by
Allen Ginsberg
At gauzy dusk, thin haze like cigarette smoke
ribbons past Chrysler Building's silver fins
tapering delicately needletopped, Empire State's
taller antenna filmed milky lit amid blocks
black and white apartmenting veil'd sky over Manhattan,
offices new built dark glassed in blueish heaven--The East
50's & 60's covered with castles & watertowers, seven storied
tar-topped house-banks over York Avenue, late may-green trees
surrounding Rockefellers' blue domed medical arbor--
Geodesic science at the waters edge--Cars running up
East River Drive, & parked at N.Y. Hospital's oval door
where perfect tulips flower the health of a thousand sick souls
trembling inside hospital rooms. Triboro bridge steel-spiked
penthouse orange roofs, sunset tinges the river and in a few
Bronx windows, some magnesium vapor brilliances're
spotted five floors above E 59th St under grey painted bridge
trestles. Way downstream along the river, as Monet saw Thames
100 years ago, Con Edison smokestacks 14th street,
& Brooklyn Bridge's skeined dim in modern mists--
Pipes sticking up to sky nine smokestacks huge visible--
U.N. Building hangs under an orange crane, & red lights on
vertical avenues below the trees turn green at the nod
of a skull with a mild nerve ache. Dim dharma, I return
to this spectacle after weeks of poisoned lassitude, my thighs
belly chest & arms covered with poxied welts,
head pains fading back of the neck, right eyebrow cheek
mouth paralyzed--from taking the wrong medicine, sweated
too much in the forehead helpless, covered my rage from
gorge to prostate with grinding jaw and tightening anus
not released the weeping scream of horror at robot Mayaguez
World self ton billions metal grief unloaded
Pnom Penh to Nakon Thanom, Santiago & Tehran.
Fresh warm breeze in the window, day's release
>from pain, cars float downside the bridge trestle
and uncounted building-wall windows multiplied a mile
deep into ash-delicate sky beguile
my empty mind. A seagull passes alone wings
spread silent over roofs.
- May 20, 1975 Mayaguez Crisis
|
by
Anna Akhmatova
Not under foreign skies
Nor under foreign wings protected -
I shared all this with my own people
There, where misfortune had abandoned us.
[1961]
INSTEAD OF A PREFACE
During the frightening years of the Yezhov terror, I
spent seventeen months waiting in prison queues in
Leningrad. One day, somehow, someone 'picked me out'.
On that occasion there was a woman standing behind me,
her lips blue with cold, who, of course, had never in
her life heard my name. Jolted out of the torpor
characteristic of all of us, she said into my ear
(everyone whispered there) - 'Could one ever describe
this?' And I answered - 'I can.' It was then that
something like a smile slid across what had previously
been just a face.
[The 1st of April in the year 1957. Leningrad]
DEDICATION
Mountains fall before this grief,
A mighty river stops its flow,
But prison doors stay firmly bolted
Shutting off the convict burrows
And an anguish close to death.
Fresh winds softly blow for someone,
Gentle sunsets warm them through; we don't know this,
We are everywhere the same, listening
To the scrape and turn of hateful keys
And the heavy tread of marching soldiers.
Waking early, as if for early mass,
Walking through the capital run wild, gone to seed,
We'd meet - the dead, lifeless; the sun,
Lower every day; the Neva, mistier:
But hope still sings forever in the distance.
The verdict. Immediately a flood of tears,
Followed by a total isolation,
As if a beating heart is painfully ripped out, or,
Thumped, she lies there brutally laid out,
But she still manages to walk, hesitantly, alone.
Where are you, my unwilling friends,
Captives of my two satanic years?
What miracle do you see in a Siberian blizzard?
What shimmering mirage around the circle of the moon?
I send each one of you my salutation, and farewell.
[March 1940]
INTRODUCTION
[PRELUDE]
It happened like this when only the dead
Were smiling, glad of their release,
That Leningrad hung around its prisons
Like a worthless emblem, flapping its piece.
Shrill and sharp, the steam-whistles sang
Short songs of farewell
To the ranks of convicted, demented by suffering,
As they, in regiments, walked along -
Stars of death stood over us
As innocent Russia squirmed
Under the blood-spattered boots and tyres
Of the black marias.
I
You were taken away at dawn. I followed you
As one does when a corpse is being removed.
Children were crying in the darkened house.
A candle flared, illuminating the Mother of God. . .
The cold of an icon was on your lips, a death-cold
sweat
On your brow - I will never forget this; I will gather
To wail with the wives of the murdered streltsy (1)
Inconsolably, beneath the Kremlin towers.
[1935. Autumn. Moscow]
II
Silent flows the river Don
A yellow moon looks quietly on
Swanking about, with cap askew
It sees through the window a shadow of you
Gravely ill, all alone
The moon sees a woman lying at home
Her son is in jail, her husband is dead
Say a prayer for her instead.
