Written by
William Wordsworth |
Five years have passed; five summers, with the length
Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur.
Once again
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
'Mid groves and copses.
Once again I see
These hedgerows, hardly hedgerows, little lines
Of sportive wood run wild; these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods,
Or of some Hermit's cave, where by his fire
The Hermit sits alone.
These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man's eye;
But oft, in lonely rooms, and 'mid the din
Of towns and cities, I have owed to them,
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart;
And passing even into my purer mind
With tranquil restoration—feelings too
Of unremembered pleasure; such, perhaps,
As have no slight or trivial influence
On that best portion of a good man's life,
His little, nameless, unremembered, acts
Of kindness and of love.
Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened—that serene and blessed mood,
In which the affections gently lead us on—
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul;
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.
If this
Be but a vain belief, yet, oh! how oft—
In darkness and amid the many shapes
Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world,
Have hung upon the beatings of my heart—
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer through the woods,
How often has my spirit turned to thee!
And now, with gleams of half-extinguished thought,
With many recognitions dim and faint,
And somewhat of a sad perplexity,
The picture of the mind revives again;
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years.
And so I dare to hope,
Though changed, no doubt, from what I was when first
I came among these hills; when like a roe
I bounded o'er the mountains, by the sides
Of the deep rivers, and the lonely streams,
Wherever nature led—more like a man
Flying from something that he dreads than one
Who sought the thing he loved.
For nature then
(The coarser pleasures of my boyish days
And their glad animal movements all gone by)
To me was all in all.
—I cannot paint
What then I was.
The sounding cataract
Haunted me like a passion; the tall rock,
The mountain, and the deep and gloomy wood,
Their colors and their forms, were then to me
An appetite; a feeling and a love,
That had no need of a remoter charm,
By thought supplied, not any interest
Unborrowed from the eye.
—That time is past,
And all its aching joys are now no more,
And all its dizzy raptures.
Not for this
Faint I, nor mourn nor murmur; other gifts
Have followed; for such loss, I would believe,
Abundant recompense.
For I have learned
To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes
The still sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue.
And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things.
Therefore am I still
A lover of the meadows and the woods,
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear—both what they half create,
And what perceive; well pleased to recognize
In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.
Nor perchance,
If I were not thus taught, should I the more
Suffer my genial spirits to decay:
For thou art with me here upon the banks
Of this fair river; thou my dearest Friend,
My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read
My former pleasures in the shooting lights
Of thy wild eyes.
Oh! yet a little while
May I behold in thee what I was once,
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray
The heart that loved her; 'tis her privilege,
Through all the years of this our life, to lead
From joy to joy: for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed
With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men,
Nor greetings where no kindness is, nor all
The dreary intercourse of daily life,
Shall e'er prevail against us, or disturb
Our cheerful faith, that all which we behold
Is full of blessings.
Therefore let the moon
Shine on thee in thy solitary walk;
And let the misty mountain winds be free
To blow against thee: and, in after years,
When these wild ecstasies shall be matured
Into a sober pleasure; when thy mind
Shall be a mansion for all lovely forms,
Thy memory be as a dwelling place
For all sweet sounds and harmonies; oh! then,
If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts
Of tender joy wilt thou remember me,
And these my exhortations! Nor, perchance—
If I should be where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence—wilt thou then forget
That on the banks of this delightful stream
We stood together; and that I, so long
A worshipper of Nature, hither came
Unwearied in that service; rather say
With warmer love—oh! with far deeper zeal
Of holier love.
Nor wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!
|
Written by
Mark Strand |
1
We are reading the story of our lives
which takes place in a room.
The room looks out on a street.
There is no one there,
no sound of anything.
The tress are heavy with leaves,
the parked cars never move.
We keep turning the pages, hoping for something,
something like mercy or change,
a black line that would bind us
or keep us apart.
The way it is, it would seem
the book of our lives is empty.
The furniture in the room is never shifted,
and the rugs become darker each time
our shadows pass over them.
It is almost as if the room were the world.
We sit beside each other on the couch,
reading about the couch.
We say it is ideal.
It is ideal.
2
We are reading the story of our lives,
as though we were in it,
as though we had written it.
This comes up again and again.
In one of the chapters
I lean back and push the book aside
because the book says
it is what I am doing.
I lean back and begin to write about the book.
I write that I wish to move beyond the book.
Beyond my life into another life.
I put the pen down.
The book says: "He put the pen down
and turned and watched her reading
the part about herself falling in love.
"
The book is more accurate than we can imagine.
I lean back and watch you read
about the man across the street.
They built a house there,
and one day a man walked out of it.
You fell in love with him
because you knew that he would never visit you,
would never know you were waiting.
Night after night you would say
that he was like me.
I lean back and watch you grow older without me.
Sunlight falls on your silver hair.
The rugs, the furniture,
seem almost imaginary now.
"She continued to read.
She seemed to consider his absence
of no special importance,
as someone on a perfect day will consider
the weather a failure
because it did not change his mind.
"
You narrow your eyes.
You have the impulse to close the book
which describes my resistance:
how when I lean back I imagine
my life without you, imagine moving
into another life, another book.
