Written by
Sylvia Plath |
Somebody is shooting at something in our town --
A dull pom, pom in the Sunday street.
Jealousy can open the blood,
It can make black roses.
Who are the shooting at?
It is you the knives are out for
At Waterloo, Waterloo, Napoleon,
The hump of Elba on your short back,
And the snow, marshaling its brilliant cutlery
Mass after mass, saying Shh!
Shh! These are chess people you play with,
Still figures of ivory.
The mud squirms with throats,
Stepping stones for French bootsoles.
The gilt and pink domes of Russia melt and float off
In the furnace of greed.
Clouds, clouds.
So the swarm balls and deserts
Seventy feet up, in a black pine tree.
It must be shot down.
Pom! Pom!
So dumb it thinks bullets are thunder.
It thinks they are the voice of God
Condoning the beak, the claw, the grin of the dog
Yellow-haunched, a pack-dog,
Grinning over its bone of ivory
Like the pack, the pack, like everybody.
The bees have got so far.
Seventy feet high!
Russia, Poland and Germany!
The mild hills, the same old magenta
Fields shrunk to a penny
Spun into a river, the river crossed.
The bees argue, in their black ball,
A flying hedgehog, all prickles.
The man with gray hands stands under the honeycomb
Of their dream, the hived station
Where trains, faithful to their steel arcs,
Leave and arrive, and there is no end to the country.
Pom! Pom! They fall
Dismembered, to a tod of ivy.
So much for the charioteers, the outriders, the Grand Army!
A red tatter, Napoleon!
The last badge of victory.
The swarm is knocked into a cocked straw hat.
Elba, Elba, bleb on the sea!
The white busts of marshals, admirals, generals
Worming themselves into niches.
How instructive this is!
The dumb, banded bodies
Walking the plank draped with Mother France's upholstery
Into a new mausoleum,
An ivory palace, a crotch pine.
The man with gray hands smiles --
The smile of a man of business, intensely practical.
They are not hands at all
But asbestos receptacles.
Pom! Pom! 'They would have killed me.
'
Stings big as drawing pins!
It seems bees have a notion of honor,
A black intractable mind.
Napoleon is pleased, he is pleased with everything.
O Europe! O ton of honey!
|
Written by
Andre Breton |
(Translated from the French by Edouard Rodti)
My wife with the hair of a wood fire
With the thoughts of heat lightning
With the waist of an hourglass
With the waist of an otter in the teeth of a tiger
My wife with the lips of a cockade and of a bunch of stars of the last magnitude
With the teeth of tracks of white mice on the white earth
With the tongue of rubbed amber and glass
My wife with the tongue of a stabbed host
With the tongue of a doll that opens and closes its eyes
With the tongue of an unbelievable stone
My wife with the eyelashes of strokes of a child's writing
With brows of the edge of a swallow's nest
My wife with the brow of slates of a hothouse roof
And of steam on the panes
My wife with shoulders of champagne
And of a fountain with dolphin-heads beneath the ice
My wife with wrists of matches
My wife with fingers of luck and ace of hearts
With fingers of mown hay
My wife with armpits of marten and of beechnut
And of Midsummer Night
Of privet and of an angelfish nest
With arms of seafoam and of riverlocks
And of a mingling of the wheat and the mill
My wife with legs of flares
With the movements of clockwork and despair
My wife with calves of eldertree pith
My wife with feet of initials
With feet of rings of keys and Java sparrows drinking
My wife with a neck of unpearled barley
My wife with a throat of the valley of gold
Of a tryst in the very bed of the torrent
With breasts of night
My wife with breasts of a marine molehill
My wife with breasts of the ruby's crucible
With breasts of the rose's spectre beneath the dew
My wife with the belly of an unfolding of the fan of days
With the belly of a gigantic claw
My wife with the back of a bird fleeing vertically
With a back of quicksilver
With a back of light
With a nape of rolled stone and wet chalk
And of the drop of a glass where one has just been drinking
My wife with hips of a skiff
With hips of a chandelier and of arrow-feathers
And of shafts of white peacock plumes
Of an insensible pendulum
My wife with buttocks of sandstone and asbestos
My wife with buttocks of swans' backs
My wife with buttocks of spring
With the sex of an iris
My wife with the sex of a mining-placer and of a platypus
My wife with a sex of seaweed and ancient sweetmeat
My wife with a sex of mirror
My wife with eyes full of tears
With eyes of purple panoply and of a magnetic needle
My wife with savanna eyes
My wife with eyes of water to he drunk in prison
My wife with eyes of wood always under the axe
My wife with eyes of water-level of level of air earth and fire
|
Written by
Robert William Service |
Some carol of the banjo, to its measure keeping time;
Of viol or of lute some make a song.
