A R Ammons | |
1) An individual spider web
identifies a species:
an order of instinct prevails
through all accidents of circumstance,
though possibility is
high along the peripheries of
you can go all
around the fringing attachments
entropy rich, high levels of random,
numerous occasions of accident:
2) the possible settings
of a web are infinite:
the spider keep
while creating the web
in a particular place?
how and to what extent
and by what modes of chemistry
how things work: I will tell you
it is interesting
and because whatever is
moves in weeds
and stars and spider webs
in that love,
each of us knowing it,
I love you,
for it moves within and beyond us,
to winter grasses, darts and hangs with bumblebees
by summer windowsills:
I will show you
the underlying that takes no image to itself,
cannot be shown or said,
but weaves in and out of moons and bladderweeds,
is all and
because created fully in no
if the web were perfectly pre-set,
the spider could
a perfect place to set it in: and
if the web were
if freedom and possibility were without limit,
the web would
lose its special identity:
the row-strung garden web
keeps order at the center
where space is freest (intersecting that the freest
accept the firmest order)
diminishes toward the
allowing at the points of contact
entropy equal to entropy.
A R Ammons | |
I said I will find what is lowly
and put the roots of my identity
each day I'll wake up
and find the lowly nearby,
a handy focus and reminder,
a ready measure of my significance,
the voice by which I would be heard,
the wills, the kinds of selfishness
freely adopt as my own:
but though I have looked everywhere,
I can find nothing
to give myself to:
magnificent with existence, is in
surfeit of glory:
nothing is diminished,
nothing has been diminished for me:
I said what is more lowly than the grass:
a ground-crust of dry-burnt moss:
I looked at it closely
and said this can be my habitat: but
nestling in I
below the brown exterior
green mechanisms beyond the intellect
awaiting resurrection in rain: so I got up
and ran saying there is nothing lowly in the universe:
I found a beggar:
he had stumps for legs: nobody was paying
him any attention: everybody went on by:
I nestled in and found his life:
there, love shook his body like a devastation:
though I have looked everywhere
I can find nothing lowly
in the universe:
I whirled though transfigurations up and down,
transfigurations of size and shape and place:
at one sudden point came still,
stood in wonder:
moss, beggar, weed, tick, pine, self, magnificent
Laura Riding Jackson | |
The secrets of the mind convene splendidly,
Though the mind is meek.
To be aware inwardly
of brain and beauty
Is dark too recognizable.
Thought looking out on thought
Makes one an eye:
Which it shall be, both decide.
One is with the mind alone,
The other is with other thoughts gone
To be seen from afar and not known.
When openly these inmost sights
Flash and speak fully,
Each head at home shakes hopelessly
Of being never ready to see self
And sees a universe too soon.
The immense surmise swims round and round
And heads grow wise
With their own bigness beatified
In cosmos, and the idiot size
Of skulls spells Nature on the ground,
While ears listening the wrong way report
Echoes first and hear words before sounds
Because the mind, being quiet, seems late.
By ears words are copied into books,
By letters minds are taught self-ignorance.
From mouths spring forth vocabularies
To the assemblage of strange objects
Grown foreign to the faithful countryside
Of one king, poverty,
Of one line, humbleness.
Unavowed and false horizons claim pride
For spaces in the head
The native head sees outside.
The flood of wonder rushing from the eyes
Returns lesson by lesson.
The mind, shrunken of time,
Overflows too soon.
The complete vision is the same
As when the world-wideness began
Worlds to describe
The excessiveness of man.
But man's right portion rejects
The surplus in the whole.
This much, made secret first,
The knowable, which was
Thought's previous flesh,
And gives instruction of substance to its intelligence
As far as flesh itself,
As bodies upon themselves to where
Understanding is the head
And the identity of breath and breathing are established
And the voice opening to cry: I know,
Closes around the entire declaration
With this evidence of immortality—
The total silence to say:
I am dead.
For death is all ugly, all lovely,
Forbids mysteries to make
Science of splendor, or any separate disclosing
Of beauty to the mind out of body's book
That page by page flutters a world in fragments,
Permits no scribbling in of more
Where spaces are,
Only to look.
