Randall Jarrell’s poetry is marked by a sharp emotional clarity, a deep sense of compassion, and a haunting understanding of human vulnerability. Writing during and after World War II, Jarrell often focused on the loneliness, fear, and dislocation that shape modern life. His war poems—especially those in The Death of the Ball Turret Gunner—capture the tragic absurdity of conflict with a stark simplicity that lingers long after reading. He had an extraordinary ability to speak in the voices of others: soldiers, children, women, even animals, giving his poems a dramatic, intimate quality.
Jarrell’s work frequently explores themes of innocence lost, the passage of time, and the quiet heartbreaks hidden within ordinary lives. Many of his poems feel like brief, intense glimpses into someone’s inner world, illuminated with empathy and subtle irony. His language is clear yet lyrical, balancing storytelling with emotional depth.
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| Randall jarrell |
As a critic, Jarrell understood poetry deeply, and that insight shaped his own writing. His poems are never overly ornate; instead, they move with precision, honesty, and a tender sense of sorrow. Whether writing about war, childhood, or the struggles of everyday existence, Jarrell reminds readers of the fragile beauty and pain that define human experience.
90 North
At home, in my flannel gown, like a bear to its floe,
I clambered to bed; up the globe's impossible sides
I sailed all night—till at last, with my black beard,
My furs and my dogs, I stood at the northern pole.
There in the childish night my companions lay frozen,
The stiff fur knocked at my starveling throat,
And I gave my great sigh: the flakes came huddling,
Were they really my end? In the darkness I turned to my rest.
—Here, the flag snaps in the glare and silence
Of the unbroken ice. I stand here,
The dogs bark, my beard is black, and I stare
At the North Pole . . .
And now what? Why, go back.
Turn as I please, my step is to the south.
The world—my world spins on this final point
Of cold and wretchedness: all lines, all winds
End in this whirlpool I at last discover.
And it is meaningless. In the child's bed
After the night's voyage, in that warm world
Where people work and suffer for the end
That crowns the pain—in that Cloud-Cuckoo-Land
I reached my North and it had meaning.
Here at the actual pole of my existence,
Where all that I have done is meaningless,
Where I die or live by accident alone—
Where, living or dying, I am still alone;
Here where North, the night, the berg of death
Crowd me out of the ignorant darkness,
I see at last that all the knowledge
I wrung from the darkness—that the darkness flung me—
Is worthless as ignorance: nothing comes from nothing,
The darkness from the darkness. Pain comes from the darkness
And we call it wisdom. It is pain.
Mail Call
The letters always just evade the hand
One skates like a stone into a beam, falls like a bird.
Surely the past from which the letters rise
Is waiting in the future, past the graves?
The soldiers are all haunted by their lives.
Their claims upon their kind are paid in paper
That established a presence, like a smell.
In letters and in dreams they see the world.
They are waiting: and the years contract
To an empty hand, to one unuttered sound —
The soldier simply wishes for his name.
A Country Life
A bird that I don't know,
Hunched on his light-pole like a scarecrow,
Looks sideways out into the wheat
The wind waves under the waves of heat.
The field is yellow as egg-bread dough
Except where (just as though they'd let
It live for looks) a locust billows
In leaf-green and shade-violet,
A standing mercy.
The bird calls twice, "Red clay, red clay";
Or else he's saying, "Directly, directly."
If someone came by I could ask,
Around here all of them must know —
And why they live so and die so —
Or why, for once, the lagging heron
Flaps from the little creek's parched cresses
Across the harsh-grassed, gullied meadow
To the black, rowed evergreens below.
They know and they don't know.
To ask, a man must be a stranger —
And asking, much more answering, is dangerous;
Asked about it, who would not repent
Of all he ever did and never meant,
And think a life and its distresses,
Its random, clutched-for, homefelt blisses,
The circumstances of an accident?
The farthest farmer in a field,
A gaunt plant grown, for seed, by farmers,
Has felt a longing, lorn urbanity
Jailed in his breast; and, just as I,
Has grunted, in his old perplexity,
A standing plea.
From the tar of the blazing square
The eyes shift, in their taciturn
And unavowing, unavailable sorrow.