My battered old accordion, you're worthy of a rhyme,
You've been my friend and comforter so long.
Round half the world I've trotted you, a dozen years or more;
You've given heaps of people lots of fun;
You've set a host of happy feet a-tapping on the floor .
.
.
Alas! your dancing days are nearly done.
I've played you from the palm-belt to the suburbs of the Pole;
From the silver-tipped sierras to the sea.
The gay and gilded cabin and the grimy glory-hole
Have echoed to your impish melody.
I've hushed you in the dug-out when the trench was stiff with dead;
I've lulled you by the coral-laced lagoon;
I've packed you on a camel from the dung-fire on the bled,
To the hell-for-breakfast Mountains of the Moon.
I've ground you to the shanty men, a-whooping heel and toe,
And the hula-hula graces in the glade.
I've swung you in the igloo to the lousy Esquimau,
And the Haussa at a hundred in the shade.
The ****** on the levee, and the Dinka by the Nile
have shuffled to your insolent appeal.
I've rocked with glee the chimpanzee, and mocked the crocodile,
And shocked the pompous penquin and the seal.
I've set the yokels singing in a little Surrey pub,
Apaches swinging in a Belville bar.
I've played an obligato to the tom-tom's rub-a-dub,
And the throb of Andalusian guitar.
From the Horn to Honolulu, from the Cape to Kalamazoo,
From Wick to Wicklow, Samarkand to Spain,
You've roughed it with my kilt-bag like a comrade tried and true.
.
.
.
Old pal! We'll never hit the trail again.
Oh I know you're cheap and vulgar, you're an instrumental crime.
In drawing-rooms you haven't got a show.
You're a musical abortion, you're the voice of grit and grime,
You're the spokesman of the lowly and the low.
You're a democratic devil, you're the darling of the mob;
You're a wheezy, breezy blasted bit of glee.
You're the headache of the high-bow, you're the horror of the snob,
but you're worth your weight in ruddy gold to me.
For you've chided me in weakness and you've cheered me in defeat;
You've been an anodyne in hours of pain;
And when the slugging jolts of life have jarred me off my feet,
You've ragged me back into the ring again.
I'll never go to Heaven, for I know I am not fit,
The golden harps of harmony to swell;
But with asbestos bellows, if the devil will permit,
I'll swing you to the fork-tailed imps of Hell.
Yes, I'll hank you, and I'll spank you,
And I'll everlasting yank you
To the cinder-swinging satellites of Hell.
|
Written by
C K Williams |
The first morning of Three Mile Island: those first disquieting, uncertain,
mystifying hours.
All morning a crew of workmen have been tearing the old decrepit roof
off our building,
and all morning, trying to distract myself, I've been wandering out to
watch them
as they hack away the leaden layers of asbestos paper and disassemble
the disintegrating drains.
After half a night of listening to the news, wondering how to know a
hundred miles downwind
if and when to make a run for it and where, then a coming bolt awake
at seven
when the roofers we've been waiting for since winter sent their ladders
shrieking up our wall,
we still know less than nothing: the utility company continues making
little of the accident,
the slick federal spokesmen still have their evasions in some semblance
of order.