Body as Body lies more than still.
The rest seems nothing and nothing is
If nothing need be.
But if need be,
Thought not divided anyway
Answers itself, thinking
All open and everything.
Dead is the mind that parted each head.
But now the secrets of the mind convene
Without pride, without pain
To any onlookers.
What they ordain alone
Cannot be known
The ordinary way of eyes and ears
But only prophesied
If an unnatural mind, refusing to divide,
Of too plain beauty
Foreseen within too suddenly,
And lips break open of astonishment
Upon the living mouth and rehearse
Death, that seems a simple verse
And, of all ways to know,
Dead or alive, easiest.
More great poems below...
Laura Riding Jackson | |
With the face goes a mirror
As with the mind a world.
Likeness tells the doubting eye
That strangeness is not strange.
At an early hour and knowledge
Identity not yet familiar
Looks back upon itself from later,
And seems itself.
To-day seems now.
With reality-to-be goes time.
With the mind goes a world.
Wit the heart goes a weather.
With the face goes a mirror
As with the body a fear.
Young self goes staring to the wall
Where dumb futurity speaks calm,
And between then and then
Forebeing grows of age.
The mirror mixes with the eye.
Soon will it be the very eye.
Soon will the eye that was
The very mirror be.
Death, the final image, will shine
Transparently not otherwise
Than as the dark sun described
With such faint brightnesses.
Ehsan Sehgal | |
"When you play cards in the way of true love, your are defeated by yourself, you cannot blame anyone else, love does not hide identity, when it is existed, it lightens the all sides, nowhere is darkness.
That is essence of true love.
Philip Larkin | |
Side by side, their faces blurred,
The earl and countess lie in stone,
Their proper habits vaguely shown
As jointed armour, stiffened pleat,
And that faint hint of the absurd -
The little dogs under their feet.
Such plainness of the pre-baroque
Hardly involves the eye, until
It meets his left-hand gauntlet, still
Clasped empty in the other; and
One sees, with a sharp tender shock,
His hand withdrawn, holding her hand.
They would not think to lie so long.
Such faithfulness in effigy
Was just a detail friends would see:
A sculptor's sweet commissioned grace
Thrown off in helping to prolong
The Latin names around the base.
They would no guess how early in
Their supine stationary voyage
The air would change to soundless damage,
Turn the old tenantry away;
How soon succeeding eyes begin
To look, not read.
Persisted, linked, through lengths and breadths
Snow fell, undated.
Each summer thronged the grass.
Litter of birdcalls strewed the same
And up the paths
The endless altered people came,
Washing at their identity.
Now, helpless in the hollow of
An unarmorial age, a trough
Of smoke in slow suspended skeins
Above their scrap of history,
Only an attitude remains:
Time has transfigures them into
The stone fidelity
They hardly meant has come to be
Their final blazon, and to prove
Our almost-instinct almost true:
What will survive of us is love.
Philip Larkin | |
The little lives of earth and form,
Of finding food, and keeping warm,
Are not like ours, and yet
A kinship lingers nonetheless:
We hanker for the homeliness
Of den, and hole, and set.
And this identity we feel
- Perhaps not right, perhaps not real -
Will link us constantly;
I see the rock, the clay, the chalk,
The flattened grass, the swaying stalk,
And it is you I see.
Craig Raine | |
'and we should die of that roar which lies on the other side of silence'
-- George Eliot, Middlemarch
Dead dandelions, bald as drumsticks,
swaying by the roadside
like Hare Krishna pilgrims
bowing to the Juggernaut.
They have given up everything.
Gold gone and their silver gone,
humbled with dust, hollow,
their milky bodies tan
to the colour of annas.
The wind changes their identity:
slender Giacomettis, Doré's convicts,
Rodin's burghers of Calais
with five bowed heads
and the weight of serrated keys .
They wither into mystery, waiting
to find out why they are,
patiently, before nirvana
when the rain comes down like vitriol.
Adrienne Rich | |
I know you are reading this poem
late, before leaving your office
of the one intense yellow lamp-spot and the darkening window
in the lassitude of a building faded to quiet
long after rush-hour.