III
It isn't me, someone else is suffering. I couldn't.
Not like this. Everything that has happened,
Cover it with a black cloth,
Then let the torches be removed. . .
Night.
IV
Giggling, poking fun, everyone's darling,
The carefree sinner of Tsarskoye Selo (2)
If only you could have foreseen
What life would do with you -
That you would stand, parcel in hand,
Beneath the Crosses (3), three hundredth in
line,
Burning the new year's ice
With your hot tears.
Back and forth the prison poplar sways
With not a sound - how many innocent
Blameless lives are being taken away. . .
[1938]
V
For seventeen months I have been screaming,
Calling you home.
I've thrown myself at the feet of butchers
For you, my son and my horror.
Everything has become muddled forever -
I can no longer distinguish
Who is an animal, who a person, and how long
The wait can be for an execution.
There are now only dusty flowers,
The chinking of the thurible,
Tracks from somewhere into nowhere
And, staring me in the face
And threatening me with swift annihilation,
An enormous star.
[1939]
VI
Weeks fly lightly by. Even so,
I cannot understand what has arisen,
How, my son, into your prison
White nights stare so brilliantly.
Now once more they burn,
Eyes that focus like a hawk,
And, upon your cross, the talk
Is again of death.
[1939. Spring]
VII
THE VERDICT
The word landed with a stony thud
Onto my still-beating breast.
Nevermind, I was prepared,
I will manage with the rest.
I have a lot of work to do today;
I need to slaughter memory,
Turn my living soul to stone
Then teach myself to live again. . .
But how. The hot summer rustles
Like a carnival outside my window;
I have long had this premonition
Of a bright day and a deserted house.
[22 June 1939. Summer. Fontannyi Dom (4)]
VIII
TO DEATH
You will come anyway - so why not now?
I wait for you; things have become too hard.
I have turned out the lights and opened the door
For you, so simple and so wonderful.
Assume whatever shape you wish. Burst in
Like a shell of noxious gas. Creep up on me
Like a practised bandit with a heavy weapon.
Poison me, if you want, with a typhoid exhalation,
Or, with a simple tale prepared by you
(And known by all to the point of nausea), take me
Before the commander of the blue caps and let me
glimpse
The house administrator's terrified white face.
I don't care anymore. The river Yenisey
Swirls on. The Pole star blazes.
The blue sparks of those much-loved eyes
Close over and cover the final horror.
[19 August 1939. Fontannyi Dom]
IX
Madness with its wings
Has covered half my soul
It feeds me fiery wine
And lures me into the abyss.
That's when I understood
While listening to my alien delirium
That I must hand the victory
To it.
However much I nag
However much I beg
It will not let me take
One single thing away:
Not my son's frightening eyes -
A suffering set in stone,
Or prison visiting hours
Or days that end in storms
Nor the sweet coolness of a hand
The anxious shade of lime trees
Nor the light distant sound
Of final comforting words.
[14 May 1940. Fontannyi Dom]
X
CRUCIFIXION
Weep not for me, mother.
I am alive in my grave.
1.
A choir of angels glorified the greatest hour,
The heavens melted into flames.
To his father he said, 'Why hast thou forsaken me!'
But to his mother, 'Weep not for me. . .'
[1940. Fontannyi Dom]
2.
Magdalena smote herself and wept,
The favourite disciple turned to stone,
But there, where the mother stood silent,
Not one person dared to look.
[1943. Tashkent]
EPILOGUE
1.
I have learned how faces fall,
How terror can escape from lowered eyes,
How suffering can etch cruel pages
Of cuneiform-like marks upon the cheeks.
I know how dark or ash-blond strands of hair
Can suddenly turn white. I've learned to recognise
The fading smiles upon submissive lips,
The trembling fear inside a hollow laugh.
That's why I pray not for myself
But all of you who stood there with me
Through fiercest cold and scorching July heat
Under a towering, completely blind red wall.
2.
The hour has come to remember the dead.
I see you, I hear you, I feel you:
The one who resisted the long drag to the open window;
The one who could no longer feel the kick of familiar
soil beneath her feet;
The one who, with a sudden flick of her head, replied,
'I arrive here as if I've come home!'
I'd like to name you all by name, but the list
Has been removed and there is nowhere else to look.
So,
I have woven you this wide shroud out of the humble
words
I overheard you use. Everywhere, forever and always,
I will never forget one single thing. Even in new
grief.
Even if they clamp shut my tormented mouth
Through which one hundred million people scream;
That's how I wish them to remember me when I am dead
On the eve of my remembrance day.
If someone someday in this country
Decides to raise a memorial to me,
I give my consent to this festivity
But only on this condition - do not build it
By the sea where I was born,
I have severed my last ties with the sea;
Nor in the Tsar's Park by the hallowed stump
Where an inconsolable shadow looks for me;
Build it here where I stood for three hundred hours
And no-one slid open the bolt.
