Written by
John Ashbery |
Something strange is creeping across me.
La Celestina has only to warble the first few bars
Of "I Thought about You" or something mellow from
Amadigi di Gaula for everything--a mint-condition can
Of Rumford's Baking Powder, a celluloid earring, Speedy
Gonzales, the latest from Helen Topping Miller's fertile
Escritoire, a sheaf of suggestive pix on greige, deckle-edged
Stock--to come clattering through the rainbow trellis
Where Pistachio Avenue rams the 2300 block of Highland
Fling Terrace. He promised he'd get me out of this one,
That mean old cartoonist, but just look what he's
Done to me now! I scarce dare approach me mug's attenuated
Reflection in yon hubcap, so jaundiced, so déconfit
Are its lineaments--fun, no doubt, for some quack phrenologist's
Fern-clogged waiting room, but hardly what you'd call
Companionable. But everything is getting choked to the point of
Silence. Just now a magnetic storm hung in the swatch of sky
Over the Fudds' garage, reducing it--drastically--
To the aura of a plumbago-blue log cabin on
A Gadsden Purchase commemorative cover. Suddenly all is
Loathing. I don't want to go back inside any more. You meet
Enough vague people on this emerald traffic-island--no,
Not people, comings and goings, more: mutterings, splatterings,
The bizarrely but effectively equipped infantries of
happy-go-nutty
Vegetal jacqueries, plumed, pointed at the little
White cardboard castle over the mill run. "Up
The lazy river, how happy we could be?"
How will it end? That geranium glow
Over Anaheim's had the riot act read to it by the
Etna-size firecracker that exploded last minute into
A carte du Tendre in whose lower right-hand corner
(Hard by the jock-itch sand-trap that skirts
The asparagus patch of algolagnic nuits blanches) Amadis
Is cozening the Princesse de Cleves into a midnight
micturition spree
On the Tamigi with the Wallets (Walt, Blossom, and little
Sleezix) on a lamé barge "borrowed" from Ollie
Of the Movies' dread mistress of the robes. Wait!
I have an announcement! This wide, tepidly meandering,
Civilized Lethe (one can barely make out the maypoles
And châlets de nécessitê on its sedgy shore)
leads to Tophet, that
Landfill-haunted, not-so-residential resort from which
Some travellers return! This whole moment is the groin
Of a borborygmic giant who even now
Is rolling over on us in his sleep. Farewell bocages,
Tanneries, water-meadows. The allegory comes unsnarled
Too soon; a shower of pecky acajou harpoons is
About all there is to be noted between tornadoes. I have
Only my intermittent life in your thoughts to live
Which is like thinking in another language. Everything
Depends on whether somebody reminds you of me.
That this is a fabulation, and that those "other times"
Are in fact the silences of the soul, picked out in
Diamonds on stygian velvet, matters less than it should.
Prodigies of timing may be arranged to convince them
We live in one dimension, they in ours. While I
Abroad through all the coasts of dark destruction seek
Deliverance for us all, think in that language: its
Grammar, though tortured, offers pavillions
At each new parting of the ways. Pastel
Ambulances scoop up the quick and hie them to hospitals.
"It's all bits and pieces, spangles, patches, really; nothing
Stands alone. What happened to creative evolution?"
Sighed Aglavaine. Then to her Sélysette: "If his
Achievement is only to end up less boring than the others,
What's keeping us here? Why not leave at once?
I have to stay here while they sit in there,
Laugh, drink, have fine time. In my day
One lay under the tough green leaves,
Pretending not to notice how they bled into
The sky's aqua, the wafted-away no-color of regions supposed
Not to concern us. And so we too
Came where the others came: nights of physical endurance,
Or if, by day, our behavior was anarchically
Correct, at least by New Brutalism standards, all then
Grew taciturn by previous agreement. We were spirited
Away en bateau, under cover of fudge dark.
