Written by
Rafael Guillen |
Not fear.
Maybe, out there somewhere,
the possibility of fear; the wall
that might tumble down, because it's for sure
that behind it is the sea.
Not fear.
Fear has a countenance;
It's external, concrete,
like a rifle, a shot bolt,
a suffering child,
like the darkness that's hidden
in every human mouth.
Not fear.
Maybe only the brand
of the offspring of fear.
It's a narrow, interminable street
with all the windows darkened,
a thread spun out from a sticky hand,
friendly, yes, not a friend.
It's a nightmare
of polite ritual wearing a frightwig.
Not fear.
Fear is a door slammed in your face.
I'm speaking here of a labyrinth
of doors already closed, with assumed
reasons for being, or not being,
for categorizing bad luck
or good, bread, or an expression
— tenderness and panic and frigidity - for the children
growing up.
And the silence.
And the cities, sparkling, empty.
and the mediocrity, like a hot
lava, spewed out over
the grain, and the voice, and the idea.
It's not fear.
The real fear hasn't come yet.
But it will.
It's the doublethink
that believes peace is only another movement.
And I say it with suspicion, at the top of my lungs.
And it's not fear, no.
It's the certainty
that I'm betting, on a single card,
the whole haystack I've piled up,
straw by straw, for my fellow man.
|
Written by
A S J Tessimond |
We being so hidden from those who
Have quietly borne and fed us,
How can we answer civilly
Their innocent invitations?
How can we say "we see you
As but-for-God's-grace-ourselves, as
Our caricatures (we yours), with
Time's telescope between us"?
How can we say "you presumed on
The accident of kinship,
Assumed our friendship coatlike,
Not as a badge one fights for"?
How say "and you remembered
The sins of our outlived selves and
Your own forgiveness, buried
The hatchet to slow music;
Shared money but not your secrets;
Will leave as your final legacy
A box double-locked by the spider
Packed with your unsolved problems"?
How say all this without capitals,
Italics, anger or pathos,
To those who have seen from the womb come
Enemies? How not say it?
|
Written by
Jean Toomer |
Boll-weevil's coming, and the winter's cold,
Made cotton-stalks look rusty, seasons old,
And cotton, scarce as any southern snow,
Was vanishing; the branch, so pinched and slow,
Failed in its function as the autumn rake;
Drouth fighting soil had caused the soil to take
All water from the streams; dead birds were found
In wells a hundred feet below the ground--
Such was the season when the flower bloomed.
Old folks were startled, and it soon assumed
Significance.
Superstition saw
Something it had never seen before:
Brown eyes that loved without a trace of fear,
Beauty so sudden for that time of year.
|
Written by
Rg Gregory |
(a) radical
ban all fires
and places where people congregate
to create comfort
put an end to sleep
good cooking
and the delectation of wine
tear lovers apart
piss on the sun and moon
degut all heavenly harmony
strike out across the bitter ice
and the poisonous marshes
make (if you dare) a better world
(b) expect poison from standing water
(iii)
lake erie
why not as a joke one night
pick up your bed and walk
to washington – sleep
your damned sleep in its streets
so that one bright metallic morning
it can wake up to the stench
and fermentation of flesh
the gutrot of nerves – the blood’s
green effervescence so active
your skin has a job to keep it all in
isn’t that what things with the palsy
are supposed to do – lovely lake
give the world the miracle it waits for
what a laugh that would be
especially if washington lost its temper
and screamed christ lake erie
i don’t even know what to do
with my own garbage
pollution is just one of those things
go on lake erie
do it tonight
(c) drive your cart and your plow over the bones of the dead
(i)
isn't the next one
easter egg
i don't want to live any more in an old way
yes it is
to be a socialist wearing capitalism's cap
a teacher in the shadow of a dead headmaster
a tree using somebody else's old sap
i want to build my future out of new emotions
to seek more than my own in a spring surround
to move amongst people keen to move outwards
putting love and ideas into fresh ground
who will come with me across this border
not anywhere but in the bonds we make
taking the old apart to find new order
living ourselves boldly for each other's sake
then love is
if you ask me today what love is
i should have to name the people i love
and perhaps because it's spring
and i cannot control the knife that's in me
their names would surprise me as much as you
for years i have assumed that love is bloody
a thing locked up in house and a family tree
but suddenly its ache goes out beyond me
and the first love is greater for the new
this year more than any other
the winter has savaged my deepest roots
and the easter sun is banging hard against the window
