Famous Long Dog Poems

Famous Long Dog Poems. Long Dog Poetry by Famous Poets. A collection of the all-time best Dog long poems

See also: Long Member Poems

 When I am in New York, I like to drop around at night,
To visit with my honest, genial friends, the Stoddards hight;
Their home in Fifteenth street is all so snug, and furnished so,
That, when I once get planted there, I don't know when to go;
A cosy cheerful refuge for the weary homesick guest,
Combining Yankee comforts with the freedom of the west.

The first thing you discover, as you maunder through the hall,
Is a curious little clock upon a bracket on the wall;
'T was made by Stoddard's father, and it's very, very old--
The connoisseurs assure me it is worth its weight in gold;
And I, who've bought all kinds of clocks, 'twixt Denver and the Rhine,
Cast envious eyes upon that clock, and wish that it were mine.

But in the parlor. Oh, the gems on tables, walls, and floor--
Rare first editions, etchings, and old crockery galore.
Why, talk about the Indies and the wealth of Orient things--
They couldn't hold a candle to these quaint and sumptuous things;
In such profusion, too--Ah me! how dearly I recall
How I have sat and watched 'em and wished I had 'em all.

Now, Mr. Stoddard's study is on the second floor,
A wee blind dog barks at me as I enter...
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 Over the terminal,
 the arms and chest
 of the god

brightened by snow.
 Formerly mercury,
 formerly silver,

surface yellowed
 by atmospheric sulphurs
 acid exhalations,

and now the shining
 thing's descendant.
 Obscure passages,

dim apertures:
 these clouded windows
 show a few faces

or some empty car's
 filmstrip of lit flames
 --remember them

from school,
 how they were supposed
 to teach us something?--

waxy light hurrying
 inches away from the phantom
 smudge of us, vague

in spattered glass. Then
 daylight's soft charcoal
 lusters stone walls

and we ascend to what
 passes for brightness,
 this February,

scumbled sky
 above graduated zones
 of decline:

dead rowhouses,
 charred windows'
 wet frames

around empty space,
 a few chipboard polemics
 nailed over the gaps,

speeches too long
 and obsessive for anyone
 on this train to read,

sealing the hollowed interiors
 --some of them grand once,
 you can tell by

the fillips of decoration,
 stone leaves, the frieze
 of sunflowers.

Desolate fields--open spaces,
 in a city where you
 can hardly turn around!--

seem to center
 on little flames,
 something always burning

in a barrel or can
 As if to represent
 inextinguishable,

dogged persistence?
 Though whether what burns
 is will or rage or

harsh amalgam
 I couldn't say.
 But I can tell you this,

what I've seen that
 won my allegiance most,
 though it was also

the hallmark of our...
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 THOU, Nature, partial Nature, I arraign;
Of thy caprice maternal I complain.
 The peopled fold thy kindly care have found,
The hornèd bull, tremendous, spurns the ground;
The lordly lion has enough and more,
The forest trembles at his very roar;
Thou giv’st the ass his hide, the snail his shell,
The puny wasp, victorious, guards his cell.
Thy minions, kings defend, controul devour,
In all th’ omnipotence of rule and power:
Foxes and statesmen subtle wiles ensure;
The cit and polecat stink, and are secure:
Toads with their poison, doctors with their drug,
The priest and hedgehog, in their robes, are snug:
E’en silly women have defensive arts,
Their eyes, their tongues—and nameless other parts.
 But O thou cruel stepmother and hard,
To thy poor fenceless, naked child, the Bard!
A thing unteachable in worldly skill,
And half an idiot too, more helpless still:
No heels to bear him from the op’ning dun,
No claws to dig, his hated sight to shun:
No horns, but those by luckless Hymen worn,
And those, alas! not Amalthea’s horn:
No nerves olfact’ry, true to Mammon’s foot,
Or grunting, grub sagacious, evil’s root:
The silly sheep that wanders wild astray,
Is not more friendless, is not more a prey;
Vampyre-booksellers drain him to the heart,
And viper-critics cureless venom dart.
 Critics! appll’d I venture on the name,
Those cut-throat bandits...
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 (sign at a railroad crossing in Kenya)

In a poem, one line may hide another line,
As at a crossing, one train may hide another train.
That is, if you are waiting to cross
The tracks, wait to do it for one moment at
Least after the first train is gone. And so when you read
Wait until you have read the next line—
Then it is safe to go on reading.
In a family one sister may conceal another,
So, when you are courting, it's best to have them all in view
Otherwise in coming to find one you may love another.
One father or one brother may hide the man,
If you are a woman, whom you have been waiting to love.
So always standing in front of something the other
As words stand in front of objects, feelings, and ideas.
One wish may hide another. And one person's reputation may hide
The reputation of another. One dog may conceal another
On a lawn, so if you escape the first one you're not necessarily safe;
One lilac may hide another and then a lot of lilacs and on the Appia
 Antica one tomb
May hide a number of other tombs. In love, one reproach may hide another,
One small complaint may hide a great one.
One injustice may...
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 WHO knows what I know
when I have asked the night questions
and the night has answered nothing
only the old answers?