Listen, even in blissful death I fear
That I will forget the Black Marias,
Forget how hatefully the door slammed and an old woman
Howled like a wounded beast.
Let the thawing ice flow like tears
From my immovable bronze eyelids
And let the prison dove coo in the distance
While ships sail quietly along the river.
[March 1940. Fontannyi Dom]
FOOTNOTES
1 An elite guard which rose up in rebellion
against Peter the Great in 1698. Most were either
executed or exiled.
2 The imperial summer residence outside St
Petersburg where Ahmatova spent her early years.
3 A prison complex in central Leningrad near the
Finland Station, called The Crosses because of the
shape of two of the buildings.
4 The Leningrad house in which Ahmatova lived.
|
by
Charles Bukowski
George was lying in his trailer, flat on his back, watching a small portable T.V. His
dinner dishes were undone, his breakfast dishes were undone, he needed a shave, and ash
from his rolled cigarettes dropped onto his undershirt. Some of the ash was still burning.
Sometimes the burning ash missed the undershirt and hit his skin, then he cursed, brushing
it away. There was a knock on the trailer door. He got slowly to his feet and answered the
door. It was Constance. She had a fifth of unopened whiskey in a bag.
"George, I left that son of a *****, I couldn't stand that son of a *****
anymore."
"Sit down."
George opened the fifth, got two glasses, filled each a third with whiskey, two thirds
with water. He sat down on the bed with Constance. She took a cigarette out of her purse
and lit it. She was drunk and her hands trembled.
"I took his damn money too. I took his damn money and split while he was at work.
You don't know how I've suffered with that son of a *****." "
Lemme have a smoke," said George. She handed it to him and as she leaned near,
George put his arm around her, pulled her over and kissed her.
"You son of a *****," she said, "I missed you."
"I miss those good legs of yours , Connie. I've really missed those good
legs."
"You still like 'em?"
"I get hot just looking."
"I could never make it with a college guy," said Connie. "They're too
soft, they're milktoast. And he kept his house clean. George , it was like having a maid.
He did it all. The place was spotless. You could eat beef stew right off the crapper. He
was antisceptic, that's what he was."
"Drink up, you'll feel better."
"And he couldn't make love."
"You mean he couldn't get it up?"
"Oh he got it up, he got it up all the time. But he didn't know how to make a
woman happy, you know. He didn't know what to do. All that money, all that education, he
was useless."
"I wish I had a college education."
"You don't need one. You have everything you need, George."
"I'm just a flunkey. All the **** jobs."
"I said you have everything you need, George. You know how to make a woman
happy."
"Yeh?"
"Yes. And you know what else? His mother came around! His mother! Two or three
times a week. And she'd sit there looking at me, pretending to like me but all the time
she was treating me like I was a whore. Like I was a big bad whore stealing her son away
from her! Her precious Wallace! Christ! What a mess!" "He claimed he loved me.
And I'd say, 'Look at my pussy, Walter!' And he wouldn't look at my pussy. He said, 'I
don't want to look at that thing.' That thing! That's what he called it! You're not afraid
of my pussy, are you, George?"
"It's never bit me yet." "But you've bit it, you've nibbled it, haven't
you George?"
"I suppose I have."
"And you've licked it , sucked it?"
"I suppose so."
"You know damn well, George, what you've done."
"How much money did you get?"
"Six hundred dollars."
"I don't like people who rob other people, Connie."
"That's why you're a fucking dishwasher. You're honest. But he's such an ass,
George. And he can afford the money, and I've earned it... him and his mother and his
love, his mother-love, his clean l;ittle wash bowls and toilets and disposal bags and
breath chasers and after shave lotions and his little hard-ons and his precious
love-making. All for himself, you understand, all for himself! You know what a woman
wants, George."
"Thanks for the whiskey, Connie. Lemme have another cigarette."
George filled them up again. "I missed your legs, Connie. I've really missed those
legs. I like the way you wear those high heels. They drive me crazy. These modern women
don't know what they're missing. The high heel shapes the calf, the thigh, the ass; it
puts rythm into the walk. It really turns me on!"
"You talk like a poet, George. Sometimes you talk like that. You are one hell of a
dishwasher."
"You know what I'd really like to do?"
"What?"
"I'd like to whip you with my belt on the legs, the ass, the thighs. I'd like to
make you quiver and cry and then when you're quivering and crying I'd slam it into you
pure love."
"I don't want that, George. You've never talked like that to me before. You've
always done right with me."
"Pull your dress up higher."
"What?"
"Pull your dress up higher, I want to see more of your legs."
"You like my legs, don't you, George?"
"Let the light shine on them!"
Constance hiked her dress.
"God christ ****," said George.
"You like my legs?"
"I love your legs!" Then george reached across the bed and slapped Constance
hard across the face. Her cigarette flipped out of her mouth.
"what'd you do that for?"
"You fucked Walter! You fucked Walter!"