the arms of my loves are flowering widely
and over the fields a new definition is running
even though the streets we walk cannot be altered
and faces there are that will not understand
we have a sun born of our mutual longings
whose shine is a hard fact - love is a new land
new spartans
i haven't felt this young for twenty years
yesterday i felt twenty years older
then i had the curtains drawn over recluse fears
today the sun comes in and instantly it's colder
must shave and get dressed - i'm being nagged
to shove my suspicions in a corner and get out
what use the sun if being plagued with new life
i can't throw off this centrally-heated doubt
accept people with ice in their brows
are the new spartans - they wait
shall i go with them
indoor delights that slowly breed into lies
need to be dumped out of doors - and paralysis with them
no leave it
there's still one more
the need now
the need now is to chronicle new times
by their own statutes not as ***-ends of the old
ideas stand out bravely against the surrounding grey
seeking their own order in what themselves proclaim
fortresses no longer belong by right to an older day
i want to gather in my hands things i believe in
not to be told that other rules prevail - there is
a treading forward to be done of great excitement
and people to be found who by the old laws
should be little more than dead
this enlightment
is cutting like spring into a bitter winter
and there is this smashing of many concrete shells
a dream with the cheek to be aggressive has assumed
its own flesh and bone and will not put up with sleep
as its prime condition - life out of death is exhumed
it's the other side
is so disappointing
no thanks
leave it for now
(ii)
there follows a brief interlude in honour of mr vasko popa
(the yugoslav poet who in a short visit to this country
has stayed a long time)
and it will not now take place
this game is called x
no one else can play
when the game is over
we have all joined in
those who have not been playing
have to give in an ear
if you don't have an ear
use one of those lying about
left over from the last time
the game wasn't played
this game is not to do with ears
shooting must be done from the heart
x sits in the middle of the ring - he
has gone for a stroll up his left nostril
how can he seize a left-over ear
and drag it under the ground
hands up if you have been shot from the heart
x comes up in the middle of himself
in this way the game is over before
it began and everyone willy-nilly
has had to go home
before he could put a foot outside
(d) enough! – or too much
reading popa
i let fly
too many words
i bang away
at the seed
but can’t break it
hurt i turn to
constructing
castles with cards
if you can’t split
the atom
man stop writing
|
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
Johann Wolfgang von Goethe |
I feel no small reluctance in venturing to give to the public a
work of the character of that indicated by the title-page to the
present volume; for, difficult as it must always be to render satisfactorily
into one's own tongue the writings of the bards of other lands,
the responsibility assumed by the translator is immeasurably increased
when he attempts to transfer the thoughts of those great men, who
have lived for all the world and for all ages, from the language
in which they were originally clothed, to one to which they may
as yet have been strangers.
Preeminently is this the case with Goethe,
the most masterly of all the master minds of modern times, whose
name is already inscribed on the tablets of immortality, and whose
fame already extends over the earth, although as yet only in its
infancy.
Scarcely have two decades passed away since he ceased to
dwell among men, yet he now stands before us, not as a mere individual,
like those whom the world is wont to call great, but as a type,
as an emblem--the recognised emblem and representative of the human
mind in its present stage of culture and advancement.
Among the infinitely varied effusions of Goethe's pen, perhaps
there are none which are of as general interest as his Poems, which
breathe the very spirit of Nature, and embody the real music of
the feelings.
In Germany, they are universally known, and are considered
as the most delightful of his works.
Yet in this country, this kindred
country, sprung from the same stem, and so strongly resembling her
sister in so many points, they are nearly unknown.
Almost the only
poetical work of the greatest Poet that the world has seen for ages,
that is really and generally read in England, is Faust, the translations
of which are almost endless; while no single person has as yet appeared
to attempt to give, in an English dress, in any collective or systematic
manner, those smaller productions of the genius of Goethe which
it is the object of the present volume to lay before the reader,
whose indulgence is requested for its many imperfections.