It describes your dependence on desire,
how the momentary disclosures
of purpose make you afraid.
The book describes much more than it should.
It wants to divide us.
3
This morning I woke and believed
there was no more to to our lives
than the story of our lives.
When you disagreed, I pointed
to the place in the book where you disagreed.
You fell back to sleep and I began to read
those mysterious parts you used to guess at
while they were being written
and lose interest in after they became
part of the story.
In one of them cold dresses of moonlight
are draped over the chairs in a man's room.
He dreams of a woman whose dresses are lost,
who sits in a garden and waits.
She believes that love is a sacrifice.
The part describes her death
and she is never named,
which is one of the things
you could not stand about her.
A little later we learn
that the dreaming man lives
in the new house across the street.
This morning after you fell back to sleep
I began to turn the pages early in the book:
it was like dreaming of childhood,
so much seemed to vanish,
so much seemed to come to life again.
I did not know what to do.
The book said: "In those moments it was his book.
A bleak crown rested uneasily on his head.
He was the brief ruler of inner and outer discord,
anxious in his own kingdom.
"
4
Before you woke
I read another part that described your absence
and told how you sleep to reverse
the progress of your life.
I was touched by my own loneliness as I read,
knowing that what I feel is often the crude
and unsuccessful form of a story
that may never be told.
"He wanted to see her naked and vulnerable,
to see her in the refuse, the discarded
plots of old dreams, the costumes and masks
of unattainable states.
It was as if he were drawn
irresistably to failure.
"
It was hard to keep reading.
I was tired and wanted to give up.
The book seemed aware of this.
It hinted at changing the subject.
I waited for you to wake not knowing
how long I waited,
and it seemed that I was no longer reading.
I heard the wind passing
like a stream of sighs
and I heard the shiver of leaves
in the trees outside the window.
It would be in the book.
Everything would be there.
I looked at your face
and I read the eyes, the nose, the mouth .
.
.
5
If only there were a perfect moment in the book;
if only we could live in that moment,
we could being the book again
as if we had not written it,
as if we were not in it.
But the dark approaches
to any page are too numerous
and the escapes are too narrow.
We read through the day.
Each page turning is like a candle
moving through the mind.
Each moment is like a hopeless cause.
If only we could stop reading.
"He never wanted to read another book
and she kept staring into the street.
The cars were still there,
the deep shade of trees covered them.
The shades were drawn in the new house.
Maybe the man who lived there,
the man she loved, was reading
the story of another life.
She imagine a bare parlor,
a cold fireplace, a man sitting
writing a letter to a woman
who has sacrificed her life for love.
"
If there were a perfect moment in the book,
it would be the last.
The book never discusses the causes of love.
It claims confusion is a necessary good.
It never explains.
It only reveals.
6
The day goes on.
We study what we remember.
We look into the mirror across the room.
We cannot bear to be alone.
The book goes on.
"They became silent and did not know how to begin
the dialogue which was necessary.
It was words that created divisions in the first place,
that created loneliness.
They waited
they would turn the pages, hoping
something would happen.
They would patch up their lives in secret:
each defeat forgiven because it could not be tested,
each pain rewarded because it was unreal.
They did nothing.
"
7
The book will not survive.
We are the living proof of that.
It is dark outside, in the room it is darker.
I hear your breathing.
You are asking me if I am tired,
if I want to keep reading.
Yes, I am tired.
Yes, I want to keep reading.
I say yes to everything.
You cannot hear me.
"They sat beside each other on the couch.
They were the copies, the tired phantoms
of something they had been before.
The attitudes they took were jaded.
They stared into the book
and were horrified by their innocence,
their reluctance to give up.
They sat beside each other on the couch.
They were determined to accept the truth.
Whatever it was they would accept it.
The book would have to be written
and would have to be read.
They are the book and they are
nothing else.
|
Written by
Paul Eluard |
I.
Soon
Of all the springtimes of the world
This one is the ugliest
Of all of my ways of being
To be trusting is the best
Grass pushes up snow
Like the stone of a tomb
But I sleep within the storm
And awaken eyes bright
Slowness, brief time ends
Where all streets must pass
Through my innermost recesses
So that I would meet someone
I don’t listen to monsters
I know them and all that they say
I see only beautiful faces
Good faces, sure of themselves
Certain soon to ruin their masters
II.
The women’s role
As they sing, the maids dash forward
To tidy up the killing fields
Well-powdered girls, quickly to their knees
Their hands -- reaching for the fresh air --
Are blue like never before
What a glorious day!
Look at their hands, the dead
Look at their liquid eyes
This is the toilet of transience
The final toilet of life
Stones sink and disappear
In the vast, primal waters
The final toilet of time
Hardly a memory remains
the dried-up well of virtue
In the long, oppressive absences
One surrenders to tender flesh
Under the spell of weakness
III.
As deep as the silence
As deep as the silence
Of a corpse under ground
With nothing but darkness in mind
As dull and deaf
As autumn by the pond
Covered with stale shame
Poison, deprived of its flower
And of its golden beasts
out its night onto man
IV.