"So what the hell?"
"So pull your dress up higher!"
"No!"
"Do what I say!" George slapped again, harder. Constance hiked her skirt.
"Just up to the panties!" shouted George. "I don't quite want to see the
panties!"
"Christ, george, what's gone wrong with you?"
"You fucked Walter!"
"George, I swear, you've gone crazy. I want to leave. Let me out of here,
George!"
"Don't move or I'll kill you!"
"You'd kill me?"
"I swear it!" George got up and poured himself a shot of straight whiskey,
drank it, and sat down next to Constance. He took the cigarette and held it against her
wrist. She screamed. HE held it there, firmly, then pulled it away.
"I'm a man , baby, understand that?"
"I know you're a man , George."
"Here, look at my muscles!" george sat up and flexed both of his arms.
"Beautiful, eh ,baby? Look at that muscle! Feel it! Feel it!"
Constance felt one of the arms, then the other.
"Yes, you have a beautiful body, George."
"I'm a man. I'm a dishwasher but I'm a man, a real man."
"I know it, George." "I'm not the milkshit you left."
"I know it."
"And I can sing, too. You ought to hear my voice."
Constance sat there. George began to sing. He sang "Old man River." Then he
sang "Nobody knows the trouble I've seen." He sang "The St. Louis
Blues." He sasng "God Bless America," stopping several times and laughing.
Then he sat down next to Constance. He said, "Connie, you have beautiful legs."
He asked for another cigarette. He smoked it, drank two more drinks, then put his head
down on Connie's legs, against the stockings, in her lap, and he said, "Connie, I
guess I'm no good, I guess I'm crazy, I'm sorry I hit you, I'm sorry I burned you with
that cigarette."
Constance sat there. She ran her fingers through George's hair, stroking him, soothing
him. Soon he was asleep. She waited a while longer. Then she lifted his head and placed it
on the pillow, lifted his legs and straightened them out on the bed. She stood up, walked
to the fifth, poured a jolt of good whiskey in to her glass, added a touch of water and
drank it sown. She walked to the trailer door, pulled it open, stepped out, closed it. She
walked through the backyard, opened the fence gate, walked up the alley under the one
o'clock moon. The sky was clear of clouds. The same skyful of clouds was up there. She got
out on the boulevard and walked east and reached the entrance of The Blue Mirror. She
walked in, and there was Walter sitting alone and drunk at the end of the bar. She walked
up and sat down next to him. "Missed me, baby?" she asked. Walter looked up. He
recognized her. He didn't answer. He looked at the bartender and the bartender walked
toward them They all knew eachother.
|
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!
|
by
Gwendolyn Brooks
To be in love
Is to touch with a lighter hand.
In yourself you stretch, you are well.
You look at things
Through his eyes.
A cardinal is red.
A sky is blue.
Suddenly you know he knows too.
He is not there but
You know you are tasting together
The winter, or a light spring weather.
His hand to take your hand is overmuch.
Too much to bear.
You cannot look in his eyes
Because your pulse must not say
What must not be said.
When he
Shuts a door-
Is not there_
Your arms are water.
And you are free
With a ghastly freedom.
You are the beautiful half
Of a golden hurt.
You remember and covet his mouth
To touch, to whisper on.
Oh when to declare
Is certain Death!
Oh when to apprize
Is to mesmerize,
To see fall down, the Column of Gold,
Into the commonest ash.
|
by
Pablo Neruda
I want you to know
one thing.
You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
that sail
toward those isles of yours that wait for me.
Well, now,
if little by little you stop loving me
I shall stop loving you little by little.
If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.
If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
remember
that on that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.
But
if each day,
each hour,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
ah my love, ah my own,
in me all that fire is repeated,
in me nothing is extinguished or forgotten,
my love feeds on your love, beloved,
and as long as you live it will be in your arms
without leaving mine
|
by
T S (Thomas Stearns) Eliot
I
Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
Desiring this man's gift and that man's scope
I no longer strive to strive towards such things
(Why should the agèd eagle stretch its wings?)
Why should I mourn
The vanished power of the usual reign?
Because I do not hope to know
The infirm glory of the positive hour
Because I do not think
Because I know I shall not know
The one veritable transitory power
Because I cannot drink
There, where trees flower, and springs flow, for there is
nothing again
Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessèd face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice
And pray to God to have mercy upon us
And pray that I may forget
These matters that with myself I too much discuss
Too much explain
Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us
Because these wings are no longer wings to fly
But merely vans to beat the air
The air which is now thoroughly small and dry
Smaller and dryer than the will
Teach us to care and not to care Teach us to sit still.
Pray for us sinners now and at the hour of our death
Pray for us now and at the hour of our death.