In addition
to the beauty of the language in which the Poet has given utterance
to his thoughts, there is a depth of meaning in those thoughts which
is not easily discoverable at first sight, and the translator incurs
great risk of overlooking it, and of giving a prosaic effect to
that which in the original contains the very essence of poetry.
It is probably this difficulty that has deterred others from undertaking
the task I have set myself, and in which I do not pretend to do
more than attempt to give an idea of the minstrelsy of one so unrivalled,
by as truthful an interpretation of it as lies in my power.
The principles which have guided me on the present occasion are
the same as those followed in the translation of Schiller's complete
Poems that was published by me in 1851, namely, as literal a rendering
of the original as is consistent with good English, and also a very
strict adherence to the metre of the original.
Although translators
usually allow themselves great license in both these points, it
appears to me that by so doing they of necessity destroy the very
soul of the work they profess to translate.
In fact, it is not a
translation, but a paraphrase that they give.
It may perhaps be
thought that the present translations go almost to the other extreme,
and that a rendering of metre, line for line, and word for word,
makes it impossible to preserve the poetry of the original both
in substance and in sound.
But experience has convinced me that
it is not so, and that great fidelity is even the most essential
element of success, whether in translating poetry or prose.
It was
therefore very satisfactory to me to find that the principle laid
down by me to myself in translating Schiller met with the very general,
if not universal, approval of the reader.
At the same time, I have
endeavoured to profit in the case of this, the younger born of the
two attempts made by me to transplant the muse of Germany to the
shores of Britain, by the criticisms, whether friendly or hostile,
that have been evoked or provoked by the appearance of its elder
brother.
As already mentioned, the latter contained the whole of the Poems
of Schiller.
It is impossible, in anything like the same compass,
to give all the writings of Goethe comprised under the general title
of Gedichte, or poems.
They contain between 30,000 and 40,000 verses,
exclusive of his plays.
and similar works.
Very many of these would
be absolutely without interest to the English reader,--such as those
having only a local application, those addressed to individuals,
and so on.
Others again, from their extreme length, could only be
published in separate volumes.
But the impossibility of giving all
need form no obstacle to giving as much as possible; and it so happens
that the real interest of Goethe's Poems centres in those classes
of them which are not too diffuse to run any risk when translated
of offending the reader by their too great number.
Those by far
the more generally admired are the Songs and Ballads, which are
about 150 in number, and the whole of which are contained in this
volume (with the exception of one or two of the former, which have
been, on consideration, left out by me owing to their trifling and
uninteresting nature).
The same may be said of the Odes, Sonnets,
Miscellaneous Poems, &c.
In addition to those portions of Goethe's poetical works which
are given in this complete form, specimens of the different other
classes of them, such as the Epigrams, Elegies, &c.
, are added,
as well as a collection of the various Songs found in his Plays,
making a total number of about 400 Poems, embraced in the present
volume.
A sketch of the life of Goethe is prefixed, in order that the
reader may have before him both the Poet himself and the Poet's
offspring, and that he may see that the two are but one--that Goethe
lives in his works, that his works lived in him.
The dates of the different Poems are appended throughout, that
of the first publication being given, when that of the composition
is unknown.
The order of arrangement adopted is that of the authorized
German editions.
As Goethe would never arrange them himself in the
chronological order of their composition, it has become impossible
to do so, now that he is dead.
The plan adopted in the present volume
would therefore seem to be the best, as it facilitates reference
to the original.
The circumstances attending or giving rise to the
production of any of the Poems will be found specified in those
cases in which they have been ascertained by me.
Having said thus much by way of explanation, I now leave the book
to speak for itself, and to testify to its own character.
Whether
viewed with a charitable eye by the kindly reader, who will make
due allowance for the difficulties attending its execution, or received
by the critic, who will judge of it only by its own merits, with
the unfriendly welcome which it very probably deserves, I trust
that I shall at least be pardoned for making an attempt, a failure
in which does not necessarily imply disgrace, and which, by leading
the way, may perhaps become the means of inducing some abler and
more worthy (but not more earnest) labourer to enter upon the same
field, the riches of which will remain unaltered and undiminished
in value, even although they may be for the moment tarnished by
the hands of the less skilful workman who first endeavours to transplant
them to a foreign soil.
|
Written by
James Tate |
After the burial
we returned to our units
and assumed our poses.