Patience
You, my patient one
My patience
My parent
Head held high and proudly
Organ of the sluggish night
Bow down
Concealing all of heaven
And its favor
Prepare for vengeance
A bed where I'll be born
V.
First march, the voice of another
Laughing at sky and planets
Drunk with their confidence
The wise men wish for sons
And for sons from their sons
Until they all perish in vain
Time burdens only fools
While Hell alone prospers
And the wise men are absurd
VI.
A wolf
Day surprises me and night scares me
haunts me and winter follows me
An animal walking on the snow has placed
Its paws in the sand or in the mud
Its paws have traveled
From further afar than my own steps
On a path where death
Has the imprints of life
VII.
A flawless fire
The threat under the red sky
Came from below -- jaws
And scales and links
Of a slippery, heavy chain
Life was spread about generously
So that death took seriously
The debt it was paid without a thought
Death was the God of love
And the conquerors in a kiss
Swooned upon their victims
Corruption gained courage
And yet, beneath the red sky
Under the appetites for blood
Under the dismal starvation
The cavern closed
The kind earth filled
The graves dug in advance
Children were no longer afraid
Of maternal depths
And madness and stupidity
And vulgarity make way
For humankind and brotherhood
No longer fighting against life --
For an everlasting humankind
VIII.
Liberty
On my school notebooks
On my desk, on the trees
On the sand, on the snow
I write your name
On all the read pages
On all the empty pages
Stone, blood, paper or ash
I write your name
On the golden images
On the weapons of warriors
On the crown of kings
I write your name
On the jungle and the desert
On the nests, on the broom
On the echo of my childhood
I write your name
On the wonders of nights
On the white bread of days
On the seasons betrothed
I write your name
d'azur On all my blue rags
On the sun-molded pond
On the moon-enlivened lake
I write your name
On the fields, on the horizon
On the wings of birds
And on the mill of shadows
I write your name
On every burst of dawn
On the sea, on the boats
On the insane mountain
I write your name
On the foam of clouds
On the sweat of the storm
On the rain, thick and insipid
I write your name
On the shimmering shapes
On the colorful bells
On the physical truth
I write your name
On the alert pathways
On the wide-spread roads
On the overflowing places
I write your name
On the lamp that is ignited
On the lamp that is dimmed
On my reunited houses
I write your name
On the fruit cut in two
Of the mirror and of my room
On my bed, an empty shell
I write your name
On my dog, young and greedy
On his pricked-up ears
On his clumsy paw
I write your name
On the springboard of my door
On the familiar objects
On the wave of blessed fire
I write your name
On all harmonious flesh
On the face of my friends
On every out-stretched hand
I write your name
On the window-pane of surprises
On the careful lips
Well-above silence
I write your name
On my destroyed shelter
On my collapsed beacon
On the walls of my weariness
I write your name
On absence without want
On naked solitude
On the steps of death
I write your name
On regained health
On vanished risk
On hope free from memory
I write your name
And by the power of one word
I begin my life again
I am born to know you
To call you by name: Liberty!
|
Written by
Adrienne Rich |
1.
A conversation begins
with a lie.
and each
speaker of the so-called common language feels
the ice-floe split, the drift apart
as if powerless, as if up against
a force of nature
A poem can being
with a lie.
And be torn up.
A conversation has other laws
recharges itself with its own
false energy, Cannot be torn
up.
Infiltrates our blood.
Repeats itself.
Inscribes with its unreturning stylus
the isolation it denies.
2.
The classical music station
playing hour upon hour in the apartment
the picking up and picking up
and again picking up the telephone
The syllables uttering
the old script over and over
The loneliness of the liar
living in the formal network of the lie
twisting the dials to drown the terror
beneath the unsaid word
3.
The technology of silence
The rituals, etiquette
the blurring of terms
silence not absence
of words or music or even
raw sounds
Silence can be a plan
rigorously executed
the blueprint of a life
It is a presence
it has a history a form
Do not confuse it
with any kind of absence
4.
How calm, how inoffensive these words
begin to seem to me
though begun in grief and anger
Can I break through this film of the abstract
without wounding myself or you
there is enough pain here
This is why the classical of the jazz music station plays?
to give a ground of meaning to our pain?
5.
The silence strips bare:
In Dreyer's Passion of Joan
Falconetti's face, hair shorn, a great geography
mutely surveyed by the camera
If there were a poetry where this could happen
not as blank space or as words
stretched like skin over meaningsof a night through which two people
have talked till dawn.
6.
The scream
of an illegitimate voice
It has ceased to hear itself, therefore
it asks itself
How do I exist?
This was the silence I wanted to break in you
I had questions but you would not answer
I had answers but you could not use them
The is useless to you and perhaps to others
7.
It was an old theme even for me:
Language cannot do everything-
chalk it on the walls where the dead poets
lie in their mausoleums
If at the will of the poet the poem
could turn into a thing
a granite flank laid bare, a lifted head
alight with dew
If it could simply look you in the face
with naked eyeballs, not letting you turn
till you, and I who long to make this thing,
were finally clarified together in its stare
8.
No.