It's not the incomplete importunes, but the spookiness
Of the finished product. True, to ask less were folly, yet
If he is the result of himself, how much the better
For him we ought to be! And how little, finally,
We take this into account! Is the puckered garance satin
Of a case that once held a brace of dueling pistols our
Only acknowledging of that color? I like not this,
Methinks, yet this disappointing sequel to ourselves
Has been applauded in London and St. Petersburg. Somewhere
Ravens pray for us." The storm finished brewing. And thus
She questioned all who came in at the great gate, but none
She found who ever heard of Amadis,
Nor of stern Aureng-Zebe, his first love. Some
They were to whom this mattered not a jot: since all
By definition is completeness (so
In utter darkness they reasoned), why not
Accept it as it pleases to reveal itself? As when
Low skyscrapers from lower-hanging clouds reveal
A turret there, an art-deco escarpment here, and last perhaps
The pattern that may carry the sense, but
Stays hidden in the mysteries of pagination.
Not what we see but how we see it matters; all's
Alike, the same, and we greet him who announces
The change as we would greet the change itself.
All life is but a figment; conversely, the tiny
Tome that slips from your hand is not perhaps the
Missing link in this invisible picnic whose leverage
Shrouds our sense of it. Therefore bivouac we
On this great, blond highway, unimpeded by
Veiled scruples, worn conundrums. Morning is
Impermanent. Grab sex things, swing up
Over the horizon like a boy
On a fishing expedition. No one really knows
Or cares whether this is the whole of which parts
Were vouchsafed--once--but to be ambling on's
The tradition more than the safekeeping of it. This mulch for
Play keeps them interested and busy while the big,
Vaguer stuff can decide what it wants--what maps, what
Model cities, how much waste space. Life, our
Life anyway, is between. We don't mind
Or notice any more that the sky is green, a parrot
One, but have our earnest where it chances on us,
Disingenuous, intrigued, inviting more,
Always invoking the echo, a summer's day.
|
Written by
Donald Hall |
To grow old is to lose everything.
Aging, everybody knows it.
Even when we are young,
we glimpse it sometimes, and nod our heads
when a grandfather dies.
Then we row for years on the midsummer
pond, ignorant and content. But a marriage,
that began without harm, scatters
into debris on the shore,
and a friend from school drops
cold on a rocky strand.
If a new love carries us
past middle age, our wife will die
at her strongest and most beautiful.
New women come and go. All go.
The pretty lover who announces
that she is temporary
is temporary. The bold woman,
middle-aged against our old age,
sinks under an anxiety she cannot withstand.
Another friend of decades estranges himself
in words that pollute thirty years.
Let us stifle under mud at the pond's edge
and affirm that it is fitting
and delicious to lose everything.
|
Written by
Constantine P Cavafy |
The poet Phernazis is composing
the important part of his epic poem.
How Darius, son of Hystaspes,
assumed the kingdom of the Persians. (From him
is descended our glorious king
Mithridates, Dionysus and Eupator). But here
philosophy is needed; he must analyze
the sentiments that Darius must have had:
maybe arrogance and drunkenness; but no -- rather
like an understanding of the vanity of grandeurs.
The poet contemplates the matter deeply.
But he is interrupted by his servant who enters
running, and announces the portendous news.
The war with the Romans has begun.
The bulk of our army has crossed the borders.
The poet is speechless. What a disaster!
No time now for our glorious king
Mithridates, Dionysus and Eupator,
to occupy himself with greek poems.
In the midst of a war -- imagine, greek poems.
Phernazis is impatient. Misfortune!
Just when he was positive that with "Darius"
he would distinguish himself, and shut the mouths
of his critics, the envious ones, for good.
What a delay, what a delay to his plans.
And if it were only a delay, it would still be all right.
But it yet remains to be seen if we have any security
at Amisus. It is not a strongly fortified city.
The Romans are the most horrible enemies.
Can we hold against them
we Cappadocians? It is possible at all?
It is possible to pit ourselves against the legions?
Mighty Gods, protectors of Asia, help us.--
But in all his turmoil and trouble,
the poetic idea too comes and goes persistently--
the most probable, surely, is arrogance and drunkenness;
Darius must have felt arrogance and drunkenness.
|
Written by
Bernadette Geyer |
Train. Distant Train. Praise the glorious distance of Train.
Dogs bark, reply to the mournful echo of Train's whistle. Train looks back, keeps moving. Train carries its boxcars of secrets further and further away (and even further still) from those who profess to love Train, but who do not run after him. Eyes brimmed with glassy reflections of Train.