Who picked a crimson cryptogram,
the tail light of a motor car turning a corner,
or the midnight sign of a chile con carne place,
or a man out of the ashes of false dawn muttering “hot-dog” to the night watchmen:
Is there a spieler who has spoken the word or taken the number of night’s nothings? am I the spieler? or you?

Is there a tired head
the night has not fed and rested
and kept on its neck and shoulders?

Is there a wish
of man to woman
and woman to man
the night has not written
and signed its name under?

Does the night forget
as a woman forgets?
and remember
as a woman remembers?

Who gave the night
this head of hair,
this gipsy head
calling: Come-on?

Who gave the night anything at all
and asked the night questions
and was laughed at?

Who asked the night
for a long soft kiss
and lost the half-way lips?
who picked a red lamp in a mist?

Who saw the night
fold its Mona Lisa hands
and sit half-smiling, half-sad,
nothing at all,
and everything,
all the world ?

Who saw the night
let down its hair
and shake its bare shoulders
and blow out the candles of the moon,
whispering, snickering,
cutting off the snicker .. and...
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 "I've been where it hurts." the Kid 

He becomes Sierra Kid

 I passed Slimgullion, Morgan Mine, 
 Camp Seco, and the rotting Lode. 
 Dark walls of sugar pine --, 
 And where I left the road 

 I left myself behind; 
 Talked to no one, thought 
 Of nothing. When my luck ran out 
 Lived on berries, nuts, bleached grass. 
 Driven by the wind 
 Through great Sonora pass, 

 I found an Indian's teeth; 
 Turned and climbed again 
 Without direction, compass, path, 
 Without a way of coming down, 
 Until I stopped somewhere 
 And gave the place a name. 

 I called the forests mine; 
 Whatever I could hear 
 I took to be a voice: a man 
 Was something I would never hear.

He faces his second winter in the Sierra

 A hard brown bug, maybe a beetle, 
 Packing a ball of sparrow shit -- 
 What shall I call it? 
 Shit beetle? Why's it pushing here 
 At this great height in the thin air 
 With its ridiculous waddle 

 Up the hard side of Hard Luck Hill? 
 And the furred thing that...
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 1.1 "What is the price of Experience? do men buy it for a song? 
1.2 Or wisdom for a dance in the street? No, it is bought with the price
1.3 Of all that a man hath, his house, his wife, his children.
1.4 Wisdom is sold in the desolate market where none come to buy,
1.5 And in the wither'd field where the farmer plows for bread in vain. 

1.6 It is an easy thing to triumph in the summer's sun
1.7 And in the vintage and to sing on the waggon loaded with corn.
1.8 It is an easy thing to talk of patience to the afflicted,
1.9 To speak the laws of prudence to the houseless wanderer,
1.10 To listen to the hungry raven's cry in wintry season
1.11 When the red blood is fill'd with wine and with the marrow of lambs. 

1.12 It is an easy thing to laugh at wrathful elements,
1.13 To hear the dog howl at the wintry door, the ox in the slaughter house moan;
1.14 To see a god on every wind and a blessing on every blast;
1.15 To hear sounds of love in the thunder storm that destroys our enemies' house;
1.16 To rejoice in the blight that covers...
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 Frau Doktor,
Mama Brundig,
take out your contacts,
remove your wig.
I write for you.
I entertain.
But frogs come out
of the sky like rain.

Frogs arrive
With an ugly fury.
You are my judge.
You are my jury.

My guilts are what
we catalogue.
I'll take a knife
and chop up frog.

Frog has not nerves.
Frog is as old as a cockroach.
Frog is my father's genitals.
Frog is a malformed doorknob.
Frog is a soft bag of green.

The moon will not have him.
The sun wants to shut off
like a light bulb.
At the sight of him
the stone washes itself in a tub.
The crow thinks he's an apple
and drops a worm in.
At the feel of frog
the touch-me-nots explode
like electric slugs.
Slime will have him.
Slime has made him a house.

Mr. Poison
is at my bed.
He wants my sausage.
He wants my bread.

Mama Brundig,
he wants my beer.
He wants my Christ
for a souvenir.

Frog has boil disease
and a bellyful of parasites.
He says: Kiss me. Kiss me.
And the ground soils itself.