Let me have this dust,
these pale clouds dourly lingering, these words
moving with ferocious accuracy
like the blind child's fingers
or the newborn infant's mouth
violent with hunger
No one can give me, I have long ago
taken this method
whether of bran pouring from the loose-woven sack
or of the bunsen-flame turned low and blue
If from time to time I envy
the pure annunciation to the eye
the visio beatifica
if from time to time I long to turn
like the Eleusinian hierophant
holding up a single ear of grain
for the return to the concrete and everlasting world
what in fact I keep choosing
are these words, these whispers, conversations
from which time after time the truth breaks moist and green.
|
Written by
Walt Whitman |
AMERICA always!
Always our own feuillage!
Always Florida’s green peninsula! Always the priceless delta of Louisiana! Always the
cotton-fields of Alabama and Texas!
Always California’s golden hills and hollows—and the silver mountains of New
Mexico!
Always soft-breath’d Cuba!
Always the vast slope drain’d by the Southern Sea—inseparable with the slopes
drain’d
by the Eastern and Western Seas;
The area the eighty-third year of These States—the three and a half millions of
square
miles;
The eighteen thousand miles of sea-coast and bay-coast on the main—the thirty
thousand
miles of
river navigation,
The seven millions of distinct families, and the same number of dwellings—Always
these,
and
more, branching forth into numberless branches;
Always the free range and diversity! always the continent of Democracy!
Always the prairies, pastures, forests, vast cities, travelers, Kanada, the snows;
Always these compact lands—lands tied at the hips with the belt stringing the huge
oval
lakes;
Always the West, with strong native persons—the increasing density there—the
habitans,
friendly, threatening, ironical, scorning invaders;
All sights, South, North, East—all deeds, promiscuously done at all times,
All characters, movements, growths—a few noticed, myriads unnoticed,
Through Mannahatta’s streets I walking, these things gathering;
On interior rivers, by night, in the glare of pine knots, steamboats wooding up;
Sunlight by day on the valley of the Susquehanna, and on the valleys of the Potomac and
Rappahannock, and the valleys of the Roanoke and Delaware;
In their northerly wilds, beasts of prey haunting the Adirondacks, the hills—or
lapping
the
Saginaw waters to drink;
In a lonesome inlet, a sheldrake, lost from the flock, sitting on the water, rocking
silently;
In farmers’ barns, oxen in the stable, their harvest labor done—they rest
standing—they are too tired;
Afar on arctic ice, the she-walrus lying drowsily, while her cubs play around;
The hawk sailing where men have not yet sail’d—the farthest polar sea, ripply,
crystalline, open, beyond the floes;
White drift spooning ahead, where the ship in the tempest dashes;
On solid land, what is done in cities, as the bells all strike midnight together;
In primitive woods, the sounds there also sounding—the howl of the wolf, the scream
of the
panther, and the hoarse bellow of the elk;
In winter beneath the hard blue ice of Moosehead Lake—in summer visible through the
clear
waters, the great trout swimming;
In lower latitudes, in warmer air, in the Carolinas, the large black buzzard floating
slowly,
high
beyond the tree tops,
Below, the red cedar, festoon’d with tylandria—the pines and cypresses, growing
out
of the
white sand that spreads far and flat;
Rude boats descending the big Pedee—climbing plants, parasites, with color’d
flowers
and
berries, enveloping huge trees,
The waving drapery on the live oak, trailing long and low, noiselessly waved by the wind;
The camp of Georgia wagoners, just after dark—the supper-fires, and the cooking and
eating
by
whites and *******,
Thirty or forty great wagons—the mules, cattle, horses, feeding from troughs,
The shadows, gleams, up under the leaves of the old sycamore-trees—the
flames—with
the
black smoke from the pitch-pine, curling and rising;
Southern fishermen fishing—the sounds and inlets of North Carolina’s
coast—the
shad-fishery and the herring-fishery—the large sweep-seines—the windlasses on
shore
work’d by horses—the clearing, curing, and packing-houses;
Deep in the forest, in piney woods, turpentine dropping from the incisions in the
trees—There
are the turpentine works,
There are the ******* at work, in good health—the ground in all directions is
cover’d
with
pine straw:
—In Tennessee and Kentucky, slaves busy in the coalings, at the forge, by the
furnace-blaze, or
at the corn-shucking;
In Virginia, the planter’s son returning after a long absence, joyfully welcom’d
and
kiss’d by the aged mulatto nurse;
On rivers, boatmen safely moor’d at night-fall, in their boats, under shelter of high
banks,
Some of the younger men dance to the sound of the banjo or fiddle—others sit on the
gunwale,
smoking and talking;
Late in the afternoon, the mocking-bird, the American mimic, singing in the Great Dismal
Swamp—there are the greenish waters, the resinous odor, the plenteous moss, the
cypress
tree,
and the juniper tree;
—Northward, young men of Mannahatta—the target company from an excursion
returning
home at
evening—the musket-muzzles all bear bunches of flowers presented by women;
Children at play—or on his father’s lap a young boy fallen asleep, (how his lips
move! how
he smiles in his sleep!)