I know you are reading this poem
standing up in a bookstore far from the ocean
on a grey day of early spring, faint flakes driven
across the plains' enormous spaces around you.
I know you are reading this poem
in a room where too much has happened for you to bear
where the bedclothes lie in stagnant coils on the bed
and the open valise speaks of flight
but you cannot leave yet.
I know you are reading this poem
as the underground train loses momentum and before running
up the stairs
toward a new kind of love
your life has never allowed.
I know you are reading this poem by the light
of the television screen where soundless images jerk and slide
while you wait for the newscast from the intifada.
I know you are reading this poem in a waiting-room
of eyes met and unmeeting, of identity with strangers.
I know you are reading this poem by fluorescent light
in the boredom and fatigue of the young who are counted out,
count themselves out, at too early an age.
you are reading this poem through your failing sight, the thick
lens enlarging these letters beyond all meaning yet you read on
because even the alphabet is precious.
I know you are reading this poem as you pace beside the stove
warming milk, a crying child on your shoulder, a book in your
because life is short and you too are thirsty.
I know you are reading this poem which is not in your language
guessing at some words while others keep you reading
and I want to know which words they are.
I know you are reading this poem listening for something, torn
between bitterness and hope
turning back once again to the task you cannot refuse.
I know you are reading this poem because there is nothing else
left to read
there where you have landed, stripped as you are.
Delmore Schwartz | |
"--Kiss me there where pride is glittering
Kiss me where I am ripened and round fruit
Kiss me wherever, however, I am supple, bare and flare
(Let the bell be rung as long as I am young:
let ring and fly like a great bronze wing!)
"--I'll kiss you wherever you think you are poor,
Wherever you shudder, feeling striped or barred,
Because you think you are bloodless, skinny or marred:
your gaze has been stilled--
Until you are shamed again no more!
I'll kiss you until your body and soul
the mind in the body being fulfilled--
Suspend their dread and civil war!"
Under the yellow sea
Who comes and looks with me
For the daughters of music, the fountains of poetry?
Both have soared forth from the unending waters
Where all things still are seeds and far from flowers
And since they remain chained to the sea's powers
May wilt to nonentity or loll and arise to comedy
Or thrown into mere accident through irrelevant incident
Dissipate all identity ceaselessly fragmented by the ocean's
immense and intense, irresistible and insistent
Be scattered like the sand is, purposely and relentlessly,
Living in the summer resorts of the dead endlessly.
Chris Mansell | |
we are succulents
our cool jade arms open
over clean tables our fine bone
china minds pull the strings
of our tongues together we plait
our thoughts with the television
back through the aerials and
transmission towers prodding
through the literal fog
the mechanics of which distance
does not startle us or the ears
pretend to hear the telephone
the page also wearies
us we have taken the meaning
out of things by laying them face to
face in our dictionary of emotions
we are so entirely alone that we
are unaware of it
and we enjoy the religion of solitude
because religions are at base
meaningless and we can turn
from them to a new hobby
to clean ashtrays or emptier
whiskey glasses we the women
of our building Margaret Gladys
Cecily Ida Eileen and I have
the cleanest washing on our block
we are proud and air our sheets
although it's a long time since
any serious stain or passionate figment
seeped through that censorious cloth
we have plants one of us has a budgie
and I have three fish the details
are unimportant God does not come here often
we would be suspicious if he
did without an identity card
we collect each others' mail
remind each other of garbage
days and are frightened
of the louts from the skating rink
but in the night I leave
my curtains open and air
my pendant tremulous breasts
Seamus Heaney | |
The timeless waves, bright, sifting, broken glass,
Came dazzling around, into the rocks,
Came glinting, sifting from the Americas
To posess Aran.
Or did Aran rush
to throw wide arms of rock around a tide
That yielded with an ebb, with a soft crash?
Did sea define the land or land the sea?
Each drew new meaning from the waves' collision.
Sea broke on land to full identity.
Denise Duhamel | |
I had sex with a famous poet last night
and when I rolled over and found myself beside him I shuddered
because I was married to someone else,
because I wasn't supposed to have been drinking,
because I was in fancy hotel room
I didn't recognize.