II
Lady, three white leopards sat under a juniper-tree
In the cool of the day, having fed to sateity
On my legs my heart my liver and that which had been
contained
In the hollow round of my skull. And God said
Shall these bones live? shall these
Bones live? And that which had been contained
In the bones (which were already dry) said chirping:
Because of the goodness of this Lady
And because of her loveliness, and because
She honours the Virgin in meditation,
We shine with brightness. And I who am here dissembled
Proffer my deeds to oblivion, and my love
To the posterity of the desert and the fruit of the gourd.
It is this which recovers
My guts the strings of my eyes and the indigestible portions
Which the leopards reject. The Lady is withdrawn
In a white gown, to contemplation, in a white gown.
Let the whiteness of bones atone to forgetfulness.
There is no life in them. As I am forgotten
And would be forgotten, so I would forget
Thus devoted, concentrated in purpose. And God said
Prophesy to the wind, to the wind only for only
The wind will listen. And the bones sang chirping
With the burden of the grasshopper, saying
Lady of silences
Calm and distressed
Torn and most whole
Rose of memory
Rose of forgetfulness
Exhausted and life-giving
Worried reposeful
The single Rose
Is now the Garden
Where all loves end
Terminate torment
Of love unsatisfied
The greater torment
Of love satisfied
End of the endless
Journey to no end
Conclusion of all that
Is inconclusible
Speech without word and
Word of no speech
Grace to the Mother
For the Garden
Where all love ends.
Under a juniper-tree the bones sang, scattered and shining
We are glad to be scattered, we did little good to each
other,
Under a tree in the cool of day, with the blessing of sand,
Forgetting themselves and each other, united
In the quiet of the desert. This is the land which ye
Shall divide by lot. And neither division nor unity
Matters. This is the land. We have our inheritance.
III
At the first turning of the second stair
I turned and saw below
The same shape twisted on the banister
Under the vapour in the fetid air
Struggling with the devil of the stairs who wears
The deceitul face of hope and of despair.
At the second turning of the second stair
I left them twisting, turning below;
There were no more faces and the stair was dark,
Damp, jaggèd, like an old man's mouth drivelling, beyond
repair,
Or the toothed gullet of an agèd shark.
At the first turning of the third stair
Was a slotted window bellied like the figs's fruit
And beyond the hawthorn blossom and a pasture scene
The broadbacked figure drest in blue and green
Enchanted the maytime with an antique flute.
Blown hair is sweet, brown hair over the mouth blown,
Lilac and brown hair;
Distraction, music of the flute, stops and steps of the mind
over the third stair,
Fading, fading; strength beyond hope and despair
Climbing the third stair.
Lord, I am not worthy
Lord, I am not worthy
but speak the word only.
IV
Who walked between the violet and the violet
Whe walked between
The various ranks of varied green
Going in white and blue, in Mary's colour,
Talking of trivial things
In ignorance and knowledge of eternal dolour
Who moved among the others as they walked,
Who then made strong the fountains and made fresh the springs
Made cool the dry rock and made firm the sand
In blue of larkspur, blue of Mary's colour,
Sovegna vos
Here are the years that walk between, bearing
Away the fiddles and the flutes, restoring
One who moves in the time between sleep and waking, wearing
White light folded, sheathing about her, folded.
The new years walk, restoring
Through a bright cloud of tears, the years, restoring
With a new verse the ancient rhyme. Redeem
The time. Redeem
The unread vision in the higher dream
While jewelled unicorns draw by the gilded hearse.
The silent sister veiled in white and blue
Between the yews, behind the garden god,
Whose flute is breathless, bent her head and signed but spoke
no word
But the fountain sprang up and the bird sang down
Redeem the time, redeem the dream
The token of the word unheard, unspoken
Till the wind shake a thousand whispers from the yew
And after this our exile
V
If the lost word is lost, if the spent word is spent
If the unheard, unspoken
Word is unspoken, unheard;
Still is the unspoken word, the Word unheard,
The Word without a word, the Word within
The world and for the world;
And the light shone in darkness and
Against the Word the unstilled world still whirled
About the centre of the silent Word.
O my people, what have I done unto thee.
Where shall the word be found, where will the word
Resound? Not here, there is not enough silence
Not on the sea or on the islands, not
On the mainland, in the desert or the rain land,
For those who walk in darkness
Both in the day time and in the night time
The right time and the right place are not here
No place of grace for those who avoid the face
No time to rejoice for those who walk among noise and deny
the voice
Will the veiled sister pray for
Those who walk in darkness, who chose thee and oppose thee,
Those who are torn on the horn between season and season,
time and time, between
Hour and hour, word and word, power and power, those who wait
In darkness? Will the veiled sister pray
For children at the gate
Who will not go away and cannot pray:
Pray for those who chose and oppose
O my people, what have I done unto thee.
Will the veiled sister between the slender
Yew trees pray for those who offend her
And are terrified and cannot surrender
And affirm before the world and deny between the rocks
In the last desert before the last blue rocks
The desert in the garden the garden in the desert
Of drouth, spitting from the mouth the withered apple-seed.