The scout riding on horseback over the plains west of the Mississippi—he ascends a
knoll
and
sweeps his eye around;
California life—the miner, bearded, dress’d in his rude costume—the stanch
California
friendship—the sweet air—the graves one, in passing, meets, solitary, just
aside the
horsepath;
Down in Texas, the cotton-field, the *****-cabins—drivers driving mules or oxen
before
rude
carts—cotton bales piled on banks and wharves;
Encircling all, vast-darting, up and wide, the American Soul, with equal
hemispheres—one
Love,
one Dilation or Pride;
—In arriere, the peace-talk with the Iroquois, the aborigines—the calumet, the
pipe
of
good-will, arbitration, and indorsement,
The sachem blowing the smoke first toward the sun and then toward the earth,
The drama of the scalp-dance enacted with painted faces and guttural exclamations,
The setting out of the war-party—the long and stealthy march,
The single-file—the swinging hatchets—the surprise and slaughter of enemies;
—All the acts, scenes, ways, persons, attitudes of These States—reminiscences,
all
institutions,
All These States, compact—Every square mile of These States, without excepting a
particle—you also—me also,
Me pleas’d, rambling in lanes and country fields, Paumanok’s fields,
Me, observing the spiral flight of two little yellow butterflies, shuffling between each
other,
ascending high in the air;
The darting swallow, the destroyer of insects—the fall traveler southward, but
returning
northward early in the spring;
The country boy at the close of the day, driving the herd of cows, and shouting to them as
they
loiter to browse by the road-side;
The city wharf—Boston, Philadelphia, Baltimore, Charleston, New Orleans, San
Francisco,
The departing ships, when the sailors heave at the capstan;
—Evening—me in my room—the setting sun,
The setting summer sun shining in my open window, showing the swarm of flies, suspended,
balancing
in the air in the centre of the room, darting athwart, up and down, casting swift shadows
in
specks
on the opposite wall, where the shine is;
The athletic American matron speaking in public to crowds of listeners;
Males, females, immigrants, combinations—the copiousness—the individuality of
The
States,
each for itself—the money-makers;
Factories, machinery, the mechanical forces—the windlass, lever, pulley—All
certainties,
The certainty of space, increase, freedom, futurity,
In space, the sporades, the scatter’d islands, the stars—on the firm earth, the
lands, my
lands;
O lands! all so dear to me—what you are, (whatever it is,) I become a part of that,
whatever it
is;
Southward there, I screaming, with wings slowly flapping, with the myriads of gulls
wintering
along
the coasts of Florida—or in Louisiana, with pelicans breeding;
Otherways, there, atwixt the banks of the Arkansaw, the Rio Grande, the Nueces, the
Brazos, the
Tombigbee, the Red River, the Saskatchawan, or the Osage, I with the spring waters
laughing
and
skipping and running;
Northward, on the sands, on some shallow bay of Paumanok, I, with parties of snowy herons
wading in
the wet to seek worms and aquatic plants;
Retreating, triumphantly twittering, the king-bird, from piercing the crow with its bill,
for
amusement—And I triumphantly twittering;
The migrating flock of wild geese alighting in autumn to refresh themselves—the body
of
the
flock feed—the sentinels outside move around with erect heads watching, and are from
time
to
time reliev’d by other sentinels—And I feeding and taking turns with the rest;
In Kanadian forests, the moose, large as an ox, corner’d by hunters, rising
desperately on
his
hind-feet, and plunging with his fore-feet, the hoofs as sharp as knives—And I,
plunging
at the
hunters, corner’d and desperate;
In the Mannahatta, streets, piers, shipping, store-houses, and the countless workmen
working in
the
shops,
And I too of the Mannahatta, singing thereof—and no less in myself than the whole of
the
Mannahatta in itself,
Singing the song of These, my ever united lands—my body no more inevitably united,
part to
part, and made one identity, any more than my lands are inevitably united, and made ONE
IDENTITY;
Nativities, climates, the grass of the great Pastoral Plains;
Cities, labors, death, animals, products, war, good and evil—these me,
These affording, in all their particulars, endless feuillage to me and to America, how can
I do
less
than pass the clew of the union of them, to afford the like to you?
Whoever you are! how can I but offer you divine leaves, that you also be eligible as I am?
How can I but, as here, chanting, invite you for yourself to collect bouquets of the
incomparable
feuillage of These States?
|
Written by
Marilyn Hacker |
It is the boy in me who's looking out
the window, while someone across the street
mends a pillowcase, clouds shift, the gutter spout
pours rain, someone else lights a cigarette?
(Because he flinched, because he didn't whirl
around, face them, because he didn't hurl
the challenge back—"Fascists?"—not "Faggots"—Swine!
he briefly wonders—if he were a girl .
.
.
)
He writes a line.
He crosses out a line.
I'll never be a man, but there's a boy
crossing out words: the rain, the linen-mender,
are all the homework he will do today.
The absence and the priviledge of gender
confound in him, soprano, clumsy, frail.
Not neuter—neutral human, and unmarked,
the younger brother in the fairy tale
except, boys shouted "Jew!" across the park
at him when he was coming home from school.
The book that he just read, about the war,
the partisans, is less a terrible
and thrilling story, more a warning, more
a code, and he must puzzle out the code.