To watch Train pass is to feel your life as a single low note quiver from the rough pads of your toes to the stooped hunch of your shoulders. To watch Train pass is to feel the vibrato of your first singular thought trilling in your ears, casting inward to slide the escarpment of your throat, until Train shudders the memory in the hollow of your belly.
Train leaves and returns like an abusive lover: the completion of necessary cycles. Machinery joined, unjoined, loud and effusive. Belligerent Train no sooner announces his arrival and is gone again, to another town, another set of rails against which to preen.
Can you feel Train's fist inside you? Can you feel the assault with the strength of ten thousand wishes blown from the head of a dandelion?
Train is gone and not gone. For us, Train is the still-warm track we know does not disappear, but even continues to exist outside our sight range. We trust in the existence of Train, even when we can no longer see him. We believe in Train even when the night's silence fights our ears. We await the coming of Train even when the unbelievers tell us Train is not expected.
We imagine Train's call and response like a cantor and a choir. We pray to Train for the cleansing of our sins.
Train was. Train is. Train shall be evermore. We sit on the tracks. We wait.
|
Written by
Thomas Moore |
My banks are all furnished with rags,
So thick, even Freddy can't thin 'em;
I've torn up my old money-bags,
Having little or nought to put in 'em.
My tradesman are smashing by dozens,
But this is all nothing, they say;
For bankrupts, since Adam, are cousins,
So, it's all in the family way.
My Debt not a penny takes from me,
As sages the matter explain; --
Bob owes it to Tom and then Tommy
Just owes it to Bob back again.
Since all have thus taken to owing,
There's nobody left that can pay;
And this is the way to keep going, --
All quite in the family way.
My senators vote away millions,
To put in Prosperity's budget;
And though it were billions or trillions,
The generous rogues wouldn't grudge it.
'Tis all but a family hop,
'Twas Pitt began dancing the hay;
Hands round! -- why the deuce should we stop?
'Tis all in the family way.
My labourers used to eat mutton,
As any great man of the State does;
And now the poor devils are put on
Small rations of tea and potatoes.
But cheer up John, Sawney and Paddy,
The King is your father, they say;
So ev'n if you starve for your Daddy,
'Tis all in the family way.
My rich manufacturers tumble,
My poor ones have nothing to chew;
And, even if themselves do not grumble,
Their stomachs undoubtedly do.
But coolly to fast en famille,
Is as good for the soul as to pray;
And famine itself is genteel,
When one starves in a family way.
I have found out a secret for Freddy,
A secret for next Budget day;
Though, perhaps he may know it already,
As he, too, 's a sage in his way.
When next for the Treasury scene he
Announces "the Devil to pay",
Let him write on the bills, "Nota bene,
'Tis all in the family way."
|
Written by
Charles Webb |
Its silver clasp looks like a man grasping
his hands above his head in victory;
the latches, like twin hatchbacks headed away.
There are no wheels, just four steel nipples for sliding.
A hexagonal seal announces the defunct
"U.S. Trunk Company." The frame is wood—
big, heavy, cheap—covered with imitation leather,
its blue just slightly darker than Mom's eyes.
"It's beautiful. Much too expensive," she told Dad,
and kissed him. The lining is pink, quilted
acetate. Three sides have pouches with elastic tops—
stretched out now, like old underwear.
I watched Mom pack them with panties and brassieres
when I was so little she didn't blush.
The right front corner has been punctured and crushed.
(I could have choked the baggage handler.)
The handle—blue plastic doorknocker—
is fringed with wrinkled tags from United, Delta,
U.S. Air (which crunched the hole, flying
the suitcase back from Houston). I'd gone there
to see Mom in the "home," and save some boyhood
relics before my sister gave them to Good Will.
"Take mine," Mom said, hearing my suitcase was full.
"I won't need luggage, the next place I go."
|
Written by
Victor Hugo |
("Ho, guerriers! je suis né dans le pays des Gaules.")
{V., March 11, 1825.}
Ho, warriors! I was reared in the land of the Gauls;
O'er the Rhine my ancestors came bounding like balls
Of the snow at the Pole, where, a babe, I was bathed
Ere in bear and in walrus-skin I was enswathed.