Yet the intonation of a name confesses
Some secrets that they never meant
To let out to a soul; and what words would not dim
The bowed and weathered heads above the denim
Or the once-too-often washed wash dresses?
They are subdued to their own element.
One day
The red, clay face
Is lowered to the naked clay;
After some words, the body is forsaken
The shadows lengthen, and a dreaming hope
Breathes, from the vague mound, Life;
From the grove under the spire
Stars shine, and a wandering light
Is kindled for the mourner, man.
The angel kneeling with the wreath
Sees, in the moonlight, graves.
The Refugees
In the shabby train no seat is vacant.
The child in the ripped mask
Sprawls undisturbed in the waste
Of the smashed compartment. Is their calm extravagant?
They had faces and lives like you. What was it they possessed
That they were willing to trade for this?
The dried blood sparkles along the mask
Of the child who yesterday possessed
A country welcomer than this.
Did he? All night into the waste
The train moves silently. The faces are vacant.
Have none of them found the cost extravagant?
How could they? They gave what they possessed.
Here all the purses are vacant.
And what else could satisfy the extravagant
Tears and wish of the child but this?
Impose its canceling terrible mask
On the days and faces and lives they waste?
What else are their lives but a journey to the vacant
Satisfaction of death? And the mask
They wear tonight through their waste
Is death's rehearsal. Is it really extravagant
To read in their faces: What is there we possessed
That we were unwilling to trade for this?
Children Selecting Books In A Library
With beasts and gods, above, the wall is bright.
The child's head, bent to the book-colored shelves,
Is slow and sidelong and food-gathering,
Moving in blind grace… yet from the mural, Care
The grey-eyed one, fishing the morning mist,
Seizes the baby hero by the hair
And whispers, in the tongue of gods and children,
Words of a doom as ecumenical as dawn
But blanched like dawn, with dew.
The children's cries
Are to men the cries of crickets, dense with warmth
— But dip a finger into Fafnir, taste it,
And all their words are plain as chance and pain.
Their tales are full of sorcerers and ogres
Because their lives are: the capricious infinite
That, like parents, no one has yet escaped
Except by luck or magic; and since strength
And wit are useless, be kind or stupid, wait
Some power's gratitude, the tide of things.
Read meanwhile… hunt among the shelves, as dogs do, grasses,
And find one cure for Everychild's diseases
Beginning: Once upon a time there was
A wolf that fed, a mouse that warned, a bear that rode
A boy. Us men, alas! wolves, mice, bears bore.
And yet wolves, mice, bears, children, gods and men
In slow preambulation up and down the shelves
Of the universe are seeking… who knows except themselves?
What some escape to, some escape: if we find Swann's
Way better than our own, an trudge on at the back
Of the north wind to — to — somewhere east
Of the sun, west of the moon, it is because we live
By trading another's sorrow for our own; another's
Impossibilities, still unbelieved in, for our own…
"I am myself still?" For a little while, forget:
The world's selves cure that short disease, myself,
And we see bending to us, dewy-eyed, the great
CHANGE, dear to all things not to themselves endeared.
Jerome
Each day brings its toad, each night its dragon.
Der heilige Hieronymus—his lion is at the zoo—
Listens, listens. All the long, soft, summer day
Dreams affright his couch, the deep boils like a pot.
As the sun sets, the last patient rises,
Says to him, Father, trembles, turns away.
Often, to the lion, the saint said, Son.
To the man the saint says—but the man is gone.
Under a plaque of Gradiva, at gloaming.
The old man boils an egg. When he has eaten
He listens a while. The patients have not stopped.
At midnight, he lies down where his patients lay.
All night the old man whispers to the night.
It listens evenly. The great armored paws
Of its forelegs put together in reflection.
It thinks: Where Ego was, there Id shall be.
The world wrestles with it and is changed into it
And after a long time changes it. The dragon
Listens as the old man says, at dawn: I see
—There is an old man, naked in a desert, by a cliff.
He has set out his books, his hat, his ink, his shears
Among scorpions, toads, the wild beasts of the desert.
I lie beside him—I am a lion.
He kneels listening. He holds in his left hand
The stone with which he beats his breat, and holds
In his right hand, the pen with which he puts
Into his book, the words of the angel:
The angel up into whose face he looks.
