. Alfred Dorn)
"Your translations [of Rilke] are better than [Robert] Bly's, Mike, better than
any I've seen." (Lewis Turco, poet, critic and author of The Book of Forms)
Dr. Joseph S. Salemi said this about every poet he publishes in his
invitation-only literary journal: "There is no slush-pile for TRINACRIA; every
poet in the magazine is there because I specifically invited him to submit. I
only invite people whose work has consistently shown itself to be serious,
well-formed, and intelligent, as well as metrically sound."
Dr. Salemi published twenty poems by Burch in his literary journal, with the
following comments: "Love Has a Southern Flavor" is "a truly magnificent poem."
And later, "Love Has a Southern Flavor" is "as I have already said, a wonderful
poem." Also, "I'd like to have the very beautiful poem 'Free Fall' for Issue # 8
of TRINACRIA." Also, "The epigram ['The best tonic'] that you came up with is
quite good. Concise, pithy, and worthy of Mark Twain or Benjamin Franklin."
Also, "I would like to print 'The Last Enchantment' in Issue #7 of the magazine,
which will be out late this spring. It is a lovely poem." Also, "I wanted to
comment on your fine poem 'The Gardener's Roses,' which I read with pleasure.
The story of Mary Magdalene and the 'ortolanus' whom she supposed that she was
speaking to is the perfect occasion for a poem of intense religious feeling, and
yours is powerful."
"I am discovering Michael R. Burch for the very first time, a good five years
after this splendid post [Burch's translation of 'How Long the Night' on the
Society of Classical Poets website], and can only say that what I am
finding here and there on the web is superlatively good, some of the finest
lyric poetry I have ever had the privilege of reading. And people know that I'm
the sniffiest, most unforgiving snob that ever lived. But this is classic verse
such as the world has always understood it." (Joseph Charles Mackenzie, in a
post on the Society of Classical Poets website)
"This one poem [Burch's ars poetica poem 'Poetry'] surpasses any other
contemporary I have read. This is the restoration of la poésie classique!
... This is classic poetry in the grand manner!" (Joseph Charles Mackenzie, in
two posts on The New Lyre website on Dec. 21, 2020)
"Your poem 'Poetry' is really quite something ... [it] has a Promethean quality
..." (David B. Gosselin, editor of The Chained Muse and The New Lyre)
SAPPHO TRANSLATIONS
• "I love your 'short revealing frock'–Sappho 155 is hot stuff." (Aaron
Poochigian, a poet and professor who has published a book of Sappho
translations)
• Burch's 'frock' translation of Sappho fragment 155 was announced with a special
mention tweet by Asses of Parnassus.
• "I have a fondness for these translations [of Mary Bernard] and for those of
Michael R. Burch on the Sappho page of his resourceful HyperTexts site." (Connor
Kelly, editor of Brief Poems)
• "Excluding Ann Carson, I have read twelve other translators of Sappho, and
your translations are, in my opinion, as close as one could get to the real
thing. In your hands I could feel Sappho breathing and living still. And that is
not only a truly enormous achievement, but also a great service to all of us who
love great poetry." – Martin Mc Carthy, poet, essayist, reviwer and editor
• "Those translations of yours [of the Sappho
poems about a revealing frock and a clinging dress] really are stunning. I feel
the same response instantly every time I see them. No one could do a better job
with Sappho than you, and I'm saying that having just read all of Aaron
Poochigian's translations." – Martin Mc Carthy
• "I have never found Sappho compelling…until
now. Mr. Burch's translation is a revelation. I feel exactly like Keats upon his
reading Chapman's translation of Homer, 'Then felt I like I some watcher of the
skies, When a new planet swims into his ken.' Thank you for making my day Mr. Mc
Carthy, and for introducing me to this marvelous translation! Finally, I feel I
have had a glimpse into the spirit of Sappho's genius." – Patrick McIntyre
NATIVE AMERICAN TRANSLATIONS
• "Those poems are beautiful. The first one ['Cherokee Travelers' Blessing I']
exquisitely so." (Tom Merrill, poet)
• "Lovely poems! Very comforting! I would like to publish these and few more.