Surely we suspect now we're being lied to, but in the meantime, there
are the roofers,
setting winch-frames, sledging rounds of tar apart, and there I am, on
the curb across, gawking.
I never realized what brutal work it is, how matter-of-factly and harrow-
ingly dangerous.
The ladders flex and quiver, things skid from the edge, the materials are
bulky and recalcitrant.
When the rusty, antique nails are levered out, their heads pull off; the
underroofing crumbles.
Even the battered little furnace, roaring along as patient as a donkey,
chokes and clogs,
a dense, malignant smoke shoots up, and someone has to fiddle with a
cock, then hammer it,
before the gush and stench will deintensify, the dark, Dantean broth
wearily subside.
In its crucible, the stuff looks bland, like licorice, spill it, though, on
your boots or coveralls,
it sears, and everything is permeated with it, the furnace gunked with
burst and half-burst bubbles,
the men themselves so completely slashed and mucked they seem almost
from another realm, like trolls.
When they take their break, they leave their brooms standing at attention
in the asphalt pails,
work gloves clinging like Br'er Rabbit to the bitten shafts, and they slouch
along the precipitous lip,
the enormous sky behind them, the heavy noontime air alive with shim-
mers and mirages.
Sometime in the afternoon I had to go inside: the advent of our vigil was
upon us.
However much we didn't want to, however little we would do about it,
we'd understood:
we were going to perish of all this, if not now, then soon, if not soon,
then someday.
Someday, some final generation, hysterically aswarm beneath an at-
mosphere as unrelenting as rock,
would rue us all, anathematize our earthly comforts, curse our surfeits
and submissions.
I think I know, though I might rather not, why my roofers stay so clear
to me and why the rest,
the terror of that time, the reflexive disbelief and distancing, all we should
hold on to, dims so.
I remember the president in his absurd protective booties, looking
absolutely unafraid, the fool.
I remember a woman on the front page glaring across the misty Sus-
quehanna at those looming stacks.
But, more vividly, the men, silvered with glitter from the shingles, cling-
ing like starlings beneath the eaves.
Even the leftover carats of tar in the gutter, so black they seemed to suck
the light out of the air.
By nightfall kids had come across them: every sidewalk on the block was
scribbled with obscenities and hearts.
|
Written by
Philip Levine |
Filaments of light
slant like windswept rain.
The orange seller hawks
into the sky, a man with a hat
stops below my window
and shakes his tassels.
Awake
in Tetuan, the room filling
with the first colors, and water running
in a tub.
*
A row of sparkling carp
iced in the new sun, odor
of first love, of childhood,
the fingers held to the nose,
or hours while the clock hummed.
The fat woman in the orange smock
places tiny greens at mouth
and tail as though she remembered
or yearned instead for forests, deep floors
of needles, and the hushed breath.
*
Blue nosed cannisters
as fat as barrels silently
slipping by.
"Nitro," he says.
On the roof he shows me
where Reuban lay down
to ****-off and never woke.
"We're takin little whiffs
all the time.
"
Slivers
of glass work their way
through the canvas gloves
and burn.
Lifting my black glasses
in the chemical light, I stop
to squeeze one out and the asbestos
glows like a hand in moonlight
or a face in dreams.
*
Pinpoints of blue
along the arms, light rushing
down across the breasts
missing the dry shadows
under them.
She stretches
and rises on her knees
and smiles and far down
to the sudden embroidery of curls
the belly smiles
that three times stretched slowly moonward
in a hill of child.
*
Sun through the cracked glass,
bartender at the cave end
peeling a hard-boiled egg.
Four
in the afternoon,
the dogs asleep, the river
must bridge seven parched flats
to Cordoba by nightfall.
It will never make it.
I will
never make it.
Like the old man
in gray corduroy asleep
under the stifled fan, I have
no more moves,
stranded on an empty board.
*
From the high hill
behind Ford Rouge, we could see
the ore boats pulling
down river, the rail yards,
and the smoking mountain.