I would have told you
right off this was a dream, but recently
a friend told me, write about a dream,
lose a reader and I didn't want to lose you
I wanted you to hear
that I didn't even like the poet in the dream, that he has
four kids, the youngest one my age, and I find him
rather unattractive, that I only met him once,
that is, in real life, and that was in a large group
in which I barely spoke up.
He disgusted me
with his disparaging remarks about women.
He even used the word "Jap"
which I took as a direct insult to my husband who's Asian.
When we were first dating, I told him
"You were talking in your sleep last night
and I listened, just to make sure you didn't
call out anyone else's name.
" My future-husband said
that he couldn't be held responsible for his subconscious,
which worried me, which made me think his dreams
were full of blond vixens in rabbit-fur bikinis.
but he said no, he dreamt mostly about boulders
and the ocean and volcanoes, dangerous weather
he witnessed but could do nothing to stop.
And I said, "I dream only of you,"
which was romantic and silly and untrue.
But I never thought I'd dream of another man--
my husband and I hadn't even had a fight,
my head tucked sweetly in his armpit, my arm
around his belly, which lifted up and down
all night, gently like water in a lake.
If I passed that famous poet on the street,
he would walk by, famous in his sunglasses
and blazer with the suede patches at the elbows,
without so much as a glance in my direction.
I know you're probably curious about who the poet is,
so I should tell you the clues I've left aren't
accurate, that I've disguised his identity,
that you shouldn't guess I bet it's him.
because you'll never guess correctly
and even if you do, I won't tell you that you have.
I wouldn't want to embarrass a stranger
who is, after all, probably a nice person,
who was probably just having a bad day when I met him,
who is probably growing a little tired of his fame--
which my husband and I perceive as enormous,
but how much fame can an American poet
really have, let's say, compared to a rock star
or film director of equal talent? Not that much,
and the famous poet knows it, knows that he's not
truly given his due.
Knows that many
of these young poets tugging on his sleeve
are only pretending to have read all his books.
But he smiles anyway, tries to be helpful.
I mean, this poet has to have some redeeming qualities, right?
For instance, he writes a mean iambic.
Otherwise, what was I doing in his arms.
George Eliot | |
The sky is cloudy, yellowed by the smoke.
For view there are the houses opposite
Cutting the sky with one long line of wall
Like solid fog: far as the eye can stretch
Monotony of surface & of form
Without a break to hang a guess upon.
No bird can make a shadow as it flies,
For all is shadow, as in ways o'erhung
By thickest canvass, where the golden rays
Are clothed in hemp.
No figure lingering
Pauses to feed the hunger of the eye
Or rest a little on the lap of life.
All hurry on & look upon the ground,
Or glance unmarking at the passers by
The wheels are hurrying too, cabs, carriages
All closed, in multiplied identity.
The world seems one huge prison-house & court
Where men are punished at the slightest cost,
With lowest rate of colour, warmth & joy.
Billy Collins | |
There is a section in my library for death
and another for Irish history,
a few shelves for the poetry of China and Japan,
and in the center a row of imperturbable reference books,
the ones you can turn to anytime,
when the night is going wrong
or when the day is full of empty promise.
I have nothing against
the thin monograph, the odd query,
a note on the identity of Chekhov's dentist,
but what I prefer on days like these
is to get up from the couch,
pull down The History of the World,
and hold in my hands a book
containing nearly everything
and weighing no more than a sack of potatoes,
eleven pounds, I discovered one day when I placed it
on the black, iron scale
my mother used to keep in her kitchen,
the device on which she would place
a certain amount of flour,
a certain amount of fish.
Open flat on my lap
under a halo of lamplight,
a book like this always has a way
of soothing the nerves,
quieting the riotous surf of information
that foams around my waist
even though it never mentions
the silent labors of the poor,
the daydreams of grocers and tailors,
or the faces of men and women alone in single rooms-
even though it never mentions my mother,
now that I think of her again,
who only last year rolled off the edge of the earth
in her electric bed,
in her smooth pink nightgown
the bones of her fingers interlocked,
her sunken eyes staring upward
beyond all knowledge,
beyond the tiny figures of history,
some in uniform, some not,
marching onto the pages of this incredibly heavy book.