He has short hair, a red sweatshirt.
They know
something about him—that he should be proud
of? That's shameful if it shows?
That got you killed in 1942.
In his story, do the partisans
have sons? Have grandparents? Is he a Jew
more than he is a boy, who'll be a man
someday? Someone who'll never be a man
looks out the window at the rain he thought
might stop.
He reads the sentence he began.
He writes down something that he crosses out.
|
Written by
Kahlil Gibran |
And a youth said, "Speak to us of Friendship.
"
Your friend is your needs answered.
He is your field which you sow with love and reap with thanksgiving.
And he is your board and your fireside.
For you come to him with your hunger, and you seek him for peace.
When your friend speaks his mind you fear not the "nay" in your own mind, nor do you withhold the "ay.
"
And when he is silent your heart ceases not to listen to his heart;
For without words, in friendship, all thoughts, all desires, all expectations are born and shared, with joy that is unacclaimed.
When you part from your friend, you grieve not;
For that which you love most in him may be clearer in his absence, as the mountain to the climber is clearer from the plain.
And let there be no purpose in friendship save the deepening of the spirit.
For love that seeks aught but the disclosure of its own mystery is not love but a net cast forth: and only the unprofitable is caught.
And let your best be for your friend.
If he must know the ebb of your tide, let him know its flood also.
For what is your friend that you should seek him with hours to kill?
Seek him always with hours to live.
For it is his to fill your need, but not your emptiness.
And in the sweetness of friendship let there be laughter, and sharing of pleasures.
For in the dew of little things the heart finds its morning and is refreshed.
|
Written by
Robert Pinsky |
Dire one and desired one,
Savior, sentencer--
In an old allegory you would carry
A chained alphabet of tokens:
Ankh Badge Cross.
Dragon,
Engraved figure guarding a hallowed intaglio,
Jasper kinema of legendary Mind,
Naked omphalos pierced
By quills of rhyme or sense, torah-like: unborn
Vein of will, xenophile
Yearning out of Zero.
Untrusting I court you.
Wavering
I seek your face, I read
That Crusoe's knife
Reeked of you, that to defile you
The soldier makes the rabbi spit on the torah.
"I'll drown my book" says Shakespeare.
Drowned walker, revenant.
After my mother fell on her head, she became
More than ever your sworn enemy.
She spoke
Sometimes like a poet or critic of forty years later.
Or she spoke of the world as Thersites spoke of the heroes,
"I think they have swallowed one another.
I
Would laugh at that miracle.
"
You also in the laughter, warrior angel:
Your helmet the zodiac, rocket-plumed
Your spear the beggar's finger pointing to the mouth
Your heel planted on the serpent Formulation
Your face a vapor, the wreath of cigarette smoke crowning
Bogart as he winces through it.
You not in the words, not even
Between the words, but a torsion,
A cleavage, a stirring.
You stirring even in the arctic ice,
Even at the dark ocean floor, even
In the cellular flesh of a stone.
Gas.
Gossamer.
My poker friends
Question your presence
In a poem by me, passing the magazine
One to another.
Not the stone and not the words, you
Like a veil over Arthur's headstone,
The passage from Proverbs he chose
While he was too ill to teach
And still well enough to read, I was
Beside the master craftsman
Delighting him day after day, ever
At play in his presence--you
A soothing veil of distraction playing over
Dying Arthur playing in the hospital,
Thumbing the Bible, fuzzy from medication,
Ever courting your presence,
And you the prognosis,
You in the cough.
Gesturer, when is your spur, your cloud?
You in the airport rituals of greeting and parting.
Indicter, who is your claimant?
Bell at the gate.
Spiderweb iron bridge.
Cloak, video, aroma, rue, what is your
Elected silence, where was your seed?
What is Imagination
But your lost child born to give birth to you?
Dire one.
Desired one.
Savior, sentencer--
Absence,
Or presence ever at play:
Let those scorn you who never
Starved in your dearth.
If I
Dare to disparage
Your harp of shadows I taste
Wormwood and motor oil, I pour
Ashes on my head.
You are the wound.
You
Be the medicine.
|
Written by
Edwin Arlington Robinson |
(ALCAICS)
Confused, he found her lavishing feminine
Gold upon clay, and found her inscrutable;
And yet she smiled.
Why, then, should horrors
Be as they were, without end, her playthings?
And why were dead years hungrily telling her
Lies of the dead, who told them again to her?
If now she knew, there might be kindness
Clamoring yet where a faith lay stifled.
A little faith in him, and the ruinous
Past would be for time to annihilate,
And wash out, like a tide that washes
Out of the sand what a child has drawn there.
God, what a shining handful of happiness,
Made out of days and out of eternities,
Were now the pulsing end of patience—
Could he but have what a ghost had stolen!
What was a man before him, or ten of them,
While he was here alive who could answer them,
And in their teeth fling confirmations
Harder than agates against an egg-shell?
But now the man was dead, and would come again
Never, though she might honor ineffably
The flimsy wraith of him she conjured
Out of a dream with his wand of absence.
And if the truth were now but a mummery,
Meriting pride’s implacable irony,
So much the worse for pride.