O my people.
VI
Although I do not hope to turn again
Although I do not hope
Although I do not hope to turn
Wavering between the profit and the loss
In this brief transit where the dreams cross
The dreamcrossed twilight between birth and dying
(Bless me father) though I do not wish to wish these things
From the wide window towards the granite shore
The white sails still fly seaward, seaward flying
Unbroken wings
And the lost heart stiffens and rejoices
In the lost lilac and the lost sea voices
And the weak spirit quickens to rebel
For the bent golden-rod and the lost sea smell
Quickens to recover
The cry of quail and the whirling plover
And the blind eye creates
The empty forms between the ivory gates
And smell renews the salt savour of the sandy earth
This is the time of tension between dying and birth
The place of solitude where three dreams cross
Between blue rocks
But when the voices shaken from the yew-tree drift away
Let the other yew be shaken and reply.
Blessèd sister, holy mother, spirit of the fountain, spirit
of the garden,
Suffer us not to mock ourselves with falsehood
Teach us to care and not to care
Teach us to sit still
Even among these rocks,
Our peace in His will
And even among these rocks
Sister, mother
And spirit of the river, spirit of the sea,
Suffer me not to be separated
And let my cry come unto Thee.
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by
Sylvia Plath
I have done it again.
One year in every ten
I manage it_____
A sort of walking miracle, my skin
Bright as a Nazi lampshade,
My right foot
A paperweight,
My face featureless, fine
Jew linen.
Peel off the napkin
O my enemy.
Do I terrify?-------
The nose, the eye pits, the full set of teeth?
The sour breath
Will vanish in a day.
Soon, soon the flesh
The grave cave ate will be
At home on me
And I a smiling woman.
I am only thirty.
And like the cat I have nine times to die.
This is Number Three.
What a trash
To annihilate each decade.
What a million filaments.
The Peanut-crunching crowd
Shoves in to see
Them unwrap me hand in foot ------
The big strip tease.
Gentleman , ladies
These are my hands
My knees.
I may be skin and bone,
Nevertheless, I am the same, identical woman.
The first time it happened I was ten.
It was an accident.
The second time I meant
To last it out and not come back at all.
I rocked shut
As a seashell.
They had to call and call
And pick the worms off me like sticky pearls.
Dying
Is an art, like everything else.
I do it exceptionally well.
I do it so it feels like hell.
I do it so it feels real.
I guess you could say I've a call.
It's easy enough to do it in a cell.
It's easy enough to do it and stay put.
It's the theatrical
Comeback in broad day
To the same place, the same face, the same brute
Amused shout:
'A miracle!'
That knocks me out.
There is a charge
For the eyeing my scars, there is a charge
For the hearing of my heart---
It really goes.
And there is a charge, a very large charge
For a word or a touch
Or a bit of blood
Or a piece of my hair on my clothes.
So, so, Herr Doktor.
So, Herr Enemy.
I am your opus,
I am your valuable,
The pure gold baby
That melts to a shriek.
I turn and burn.
Do not think I underestimate your great concern.
Ash, ash---
You poke and stir.
Flesh, bone, there is nothing there----
A cake of soap,
A wedding ring,
A gold filling.
Herr God, Herr Lucifer
Beware
Beware.
Out of the ash
I rise with my red hair
And I eat men like air.
(1962)
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by
Henry Wadsworth Longfellow
Downward through the evening twilight,
In the days that are forgotten,
In the unremembered ages,
From the full moon fell Nokomis,
Fell the beautiful Nokomis,
She a wife, but not a mother.
She was sporting with her women,
Swinging in a swing of grape-vines,
When her rival the rejected,
Full of jealousy and hatred,
Cut the leafy swing asunder,
Cut in twain the twisted grape-vines,
And Nokomis fell affrighted
Downward through the evening twilight,
On the Muskoday, the meadow,
On the prairie full of blossoms.
"See! a star falls!" said the people;
"From the sky a star is falling!"
There among the ferns and mosses,
There among the prairie lilies,
On the Muskoday, the meadow,
In the moonlight and the starlight,
Fair Nokomis bore a daughter.
And she called her name Wenonah,
As the first-born of her daughters.
And the daughter of Nokomis
Grew up like the prairie lilies,
Grew a tall and slender maiden,
With the beauty of the moonlight,
With the beauty of the starlight.
And Nokomis warned her often,
Saying oft, and oft repeating,
"Oh, beware of Mudjekeewis,
Of the West-Wind, Mudjekeewis;
Listen not to what he tells you;
Lie not down upon the meadow,
Stoop not down among the lilies,
Lest the West-Wind come and harm you!"
But she heeded not the warning,
Heeded not those words of wisdom,
And the West-Wind came at evening,
Walking lightly o'er the prairie,
Whispering to the leaves and blossoms,
Bending low the flowers and grasses,
Found the beautiful Wenonah,
Lying there among the lilies,
Wooed her with his words of sweetness,
Wooed her with his soft caresses,
Till she bore a son in sorrow,
Bore a son of love and sorrow.