Why
should a certain
quite adorable princess
be walking in her garden
at such a time
and toss her golden ball
up like a bubble
and drop it into the well?
It was ordained.
Just as the fates deal out
the plague with a tarot card.
Just as the Supreme Being drills
holes in our skulls to let
the Boston Symphony through.

But I digress.
A loss has taken place.
The...
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 You want to know what's the matter with me, do yer?
My! ain't men blinder'n moles?
It ain't nothin' new, be sure o' that.
Why, ef you'd had eyes you'd ha' seed
Me changin' under your very nose,
Each day a little diff'rent.
But you never see nothin', you don't.
Don't touch me, Jake,
Don't you dars't to touch me,
I ain't in no humour.
That's what's come over me;
Jest a change clear through.
You lay still, an' I'll tell yer,
I've had it on my mind to tell yer
Fer some time.
It's a strain livin' a lie from mornin' till night,
An' I'm goin' to put an end to it right now.
An' don't make any mistake about one thing,
When I married yer I loved yer.
Why, your voice 'ud make
Me go hot and cold all over,
An' your kisses most stopped my heart from beatin'.
Lord! I was a silly fool.
But that's the way 'twas.
Well, I married yer
An' thought Heav'n was comin'
To set on the door-step.
Heav'n didn't do no settin',
Though the first year warn't so bad.
The baby's fever threw you off some, I guess,
An' then I took her death real hard,
An' a mopey wife kind o' disgusts a man.
I ain't blamin' yer exactly.
But that's how 'twas.
Do lay quiet,
I know I'm slow, but it's harder to...
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 From narrow provinces
of fish and bread and tea,
home of the long tides
where the bay leaves the sea
twice a day and takes
the herrings long rides,

where if the river
enters or retreats 
in a wall of brown foam
depends on if it meets
the bay coming in,
the bay not at home;

where, silted red,
sometimes the sun sets
facing a red sea,
and others, veins the flats'
lavender, rich mud
in burning rivulets;

on red, gravelly roads,
down rows of sugar maples,
past clapboard farmhouses
and neat, clapboard churches,
bleached, ridged as clamshells,
past twin silver birches,

through late afternoon
a bus journeys west,
the windshield flashing pink,
pink glancing off of metal,
brushing the dented flank
of blue, beat-up enamel;

down hollows, up rises,
and waits, patient, while
a lone traveller gives
kisses and embraces
to seven relatives
and a collie supervises.

Goodbye to the elms,
to the farm, to the dog.
The bus starts. The light
grows richer; the fog,
shifting, salty, thin,
comes closing in.

Its cold, round crystals
form and slide and settle
in the white hens' feathers,
in gray glazed cabbages,
on the cabbage roses
and lupins like apostles;

the sweet peas cling
to their wet white string
on the whitewashed fences;
bumblebees creep
inside the foxgloves,
and evening commences.

One stop at Bass River.
Then the Economies 
Lower, Middle, Upper;
Five Islands, Five Houses,
where a woman shakes a tablecloth
out after supper.

A pale flickering. Gone.
The Tantramar marshes 
and the smell of salt hay.
An iron...
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 The opening scene. The yellow, coal-fed fog
Uncurling over the tainted city river,
A young girl rowing and her anxious father
Scavenging for corpses. Funeral meats. The clever
Abandoned orphan. The great athletic killer
Sulking in his tent. As though all stories began
With someone dying.

 When her mother died,
My mother refused to attend the funeral--
In fact, she sulked in her tent all through the year
Of the old lady's dying. I don't know why:
She said, because she loved her mother so much
She couldn't bear to see the way the doctors,
Or her father, or--someone--was letting her mother die.
"Follow your saint, follow with accents sweet;
Haste you, sad notes, fall at her flying feet."

She fogs things up, she scavenges the taint.
Possibly that's the reason I write these poems.

But they did speak: on the phone. Wept and argued,
So fiercely one or the other often cut off
A sentence by hanging up in rage--like lovers,
But all that year she never saw her face.

They lived on the same block, four doors apart.
"Absence my presence is; strangeness my grace;
With them that walk against me is my sun."

"Synagogue" is a word I never heard,
We called it shul, the Yiddish word for school.
Elms, terra-cotta, the ocean a few blocks east.
"Lay institution": she taught me we...
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 O THOU! whatever title suit thee—
Auld Hornie, Satan, Nick, or Clootie,
Wha in yon cavern grim an’ sootie,
 Clos’d under hatches,
Spairges about the brunstane cootie,
 To scaud poor wretches!


Hear me, auld Hangie, for a wee,
An’ let poor damned bodies be;
I’m sure sma’ pleasure it can gie,
 Ev’n to a deil,
To skelp an’ scaud poor dogs like me,
 An’ hear us squeel!