Moreover,
Save her or fail, there was conscience always.
Meanwhile, a few misgivings of innocence,
Imploring to be sheltered and credited,
Were not amiss when she revealed them.
Whether she struggled or not, he saw them.
Also, he saw that while she was hearing him
Her eyes had more and more of the past in them;
And while he told what cautious honor
Told him was all he had best be sure of,
He wondered once or twice, inadvertently,
Where shifting winds were driving his argosies,
Long anchored and as long unladen,
Over the foam for the golden chances.
“If men were not for killing so carelessly,
And women were for wiser endurances,”
He said, “we might have yet a world here
Fitter for Truth to be seen abroad in;
“If Truth were not so strange in her nakedness,
And we were less forbidden to look at it,
We might not have to look.
” He stared then
Down at the sand where the tide threw forward
Its cold, unconquered lines, that unceasingly
Foamed against hope, and fell.
He was calm enough,
Although he knew he might be silenced
Out of all calm; and the night was coming.
“I climb for you the peak of his infamy
That you may choose your fall if you cling to it.
No more for me unless you say more.
All you have left of a dream defends you:
“The truth may be as evil an augury
As it was needful now for the two of us.
We cannot have the dead between us.
Tell me to go, and I go.
”—She pondered:
“What you believe is right for the two of us
Makes it as right that you are not one of us.
If this be needful truth you tell me,
Spare me, and let me have lies hereafter.
”
She gazed away where shadows were covering
The whole cold ocean’s healing indifference.
No ship was coming.
When the darkness
Fell, she was there, and alone, still gazing.
|
Written by
Larry Levis |
--The Carpathian Frontier, October, 1968
--for my brother
Once, in a foreign country, I was suddenly ill.
I was driving south toward a large city famous
For so little it had a replica, in concrete,
In two-thirds scale, of the Arc de Triomphe stuck
In the midst of traffic, & obstructing it.
But the city was hours away, beyond the hills
Shaped like the bodies of sleeping women.
Often I had to slow down for herds of goats
Or cattle milling on those narrow roads, & for
The narrower, lost, stone streets of villages
I passed through.
The pains in my stomach had grown
Gradually sharper & more frequent as the day
Wore on, & now a fever had set up house.
In the villages there wasn't much point in asking
Anyone for help.
In those places, where tanks
Were bivouacked in shade on their way back
From some routine exercise along
The Danube, even food was scarce that year.
And the languages shifted for no clear reason
From two hard quarries of Slavic into German,
Then to a shred of Latin spliced with oohs
And hisses.
Even when I tried the simplest phrases,
The peasants passing over those uneven stones
Paused just long enough to look up once,
Uncomprehendingly.
Then they turned
Quickly away, vanishing quietly into that
Moment, like bark chips whirled downriver.
It was autumn.
Beyond each village the wind
Threw gusts of yellowing leaves across the road.
The goats I passed were thin, gray; their hind legs,
Caked with dried ****, seesawed along--
Not even mild contempt in their expressionless,
Pale eyes, & their brays like the scraping of metal.
Except for one village that had a kind
Of museum where I stopped to rest, & saw
A dead Scythian soldier under glass,
Turning to dust while holding a small sword
At attention forever, there wasn't much to look at.
Wind, leaves, goats, the higher passes
Locked in stone, the peasants with their fate
Embroidering a stillness into them,
And a spell over all things in that landscape,
Like .
.
.
That was the trouble; it couldn't be
Compared to anything else, not even the sleep
Of some asylum at a wood's edge with the sound
Of a pond's spillway beside it.
But as each cramp
Grew worse & lasted longer than the one before,
It was hard to keep myself aloof from the threadbare
World walking on that road.
After all,
Even as they moved, the peasants, the herds of goats
And cattle, the spiralling leaves, at least were part
Of that spell, that stillness.
After a while,
The villages grew even poorer, then thinned out,
Then vanished entirely.
An hour later,
There were no longer even the goats, only wind,
Then more & more leaves blown over the road, sometimes
Covering it completely for a second.
And yet, except for a random oak or some brush
Writhing out of the ravine I drove beside,
The trees had thinned into rock, into large,
Tough blonde rosettes of fading pasture grass.
Then that gave out in a bare plateau.
.
.
.
And then,
Easing the Dacia down a winding grade
In second gear, rounding a long, funneled curve--
In a complete stillness of yellow leaves filling
A wide field--like something thoughtlessly,
Mistakenly erased, the road simply ended.
I stopped the car.
There was no wind now.
I expected that, & though I was sick & lost,
I wasn't afraid.
I should have been afraid.
To this day I don't know why I wasn't.
I could hear time cease, the field quietly widen.
I could feel the spreading stillness of the place
Moving like something I'd witnessed as a child,
Like the ancient, armored leisure of some reptile
Gliding, gray-yellow, into the slightly tepid,
Unidentical gray-brown stillness of the water--
Something blank & unresponsive in its tough,
Pimpled skin--seen only a moment, then unseen
As it submerged to rest on mud, or glided just
Beneath the lustreless, calm yellow leaves
That clustered along a log, or floated there
In broken ringlets, held by a gray froth
On the opaque, unbroken surface of the pond,
Which reflected nothing, no one.