Thus was born my Hiawatha,
Thus was born the child of wonder;
But the daughter of Nokomis,
Hiawatha's gentle mother,
In her anguish died deserted
By the West-Wind, false and faithless,
By the heartless Mudjekeewis.
For her daughter long and loudly
Wailed and wept the sad Nokomis;
"Oh that I were dead!" she murmured,
"Oh that I were dead, as thou art!
No more work, and no more weeping,
Wahonowin! Wahonowin!"
By the shores of Gitche Gumee,
By the shining Big-Sea-Water,
Stood the wigwam of Nokomis,
Daughter of the Moon, Nokomis.
Dark behind it rose the forest,
Rose the black and gloomy pine-trees,
Rose the firs with cones upon them;
Bright before it beat the water,
Beat the clear and sunny water,
Beat the shining Big-Sea-Water.
There the wrinkled old Nokomis
Nursed the little Hiawatha,
Rocked him in his linden cradle,
Bedded soft in moss and rushes,
Safely bound with reindeer sinews;
Stilled his fretful wail by saying,
"Hush! the Naked Bear will hear thee!"
Lulled him into slumber, singing,
"Ewa-yea! my little owlet!
Who is this, that lights the wigwam?
With his great eyes lights the wigwam?
Ewa-yea! my little owlet!"
Many things Nokomis taught him
Of the stars that shine in heaven;
Showed him Ishkoodah, the comet,
Ishkoodah, with fiery tresses;
Showed the Death-Dance of the spirits,
Warriors with their plumes and war-clubs,
Flaring far away to northward
In the frosty nights of Winter;
Showed the broad white road in heaven,
Pathway of the ghosts, the shadows,
Running straight across the heavens,
Crowded with the ghosts, the shadows.
At the door on summer evenings
Sat the little Hiawatha;
Heard the whispering of the pine-trees,
Heard the lapping of the waters,
Sounds of music, words of wonder;
'Minne-wawa!" said the Pine-trees,
Mudway-aushka!" said the water.
Saw the fire-fly, Wah-wah-taysee,
Flitting through the dusk of evening,
With the twinkle of its candle
Lighting up the brakes and bushes,
And he sang the song of children,
Sang the song Nokomis taught him:
"Wah-wah-taysee, little fire-fly,
Little, flitting, white-fire insect,
Little, dancing, white-fire creature,
Light me with your little candle,
Ere upon my bed I lay me,
Ere in sleep I close my eyelids!"
Saw the moon rise from the water
Rippling, rounding from the water,
Saw the flecks and shadows on it,
Whispered, "What is that, Nokomis?"
And the good Nokomis answered:
"Once a warrior, very angry,
Seized his grandmother, and threw her
Up into the sky at midnight;
Right against the moon he threw her;
'T is her body that you see there."
Saw the rainbow in the heaven,
In the eastern sky, the rainbow,
Whispered, "What is that, Nokomis?"
And the good Nokomis answered:
"'T is the heaven of flowers you see there;
All the wild-flowers of the forest,
All the lilies of the prairie,
When on earth they fade and perish,
Blossom in that heaven above us."
When he heard the owls at midnight,
Hooting, laughing in the forest,
'What is that?" he cried in terror,
"What is that," he said, "Nokomis?"
And the good Nokomis answered:
"That is but the owl and owlet,
Talking in their native language,
Talking, scolding at each other."
Then the little Hiawatha
Learned of every bird its language,
Learned their names and all their secrets,
How they built their nests in Summer,
Where they hid themselves in Winter,
Talked with them whene'er he met them,
Called them "Hiawatha's Chickens."
Of all beasts he learned the language,
Learned their names and all their secrets,
How the beavers built their lodges,
Where the squirrels hid their acorns,
How the reindeer ran so swiftly,
Why the rabbit was so timid,
Talked with them whene'er he met them,
Called them "Hiawatha's Brothers."
Then Iagoo, the great boaster,
He the marvellous story-teller,
He the traveller and the talker,
He the friend of old Nokomis,
Made a bow for Hiawatha;
From a branch of ash he made it,
From an oak-bough made the arrows,
Tipped with flint, and winged with feathers,
And the cord he made of deer-skin.
Then he said to Hiawatha:
"Go, my son, into the forest,
Where the red deer herd together,
Kill for us a famous roebuck,
Kill for us a deer with antlers!"
Forth into the forest straightway
All alone walked Hiawatha
Proudly, with his bow and arrows;
And the birds sang round him, o'er him,
"Do not shoot us, Hiawatha!"
Sang the robin, the Opechee,
Sang the bluebird, the Owaissa,
"Do not shoot us, Hiawatha!"