But the angel does not speak. He looks into the face
Of the night, and the night says—but the night is gone.
He has slept. . . . At morning, when man's flesh is young
And man's soul thankful for it knows not what,
The air is washed, and smells of boiling coffee,
And the sun lights it. The old man walks placidly
To the grocer's; walks on, under leaves, in light,
To a lynx, a leopard—he has come;
The man holds out a lump of liver to the lion,
And the lion licks the man's hand with his tongue.
Hope
The spirit killeth, but the letter giveth life.
The week is dealt out like a hand
That children pick up card by card.
One keeps getting the same hand.
One keeps getting the same card.
But twice a day — except on Saturday —
The wheel stops, there is a crack in Time:
With a hiss of soles, a rattle of tin,
My own gray Daemon pauses on the stair,
My own bald Fortune lifts me by the hair.
Woe's me! woe's me! In Folly's mailbox
Still laughs the postcard, Hope:
Your uncle in Australia
Has died and you are Pope,
For many a soul has entertained
A Mailman unawares —
And as you cry, Impossible,
A step is on the stairs.
One keeps getting the same dream
Delayed, marked "Payment Due,"
The bill that one has paid
Delayed, marked "Payment Due" —
Twice a day, in rotting mailbox,
The white grubs are new:
And Faith, once more, is mine
Faithfully, but Charity
Writes hopefully about a new
Asylum — but Hope is as good as new.
Woe's me! woe's me! In Folly's mailbox
Still laughs the postcard, Hope:
Your uncle in Australia
Has died and you are Pope,
For many a soul has entertained
A mailman unawares —
And as you cry, Impossible,
A step is on the stairs.
A Sick Child
The postman comes when I am still in bed.
"Postman, what do you have for me today?"
I say to him. (But really I'm in bed.)
Then he says - what shall I have him say?
"This letter says that you are president
Of - this word here; it's a republic."
Tell them I can't answer right away.
"It's your duty." No, I'd rather just be sick.
Then he tells me there are letters saying everything
That I can think of that I want for them to say.
I say, "Well, thank you very much. Good-bye."
He is ashamed, and turns and walks away.
If I can think of it, it isn't what I want.
I want . . . I want a ship from some near star
To land in the yard, and beings to come out
And think to me: "So this is where you are!
Come." Except that they won't do,
I thought of them. . . . And yet somewhere there must be
Something that's different from everything.
All that I've never thought of - think of me!
A Country Life
A bird that I don't know,
Hunched on his light-pole like a scarecrow,
Looks sideways out into the wheat
The wind waves under the waves of heat.
The field is yellow as egg-bread dough
Except where (just as though they'd let
It live for looks) a locust billows
In leaf-green and shade-violet,
A standing mercy.
The bird calls twice, "Red clay, red clay";
Or else he's saying, "Directly, directly."
If someone came by I could ask,
Around here all of them must know —
And why they live so and die so —
Or why, for once, the lagging heron
Flaps from the little creek's parched cresses
Across the harsh-grassed, gullied meadow
To the black, rowed evergreens below.
They know and they don't know.
To ask, a man must be a stranger —
And asking, much more answering, is dangerous;
Asked about it, who would not repent
Of all he ever did and never meant,
And think a life and its distresses,
Its random, clutched-for, homefelt blisses,
The circumstances of an accident?
The farthest farmer in a field,
A gaunt plant grown, for seed, by farmers,
Has felt a longing, lorn urbanity
Jailed in his breast; and, just as I,
Has grunted, in his old perplexity,
A standing plea.
From the tar of the blazing square
The eyes shift, in their taciturn
And unavowing, unavailable sorrow.
Yet the intonation of a name confesses
Some secrets that they never meant
To let out to a soul; and what words would not dim
The bowed and weathered heads above the denim
Or the once-too-often washed wash dresses?
They are subdued to their own element.
One day
The red, clay face
Is lowered to the naked clay;
After some words, the body is forsaken
The shadows lengthen, and a dreaming hope
Breathes, from the vague mound, Life;
From the grove under the spire
Stars shine, and a wandering light
Is kindled for the mourner, man.
The angel kneeling with the wreath
Sees, in the moonlight, graves.