Never come across such stuff. Eye opener! (Sunil Sharma, poet and editor of
Setu)
• "Lovely." (Vera Ignatowitsch, poet and editor of Better Than Starbucks)
• "I enjoyed and felt each poem, especially 'Cherokee Travelers' Blessing III',
which is unbelievably special. (Jane Morris, poet)
RILKE TRANSLATIONS
"Your translations [of Rilke] are better than [Robert] Bly's, Mike, better than
any I've seen." (Lewis Turco, poet, critic and author of The Book of Forms)
Very fine. One of the best Rilke sonnets ['Autumn Day'] I've seen. (Sam Gwynn,
poet)
"That's quite frankly stunning, Michael R. Burch —one of the finest translations
['Autumn Day'] I've ever encountered. Rilke would have been delighted." (Robert
Lavett Smith, poet)
"These [Rilke translations] are all gorgeous." (Robert Lavett Smith, poet)
"I read them all [Rilke translations]. Quite extraordinary I must say." (Jim
Dunlap, poet)
"I love your Rilke versions. You actually have developed a newish genre:
somewhat stricter than 'free verse', but not quite 'formal', with assonances and
inner rhymes ... Something I would dub 'relaxed verse' ... Very effective and
with a nice music to it. (Norman Shapiro, poet and translator)
"Beautiful." (Jennifer Reeser, poet)
"Mike, I have been over these repeatedly, and I cannot say after all this time
that there is one in particular which stands apart from the others. Of course,
they are all lovely. I like the loose translation of Rilke, which never feels
forced to me, or labored. I admire the philosophical bent of them all, and the
easy manner in which they unfold. Your sounds are very soothing, all through,
and your images never strike a discordant note, or one that rings false, to my
ear or understanding. Your volta in 'See' is so well turned! Overall, I would
call these equally polished poems. A pleasure to read!" (Jennifer Reeser, poet)
"I see you have translated Rilke's beautiful 'Autumn Day' sonnet into an equally
beautiful English sonnet." (Richard Vallance, poet and editor of Sonneto
Poesia)
"'Autumn Day' is nicely done and starkly portrays life's denouement when the
only remaining prospect is yourself. It happens that way for many. I like how he
abruptly shifts from the grand finale to the grim facts. Fall now often passes
unnoticed. Even spring is barely seen. I like the poem." (Tom Merrill, poet)
"We discussed this lovely poem ['Autumn Day'] in our Poetry Group, and I think
your translation makes sense without the poem losing its mellifluousness, the
careless largesse of nature, interspersed with lonely moments of the
protagonist, like shadows of the drifting leaves spiraling downwards." (Sultana
Raza, poet)
"Great translation, Michael – Love Rilke, Love this poem ['Autumn Day']." (Ford
Hume, poet)
TRANSLATIONS IN GENERAL
"I've read through what you sent [a large selection of translations]. I have no
adverse comments or criticism. They all seem quite wonderful to me. An enormous
accomplishment on your part." (Jared Carter, poet)
POEMS WRITTEN BY OTHER POETS
"English lacks words strong enough to properly praise his poem [Burch's poem
'Poetry']." (Edward C. Hayes II, in a July 3, 2021 post on The New Lyre
website)
“Amen,” quo Jobsen, “but where I mean to lie
Shall be nay whips, but rhymes by Burch
To scourge the fakirs by
And to the tin-eared Culture Corps
Finally put the lie.”
— With apologies to Mr. Kipling,
Edward C. Hayes II, July 2021
Robert Lavett Smith dedicated his poem “Feverish Aubade” to Burch:
FEVERISH AUBADE
by
Robert Lavett Smith
For Michael R. Burch
The starless darkness that infects these streets
Is more than just a symptom of late spring—
The weary heart of my sick city beats
Beneath cold asphalt like a reckoning.