Up the oak-tree, close beside him,
Sprang the squirrel, Adjidaumo,
In and out among the branches,
Coughed and chattered from the oak-tree,
Laughed, and said between his laughing,
"Do not shoot me, Hiawatha!"
And the rabbit from his pathway
Leaped aside, and at a distance
Sat erect upon his haunches,
Half in fear and half in frolic,
Saying to the little hunter,
"Do not shoot me, Hiawatha!"
But he heeded not, nor heard them,
For his thoughts were with the red deer;
On their tracks his eyes were fastened,
Leading downward to the river,
To the ford across the river,
And as one in slumber walked he.
Hidden in the alder-bushes,
There he waited till the deer came,
Till he saw two antlers lifted,
Saw two eyes look from the thicket,
Saw two nostrils point to windward,
And a deer came down the pathway,
Flecked with leafy light and shadow.
And his heart within him fluttered,
Trembled like the leaves above him,
Like the birch-leaf palpitated,
As the deer came down the pathway.
Then, upon one knee uprising,
Hiawatha aimed an arrow;
Scarce a twig moved with his motion,
Scarce a leaf was stirred or rustled,
But the wary roebuck started,
Stamped with all his hoofs together,
Listened with one foot uplifted,
Leaped as if to meet the arrow;
Ah! the singing, fatal arrow,
Like a wasp it buzzed and stung him!
Dead he lay there in the forest,
By the ford across the river;
Beat his timid heart no longer,
But the heart of Hiawatha
Throbbed and shouted and exulted,
As he bore the red deer homeward,
And Iagoo and Nokomis
Hailed his coming with applauses.
From the red deer's hide Nokomis
Made a cloak for Hiawatha,
From the red deer's flesh Nokomis
Made a banquet to his honor.
All the village came and feasted,
All the guests praised Hiawatha,
Called him Strong-Heart, Soan-ge-taha!
Called him Loon-Heart, Mahn-go-taysee!
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by
A R Ammons
I have a life that did not become,
that turned aside and stopped,
astonished:
I hold it in me like a pregnancy or
as on my lap a child
not to grow old but dwell on
it is to his grave I most
frequently return and return
to ask what is wrong, what was
wrong, to see it all by
the light of a different necessity
but the grave will not heal
and the child,
stirring, must share my grave
with me, an old man having
gotten by on what was left
when I go back to my home country in these
fresh far-away days, it’s convenient to visit
everybody, aunts and uncles, those who used to say,
look how he’s shooting up, and the
trinket aunts who always had a little
something in their pocketbooks, cinnamon bark
or a penny or nickel, and uncles who
were the rumored fathers of cousins
who whispered of them as of great, if
troubled, presences, and school
teachers, just about everybody older
(and some younger) collected in one place
waiting, particularly, but not for
me, mother and father there, too, and others
close, close as burrowing
under skin, all in the graveyard
assembled, done for, the world they
used to wield, have trouble and joy
in, gone
the child in me that could not become
was not ready for others to go,
to go on into change, blessings and
horrors, but stands there by the road
where the mishap occurred, crying out for
help, come and fix this or we
can’t get by, but the great ones who
were to return, they could not or did
not hear and went on in a flurry and
now, I say in the graveyard, here
lies the flurry, now it can’t come
back with help or helpful asides, now
we all buy the bitter
incompletions, pick up the knots of
horror, silently raving, and go on
crashing into empty ends not
completions, not rondures the fullness
has come into and spent itself from
I stand on the stump
of a child, whether myself
or my little brother who died, and
yell as far as I can, I cannot leave this place, for
for me it is the dearest and the worst,
it is life nearest to life which is
life lost: it is my place where
I must stand and fail,
calling attention with tears
to the branches not lofting
boughs into space, to the barren
air that holds the world that was my world
though the incompletions
(& completions) burn out
standing in the flash high-burn
momentary structure of ash, still it
is a picture-book, letter-perfect
Easter morning: I have been for a
walk: the wind is tranquil: the brook
works without flashing in an abundant
tranquility: the birds are lively with
voice: I saw something I had
never seen before: two great birds,
maybe eagles, blackwinged, whitenecked
and –headed, came from the south oaring
the great wings steadily; they went
directly over me, high up, and kept on
due north: but then one bird,
the one behind, veered a little to the
left and the other bird kept on seeming
not to notice for a minute: the first
began to circle as if looking for
something, coasting, resting its wings
on the down side of some of the circles:
the other bird came back and they both
circled, looking perhaps for a draft;
they turned a few more times, possibly
rising—at least, clearly resting—
then flew on falling into distance till
they broke across the local bush and
trees: it was a sight of bountiful
majesty and integrity: the having
patterns and routes, breaking
from them to explore other patterns or
better ways to routes, and then the
return: a dance sacred as the sap in
the trees, permanent in its descriptions
as the ripples round the brook’s
ripplestone: fresh as this particular
flood of burn breaking across us now
from the sun.
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