And then I remembered.
When I was a child, our neighbors would disappear.
And there wasn't a pond of crocodiles at all.
And they hadn't moved.
They couldn't move.
They
Lived in the small, fenced-off backwater
Of a canal.
I'd never seen them alive.
They
Were in still photographs taken on the Ivory Coast.
I saw them only once in a studio when
I was a child in a city I once loved.
I was afraid until our neighbor, a photographer,
Explained it all to me, explained how far
Away they were, how harmless; how they were praised
In rituals as "powers.
" But they had no "powers,"
He said.
The next week he vanished.
I thought
Someone had cast a spell & that the crocodiles
Swam out of the pictures on the wall & grew
Silently & multiplied & then turned into
Shadows resting on the banks of lakes & streams
Or took the shapes of fallen logs in campgrounds
In the mountains.
They ate our neighbor, Mr.
Hirata.
They ate his whole family.
That is what I believed,
Then.
.
.
that someone had cast a spell.
I did not
Know childhood was a spell, or that then there
Had been another spell, too quiet to hear,
Entering my city, entering the dust we ate.
.
.
.
No one knew it then.
No one could see it,
Though it spread through lawnless miles of housing tracts,
And the new, bare, treeless streets; it slipped
Into the vacant rows of warehouses & picked
The padlocked doors of working-class bars
And union halls & shuttered, empty diners.
And how it clung! (forever, if one had noticed)
To the brothel with the pastel tassels on the shade
Of an unlit table lamp.
Farther in, it feasted
On the decaying light of failing shopping centers;
It spilled into the older, tree-lined neighborhoods,
Into warm houses, sealing itself into books
Of bedtime stories read each night by fathers--
The books lying open to the flat, neglected
Light of dawn; & it settled like dust on windowsills
Downtown, filling the smug cafés, schools,
Banks, offices, taverns, gymnasiums, hotels,
Newsstands, courtrooms, opium parlors, Basque
Restaurants, Armenian steam baths,
French bakeries, & two of the florists' shops--
Their plate glass windows smashed forever.
Finally it tried to infiltrate the exact
Center of my city, a small square bordered
With palm trees, olives, cypresses, a square
Where no one gathered, not even thieves or lovers.
It was a place which no longer had any purpose,
But held itself aloof, I thought, the way
A deaf aunt might, from opinions, styles, gossip.
I liked it there.
It was completely lifeless,
Sad & clear in what seemed always a perfect,
Windless noon.
I saw it first as a child,
Looking down at it from that as yet
Unvandalized, makeshift studio.
I remember leaning my right cheek against
A striped beach ball so that Mr.
Hirata--
Who was Japanese, who would be sent the next week
To a place called Manzanar, a detention camp
Hidden in stunted pines almost above
The Sierra timberline--could take my picture.
I remember the way he lovingly relished
Each camera angle, the unwobbling tripod,
The way he checked each aperture against
The light meter, in love with all things
That were not accidental, & I remember
The care he took when focusing; how
He tried two different lens filters before
He found the one appropriate for that
Sensual, late, slow blush of afternoon
Falling through the one broad bay window.
I remember holding still & looking down
Into the square because he asked me to;
Because my mother & father had asked me please
To obey & be patient & allow the man--
Whose business was failing anyway by then--
To work as long as he wished to without any
Irritations or annoyances before
He would have to spend these years, my father said,
Far away, in snow, & without his cameras.
But Mr.
Hirata did not work.
He played.
His toys gleamed there.
That much was clear to me .
.
.
.
That was the day I decided I would never work.
It felt like a conversion.
Play was sacred.
My father waited behind us on a sofa made
From car seats.
One spring kept nosing through.
I remember the camera opening into the light .
.
.
.
And I remember the dark after, the studio closed,
The cameras stolen, slivers of glass from the smashed
Bay window littering the unsanded floors,
And the square below it bathed in sunlight .
.
.
.
All this
Before Mr.
Hirata died, months later,
From complications following pneumonia.
His death, a letter from a camp official said,
Was purely accidental.
I didn't believe it.
Diseases were wise.
Diseases, like the polio
My sister had endured, floating paralyzed
And strapped into her wheelchair all through
That war, seemed too precise.
Like photographs .
.
.
Except disease left nothing.
Disease was like
And equation that drank up light & never ended,
Not even in summer.
Before my fever broke,
And the pains lessened, I could actually see
Myself, in the exact center of that square.
How still it had become in my absence, & how
Immaculate, windless, sunlit.
I could see
The outline of every leaf on the nearest tree,
See it more clearly than ever, more clearly than
I had seen anything before in my whole life:
Against the modest, dark gray, solemn trunk,
The leaves were becoming only what they had to be--
Calm, yellow, things in themselves & nothing
More--& frankly they were nothing in themselves,
Nothing except their little reassurance
Of persisting for a few more days, or returning
The year after, & the year after that, & every
Year following--estranged from us by now--& clear,
So clear not one in a thousand trembled; hushed
And always coming back--steadfast, orderly,
Taciturn, oblivious--until the end of Time.
|