On Nineteenth Avenue the semis moan
Into the sunrise, troubling my sleep;
Train whistles always made me feel alone;
Big eighteen wheelers almost make me weep.
Each dawn that reddens San Francisco Bay
Breaks like a fever as the lights go dim;
Weak daylight stumbles toward another day
Borne on the shoulders of bored Seraphim.
You don’t believe in angels? Nor do I—
But something festers in the swollen sky.
Felicity Teague wrote the following poem for Mike Burch:
Sonnet for Mike
by F.F. Teague
Emerging from depression in the Spring,
my poetry was tentative at first;
I hadn’t lost the way of rhythm-ing
and rhyming, though. And steadily the thirst
to write returned, the well to fill again,
my colombine companion to resume
her cheerful coo that lessens all the pain
and everything began to bud and bloom.
And in this mode, our singing reached the ears
of one great poet, as he passed our perch;
he listened – then surprised us with such cheers!
His name, we learned, was Michael R [dot] Burch.
We were discovered on the very day
our chestnut candles flowered, middle-May.
Shamik Banerjee, an Indian poet, wrote the following sonnet for Burch:
To Michael R. Burch
by Shamik Banerjee
When novice anchorites sit quietly
For long, adjudging that's true meditation,
Their abbot says, "Fixate your concentration
On every breath." They make it, finally.
Likewise, you are the great guru to me
Who, bit by bit, dissolved the cogitation
That formal verse acquires its validation
By archaism's use exclusively.
Dear Michael, you've not only cleared this fog
But cast modernity's refulgent glow
Upon this once misguided, nescient bard;
And in this era where it's dog-eat-dog,
Through altruism, you went on to show
That guides like you are mankind's best reward.
FULL-LENGTH REVIEWS AND INTERVIEWS
David B. Gosselin, editor of The Chained Muse and The New Lyre,
wrote a review of Burch's poetry in which he called
Burch an "English Goethe." The review was
published in the New Lyre and appears online at the first link below. Gosselin led off
the first issue of The New Lyre with five Burch poems: “Distances,”
“Will There Be Starlight,” “Water and Gold,” “Lady’s Favor” and “Regret” and
included the review along with a large number of Burch's Sappho translations.
Michael Burch—Our Very Own English Goethe by David B. Gosselin
Live Journal Review of
Michael R. Burch and The HyperTexts
Poet’s Corner: Russell Bittner's Interview with Michael Burch
PODCASTS
Podcast Review by David B. Gosselin and Adam Sedia:
The Timeless Poetry of Michael R. Burch,
with nine poems recited and discussed.
MICHAEL BURCH—OUR VERY OWN ENGLISH
GOETHE
by David Gosselin
Oct. 7, 2021
Every now and then a writer comes along who makes us confident enough to say:
“This is a real poet!” Such is the case with Michael R. Burch who started
writing in his teens, while still attending high school in Nashville,
Tennessee. Burch is the kind of a poet whose collections should
be easily accessible in any retail-chain book store or any mom and pop book
shop, or any library for that matter.
Burch may rightly be called our very own English Goethe. He is able to craft
poems of exquisite beauty and sublime sensuousness, while using only a few lines
or stanzas, in many cases. When we read Burch’s poems—even many of his shorter
strophic pieces, of which there are many—we encounter the kinds of beautiful
sentiments and enticing ironies, which in the words of Robert Frost leave, “An
immortal wound.”
The hope of this author is that an able review of Michael Burch’s poetry
may give readers a sense of why Burch’s verses are the “the real deal.”
Considering the success of poets like Rupi Kaur, Ocean Vuong, John Ashbery and
Maya Angelou, the fact that Burch’s poetry is not easily accessible simply by
going to our nearest book store (as any great volume of poetry should be) speaks
to the deep problem that has entrenched itself within the world of literature
and twentieth century culture as a whole.