Then my father was strong, whom the years lowly bow,—
A bison could wallow in the grooves of his brow.
He is weak, very old—he can scarcely uptear
A young pine-tree for staff since his legs cease to bear;
But here's to replace him!—I can toy with his axe;
As I sit on the hill my feet swing in the flax,
And my knee caps the boulders and troubles the trees.
How they shiver, yea, quake if I happen to sneeze!
I was still but a springald when, cleaving the Alps,
I brushed snowy periwigs off granitic scalps,
And my head, o'er the pinnacles, stopped the fleet clouds,
Where I captured the eagles and caged them by crowds.
There were tempests! I blew them back into their source!
And put out their lightnings! More than once in a course,
Through the ocean I went wading after the whale,
And stirred up the bottom as did never a gale.
Fond of rambling, I hunted the shark 'long the beach,
And no osprey in ether soared out of my reach;
And the bear that I pinched 'twixt my finger and thumb,
Like the lynx and the wolf, perished harmless and dumb.
But these pleasures of childhood have lost all their zest;
It is warfare and carnage that now I love best:
The sounds that I wish to awaken and hear
Are the cheers raised by courage, the shrieks due to fear;
When the riot of flames, ruin, smoke, steel and blood,
Announces an army rolls along as a flood,
Which I follow, to harry the clamorous ranks,
Sharp-goading the laggards and pressing the flanks,
Till, a thresher 'mid ripest of corn, up I stand
With an oak for a flail in my unflagging hand.
Rise the groans! rise the screams! on my feet fall vain tears
As the roar of my laughter redoubles their fears.
I am naked. At armor of steel I should joke—
True, I'm helmed—a brass pot you could draw with ten yoke.
I look for no ladder to invade the king's hall—
I stride o'er the ramparts, and down the walls fall,
Till choked are the ditches with the stones, dead and quick,
Whilst the flagstaff I use 'midst my teeth as a pick.
Oh, when cometh my turn to succumb like my prey,
May brave men my body snatch away from th' array
Of the crows—may they heap on the rocks till they loom
Like a mountain, befitting a colossus' tomb!
Foreign Quarterly Review (adapted)
|
Written by
Charles Simic |
Dismembered angel
In whose heart the earth is still on fire,
The moon still has not been split-off;
Here is the message
Your long night announces:
Everything my eye encompasses this instant:
This fire, the cupped-hand, this window
With trees and miles of snow beyond it,
Even this thought, this poem,
Will be compressed
Into a lump of your sleep
For some other awakening.
|
Written by
Delmore Schwartz |
Caesar, the amplifier voice, announces
Crime and reparation. In the barber shop
Recumbent men attend, while absently
The barber doffs the naked face with cream.
Caesar proposes, Caesar promises
Pride, justice, and the sun
Brilliant and strong on everyone,
Speeding one hundred miles an hour across the land:
Caesar declares the will. The barber firmly
Planes the stubble with a steady hand,
While all in barber chairs reclining,
In wet white faces, fully understand
Good and evil, who is Gentile, weakness and command.
And now who enters quietly? Who is this one
Shy, pale, and quite abstracted? Who is he?
It is the writer merely, with a three-day beard,
His tiredness not evident. He wears no tie.
And now he hears his enemy and trembles,
Resolving, speaks: "Ecoutez! La plupart des hommes
Vivent des vies de desespoir silenciuex,
Victimes des intentions innombrables. Et ca
Cet homme sait bien. Les mots de cette voix sont
Des songes et des mensonges. Il prend choix,
Il prend la volonte, il porte la fin d'ete.
La guerre. Ecoutez-moi! Il porte la mort."
He stands there speaking and they laugh to hear
Rage and excitement from the foreigner.
|
Written by
William Butler Yeats |
He. Dear, I must be gone
While night Shuts the eyes
Of the household spies;
That song announces dawn.
She. No, night's bird and love's
Bids all true lovers rest,
While his loud song reproves
The murderous stealth of day.
He. Daylight already flies
From mountain crest to crest
She. That light is from the moon.
He. That bird...
She. Let him sing on,
I offer to love's play
My dark declivities.
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