Second Language is the fourth volume of work from the highly acclaimed poet Lisel Mueller. The second language of the title, English, supplanted Mueller’s native language when she came to the United States from Hitler’s Germany at age fifteen. But other second languages are at work here as well. The poems in this collection have to do with memory and metaphor, two forces that enable us to interpret our experience. Each is in a sense a second language, and in Mueller’s employ each gains expression in an imaginative and humanistic voice. In “English as a Second Language,” the various meanings of Second Language come together lucidly and effectively.
Poet and translator Lisel Mueller was born in Hamburg, Germany in 1924. The daughter of teachers, her family was forced to flee the Nazi regime when Mueller was 15. They immigrated to the US and settled in the Mid-west. Mueller attended the University of Evansville, where her father was a professor, and did her graduate study at Indiana University.
Her collections of poetry include The Private Life, which was the 1975 Lamont Poetry Selection; Second Language (1986); The Need to Hold Still (1980), which received the National Book Award; Learning to Play by Ear (1990); and Alive Together: New & Selected Poems (1996), which won the Pulitzer Prize.
Her other awards and honors include the Carl Sandburg Award, the Helen Bullis Award, the Ruth Lilly Prize, and a National Endowment for the Arts fellowship. She has also published translations, most recently Circe’s Mountain by Marie Luise Kaschnitz (1990).
My uncle in East Germany points to the unicorn in the painting and explains it is now extinct. We correct him, say such a creature never existed. He does not argue, but we know he does not believe us. He is certain power and gentleness must have gone hand in hand once. A prisoner of war even after the war was over, my uncle needs to believe in something that could not be captured except by love, whose single luminous horn redeemed the murderous forest and, dipped into foul water, would turn it pure. This world, this terrible world we live in, is not the only possible one, his eighty-year-old eyes insist, dry wells that fill so easily now.
There are girls who should have been swans. At birth their feathers are burned; their human skins never fit. When the other children line up on the side of the sun, they will choose the moon, that precious aberration. They are the daughters mothers worry about. All summer, dressed in gauze, they flicker inside the shaded house, drawn to the mirror, where their eyes, two languid moths, hang dreaming. It’s winter they wait for, the first snowfall with the steady interior hum only they can hear; they stretch their arms, as if they were wounded, toward the bandages of snow. Briefly, the world is theirs in its perfect frailty.
I read this so many years ago, it's hard to describe what I thought of it. I know that individual poems spoke clearly to me at the time. I especially liked the poem about reading G. M. Hopkins' "Spring and Fall" in Hawaii.