This author believes that Burch is a better poet than all the aforementioned
popular poets combined. This is not hyperbole or rhetorical flourish aimed at
deriding any of the aforementioned poets, but simply to emphasize the degree to
which Burch is a master and seasoned poetic craftsman.
“Why then”, some may ask, “Is Burch not as popular as the other poets?” Several
of these other writers are household names, so why isn’t Burch? This anomaly
speaks more to the problem of contemporary culture than it does any short-coming
on the part of Mr. Burch. We have become so enamored by the “new” and
“contemporary” that most of us no longer stop to consider what the meaning of
the latest “new” art is because something “newer” has already come along.
We harken back to the words of Archibald MacLeish: “There is nothing worse for
our trade than to be in style.” Yet, many artists are desperate to be “in style”
today. Many artists have caved in to the fad of short-form communication, and
the conventions of modern and contemporary verse.
Burch was never so desperate as to feel the need to copy or adhere to any said
convention; Burch wasn’t so desperate and never would be so desperate because
he has the kind of talent which has anchored itself to the immutable principles
of Beauty proper. As a result, he has dedicated his life to honing and honoring
his craft and talents for the greater sake of art and poetry.
In fact, one of his earliest poems said so much in verse:
Poetry
Poetry, I found you
where at last they chained and bound you;
with devices all around you
to torture and confound you,
I found you—shivering, bare.
They had shorn your raven hair
and taken both your eyes
which, once cerulean as Gogh’s skies,
had leapt with the sun to wild surmise
of what was waiting there.
Your back was bent with untold care
where savage brands had left cruel scars
as though the wounds of countless wars;
your bones were broken with the force
with which they’d lashed your flesh so fair.
You once were loveliest of all.
So many nights you held in thrall
a scrawny lad who heard your call
from where dawn’s milling showers fall—
pale meteors through sapphire air.
I learned the eagerness of youth
to temper for a lover’s touch;
I felt you, tremulant, reprove
each time I fumbled over-much.
Your merest word became my prayer.
You took me gently by the hand
and led my steps from child to man;
now I look back, remember when
you shone, and cannot understand
why now, tonight, you bear their brand.
I will take and cradle you in my arms,
remindful of the gentle charms
you showed me once, of yore;
and I will lead you from your cell tonight
back into that incandescent light
which flows out of the core
of a sun whose robes you wore.
And I will wash your feet with tears
for all those blissful years . . .
my love, whom I adore.
Burch has always preferred to let his poetry speak for itself. As seen from this
poem written when he was only seventeen years old—an ardent teenager whose life
had just begun—Burch already showed clear signs that he felt the need to serve
poetry, and to make poetry his higher power, a power which Shelley described as
“Seated on the throne of our own souls”:
The person in whom this power resides, may often, as far as regards many
portions of their nature, have little apparent correspondence with that spirit
of good of which they are the ministers. But even whilst they deny and abjure,
they are yet compelled to serve, that power which is seated on the throne of
their own soul.
In Defence of Poetry – Percy Bysshe Shelley
Poetry is natural to the human species. It is not some imagined artifice or mere
rhetorical device; it is a natural expression of the innate quality of
creativity, a longing to give an expression to the inexpressible dwelling within
all human beings. Poetry is the wish and desire to explore and experience the
profound quality of creativity “seated on the throne of our own souls”; it is
the desire to come into intimate contact and relationship with this power, to
befriend it, and in so doing, befriend our own higher nature as a creative
species.
But Burch does not need more than two or three stanzas to make contact with his
higher poetic powers. Take the simple yet maddeningly beautiful example of his
“Insurrection”—a poem which closes with a line that is arguably one of those
timeless lines that stay with us for the rest of our lives:
Insurrection
She has become as the night—listening
for rumors of dawn—while the dew, glistening,
reminds me of her, and the wind, whistling,
lashes my cheeks with its soft chastening.
She has become as the lights—flickering
in the distance—till memories old and troubling
rise up again and demand remembering ...
like peasants rebelling against a mad king.