Great is thy pow’r an’ great thy fame;
Far ken’d an’ noted is thy name;
An’ tho’ yon lowin’ heuch’s thy hame,
 Thou travels far;
An’ faith! thou’s neither lag nor lame,
 Nor blate, nor scaur.


Whiles, ranging like a roarin lion,
For prey, a’ holes and corners tryin;
Whiles, on the strong-wind’d tempest flyin,
 Tirlin the kirks;
Whiles, in the human bosom pryin,
 Unseen thou lurks.


I’ve heard my rev’rend graunie say,
In lanely glens ye like to stray;
Or where auld ruin’d castles grey
 Nod to the moon,
Ye fright the nightly wand’rer’s way,
 Wi’ eldritch croon.


When twilight did my graunie summon,
To say her pray’rs, douse, honest woman!
Aft’yont the dyke she’s heard you bummin,
 Wi’ eerie drone;
Or, rustlin, thro’ the boortrees comin,
 Wi’ heavy groan.


Ae dreary, windy, winter night,
The stars shot down wi’ sklentin light,
Wi’ you, mysel’ I gat a fright,
 Ayont the lough;
Ye, like a rash-buss, stood in...
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 The drought is down on field and flock, 
The river-bed is dry; 
And we must shift the starving stock 
Before the cattle die. 
We muster up with weary hearts 
At breaking of the day, 
And turn our heads to foreign parts, 
To take the stock away. 
And it’s hunt ‘em up and dog ‘em, 
And it’s get the whip and flog ‘em, 
For it’s weary work, is droving, when they’re dying every day; 
By stock routes bare and eaten, 
On dusty roads and beaten, 
With half a chance to save their lives we take the stock away. 


We cannot use the whip for shame 
On beasts that crawl along; 
We have to drop the weak and lame, 
And try to save the strong; 
The wrath of God is on the track, 
The drought fiend holds his sway; 
With blows and cries the stockwhip crack 
We take the stock away. 
As they fall we leave them lying, 
With the crows to watch them dying, 
Grim sextons of the Overland that fasten on their prey; 
By the fiery dust-storm drifting, 
And the mocking mirage shifting, 
In heat and drought and hopeless pain we take the stock away. 


In dull despair the...
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 When Julius Fabricius, Sub-Prefect of the Weald,
In the days of Diocletian owned our Lower River-field,
He called to him Hobdenius-a Briton of the Clay,
Saying: "What about that River-piece for layin'' in to hay?"

And the aged Hobden answered: "I remember as a lad
My father told your father that she wanted dreenin' bad.
An' the more that you neeglect her the less you'll get her clean.
Have it jest as you've a mind to, but, if I was you, I'd dreen."

So they drained it long and crossways in the lavish Roman style--
Still we find among the river-drift their flakes of ancient tile,
And in drouthy middle August, when the bones of meadows
 show,
We can trace the lines they followed sixteen hundred years ago.

Then Julius Fabricius died as even Prefects do,
And after certain centuries, Imperial Rome died too.
Then did robbers enter Britain from across the Northern main
And our Lower River-field was won by Ogier the Dane.

Well could Ogier work his war-boat --well could Ogier wield his
 brand--
Much he knew of foaming waters--not so much of farming land.
So he called to him a Hobden of the old unaltered blood,
Saying: "What about that River-piece; she doesn't look no good?"

And that aged Hobden answered "'Tain't for me not interfere.
But...
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 She is large and matronly
And rather dirty,
A little sardonic-looking, as if domesticity had driven her to it.
Though what she does, except lay four eggs at random in the garden once a year
And put up with her husband,
I don't know.

She likes to eat.
She hurries up, striding reared on long uncanny legs
When food is going.
Oh yes, she can make haste when she likes.
She snaps the soft bread from my hand in great mouthfuls,
Opening her rather pretty wedge of an iron, pristine face
Into an enormously wide-beaked mouth
Like sudden curved scissors,
And gulping at more than she can swallow, and working her thick, soft tongue,
And having the bread hanging over her chin.

O Mistress, Mistress,
Reptile mistress,
Your eye is very dark, very bright,
And it never softens
Although you watch.

She knows,
She knows well enough to come for food,
Yet she sees me not;
Her bright eye sees, but not me, not anything,
Sightful, sightless, seeing and visionless,
Reptile mistress.

Taking bread in her curved, gaping, toothless mouth,
She has no qualm when she catches my finger in her steel overlapping gums,
But she hangs on, and my shout and my shrinking are nothing to her.
She does not even know she is nipping me with her curved beak.
Snake-like she draws at my finger, while I drag...
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