East, the city spreading
toward St.
Clair, miles of houses,
factories, shops burning
in the still white snow.
"Share this with your brother,"
he said, and it was always winter
and a dark snow.
|
Written by
Anne Sexton |
I am in a crate, the crate that was ours,
full of white shirts and salad greens,
the icebox knocking at our delectable knocks,
and I wore movies in my eyes,
and you wore eggs in your tunnel,
and we played sheets, sheets, sheets
all day, even in the bathtub like lunatics.
But today I set the bed afire
and smoke is filling the room,
it is getting hot enough for the walls to melt,
and the icebox, a gluey white tooth.
I have on a mask in order to write my last words,
and they are just for you, and I will place them
in the icebox saved for vodka and tomatoes,
and perhaps they will last.
The dog will not.
Her spots will fall off.
The old letters will melt into a black bee.
The night gowns are already shredding
into paper, the yellow, the red, the purple.
The bed -- well, the sheets have turned to gold --
hard, hard gold, and the mattress
is being kissed into a stone.
As for me, my dearest Foxxy,
my poems to you may or may not reach the icebox
and its hopeful eternity,
for isn't yours enough?
The one where you name
my name right out in P.
R.
?
If my toes weren't yielding to pitch
I'd tell the whole story --
not just the sheet story
but the belly-button story,
the pried-eyelid story,
the whiskey-sour-of-the-nipple story --
and shovel back our love where it belonged.
Despite my asbestos gloves,
the cough is filling me with black and a red powder seeps through my
veins,
our little crate goes down so publicly
and without meaning it, you see, meaning a solo act,
a cremation of the love,
but instead we seem to be going down right in the middle of a Russian
street,
the flames making the sound of
the horse being beaten and beaten,
the whip is adoring its human triumph
while the flies wait, blow by blow,
straight from United Fruit, Inc.
|
Written by
Paul Muldoon |
Two Workmen were carrying a sheet of asbestos
down the main street of Dingle;
it must have been nailed, at a slight angle,
to the same-sized gap between Brandon
and whichever's the next mountain.
Nine o'clock.
We watched the village dogs
take turns to spritz the hotel's refuse-sacks.
I remembered Tralee's unbiodegradable flags
from the time of the hunger-strikes.
We drove all day past mounds of sugar-beet,
hay-stacks, silage-pits, building-sites,
a thatched cottage even—
all of them draped in black polythene
and weighted against the north-east wind
by concrete blocks, old tyres; bags of sand
at a makeshift army post
across the border.
By the time we got to Belfast
the whole of Ireland would be under wraps
like, as I said, 'one of your man's landscapes'.
'Your man's? You don't mean Christo's?'
|
Written by
Ambrose Bierce |
Once I dipt into the future far as human eye could see,
And I saw the Chief Forecaster, dead as any one can be--
Dead and damned and shut in Hades as a liar from his birth,
With a record of unreason seldome paralleled on earth.
While I looked he reared him solemnly, that incandescent youth,
From the coals that he'd preferred to the advantages of truth.
He cast his eyes about him and above him; then he wrote
On a slab of thin asbestos what I venture here to quote--
For I read it in the rose-light of the everlasting glow:
"Cloudy; variable winds, with local showers; cooler; snow.
"
|
Written by
Philip Levine |
3-foot blue cannisters of nitro
along a conveyor belt, slow fish
speaking the language of silence.
On the roof, I in my respirator
patching the asbestos gas lines
as big around as the thick waist
of an oak tree.
"These here are
the veins of the place, stuff
inside's the blood.
" We work in rain,
heat, snow, sleet.
First warm
spring winds up from Ohio, I
pause at the top of the ladder
to take in the wide world reaching
downriver and beyond.
Sunlight
dumped on standing and moving
lines of freight cars, new fields
of bright weeds blowing, scoured
valleys, false mountains of coke
and slag.
At the ends of sight
a rolling mass of clouds as dark
as money brings the weather in.
|