There is much richness and nuance in these few lines of poetry; so much has been
said about human nature and relationships with a seemingly simple classic
metaphor—so much so that we do not have the time to elaborate all its meanings
here. But we believe readers can retain this image and muse over its
implications, if they so choose, with the result that perhaps their thoughts
may be forever like “Peasants rebelling against a mad king.”
Take the heartfelt example of Burch’s four-stanza poem, “Sunset,” which he
dedicated to his grandfather.
Sunset
Between the prophesies of morning
and twilight’s revelations of wonder,
the sky is ripped asunder.
The moon lurks in the clouds,
waiting, as if to plunder
the dusk of its lilac iridescence,
and in the bright-tentacled sunset
we imagine a presence
full of the fury of lost innocence.
What we find within strange whorls of drifting flame,
brief patterns mauling winds deform and maim,
we recognize at once, but cannot name.
What passion, yet what clarity of expression!
There is a sublime sensuousness to Burch’s poetry. He weaves and crafts
beautiful images of the sense, but he also does much more; he does what all
great poets must do, he goes beyond, and he takes us beyond with him. That is to
say, he doesn’t put something before us, which is unfathomable or purely
self-referential and therefore unknowable; instead he makes the question of the
unfathomable the conscious object of our attention, a “known-unknown.”
All great poetry does this, it says what cannot simply be said, and it does so,
by showing us why it cannot be simply said, and why no one would want to simply
say such a thing. In light of the fact that great poetry’s subject is never
directly stated, it is ironic that the unspoken nature of the poem’s subject
becomes itself the unsaid conscious object of our attention!
In this respect, Burch’s “Sunset” has a kinship with Percy Bysshe Shelley
famous, “Ode to a Skylark.”
Regret
Regret,
a bitter
ache to bear . . .
once starlight
languished
in your hair . . .
a shining there
as brief
as rare.
Regret . . .
a pain
I chose to bear . . .
unleash
the torrent
of your hair . . .
and show me
once again—
how rare.
How brief, how rare indeed!
How rare to find someone who can weave beautiful compelling ironies out of
barely any words, and yet there is a very clear sense of form, idea, and
irony. Burch does not sacrifice anything through an economy of language, he only
gains.
This is what true poets do. The subject of a great poem is never disclosed
directly per se, but its unspoken subject, the unknown, becomes itself an
intelligible unknown, a “known-unknown.”
In the case of “Regret,” Burch plays with the musicality of vowels
and consonants and language generally, which is something Dante spoke
about in his De Vulgarie Eloquencia when he stated that the vowels within a poem
should be made to “dance.” Burch makes all his vowels dance and rock to and fro,
carrying the oda of his little ditty into our minds with rhyme and meter.
We will close with one of our favorite poems by Mr. Burch, one we think all
readers will likely carry with them for the rest of their lives—such is our
confidence and esteem of Mr. Burch:
In the Whispering Night
for George King
In the whispering night, when the stars bend low
till the hills ignite to a shining flame,
when a shower of meteors streaks the sky,
and the lilies sigh in their beds, for shame,
we must steal our souls, as they once were stolen,
and gather our vigor, and all our intent.
We must heave our husks into some raging ocean
and laugh as they shatter, and never repent.
We must dance in the darkness as stars dance before us,
soar, Soar! through the night on a butterfly's breeze:
blown high, upward-yearning, twin spirits returning
to the world of resplendence from which we were seized.
We only hope that more young people, more elderly people, and more people
navigating through the deepest depths and crises of their lives will be afforded
the opportunity of carrying around in their hands (and in their hearts) the
poetry of Michael R. Burch, and that they may thereby create a more young, a
more youthful, a more beautiful, and a more vibrant world—a world which reminds
us that poetry is everywhere.
David B. Gosselin is a poet, translator, writer, and researcher based in
Montreal. He is the founder of The
Chained Muse and hosts Escaping
the Brave New World.
The HyperTexts