Our posture was the new posture
and not the old sick posture.
When we left our stations
it was just to prove we could,
not a serious departure
or a search for yet another beginning.
We were done with all that.
We were settled in, as they say,
though it might have been otherwise.
What a story!
After the burial we returned to our units
and here is where I am experiencing
that lag kicking syndrome thing.
My leg, for no apparent reason,
flies around the room kicking stuff,
well, whatever is in its way,
like a screen or a watering can.
Those are just two examples
and indeed I could give many more.
I could construct a catalogue
of the things it kicks,
perhaps I will do that later.
We'll just have to see if it's really wanted.
Or I could do a little now
and then return to listing later.
It kicked the scrimshaw collection,
yes it did.
It kicked the ocelot,
which was rude and uncalled for,
and yes hurtful.
It kicked
the guacamole right out of its bowl,
which made for a grubby
and potentially dangerous workplace.
I was out testing the new speed bump
when it kicked the Viscountess,
which she probably deserved,
and I was happy, needless to say,
to not be a witness.
The kicking subsided for a while,
nobody was keeping track of time
at that time so it is impossible
to fill out the forms accurately.
Suffice it to say we remained
at our units on constant alert.
And then it kicked over the little cow town
we had set up for punching and that sort of thing,
a covered wagon filled with cover girls.
But now it was kicked over
and we had a moment of silence,
but it was clear to me
that many of our minions
were getting tetchy
and some of them were getting tetchier.
And then it kicked a particularly treasured snuff box
which, legend has it, once belonged to somebody
named Bob Mackey, so we were understandably
saddened and returned to our units rather weary.
No one seemed to think I was in the least bit culpable.
It was my leg, of course, that was doing the actual kicking,
of that I am almost certain.
At any rate, we decided to bury it.
After the burial we returned to our units
and assumed our poses.
A little bit of time passed, not much,
and then John's leg started acting suspicious.
It looked like it wanted to kick the replica
of the White House we keep on hand
just for situations such as this.
And then, sure enough, it did.
|
Written by
Erin Belieu |
This hideous,
upholstered in gift-wrap fabric, chromed
in places, design possibility
for the future canned ham.
Its genius
wonderful, circa I993.
I've assumed a great many things:
the perversity of choices, affairs
I did or did not have.
But let the record show
that I was happy.
O let the hideous chair
stand! For the Chinese apothecary
with his roots and fluids;
for Paoul at the bank;
for the young woman in Bailey's Drug,
expert on henna; and Warren Beatty,
tough, sleek stray.
For Fluff and Flo,
drunk at noon, and the Am Vets lady
reading her Vogue, the cholos
on the corner where the 57 bus comes by,
for their gratifying, cool appraisal
and courtly manner when I pass.
Let the seat be comfortable
but let the chair be hideous
and stand against the correct,
hygienic, completely proper
subdued in taxidermied elegance.
Let me have in any future
some hideous thing to love,
here Boston, MA, 8 Farrington Ave.
|
Written by
Russell Edson |
They let me in.
I went right up to the nursery
and climbed into the crib, and assumed the famous
fetal position.
They didn't know what to make of it.
They stood
by the crib looking down at me.
They were young.
This was their house.
Instead
of an infant, a grown man is in the nursery.
Of course they hadn't planned on anything like
this.
It never occurred to them that anything
like this could happen.
I had made my move.
All I could do was to keep
the position, pretending to sleep .
.
.
|
Written by
Carl Sandburg |
(Handbook for Quarreling Lovers)I THOUGHT of offering you apothegms.
I might have said, “Dogs bark and the wind carries it away.
”
I might have said, “He who would make a door of gold must knock a nail in every day.
”
So easy, so easy it would have been to inaugurate a high impetuous moment for you to look on before the final farewells were spoken.
You who assumed the farewells in the manner of people buying newspapers and reading the headlines—and all peddlers of gossip who buttonhole each other and wag their heads saying, “Yes, I heard all about it last Wednesday.
”
I considered several apothegms.
“There is no love but service,” of course, would only initiate a quarrel over who has served and how and when.
“Love stands against fire and flood and much bitterness,” would only initiate a second misunderstanding, and bickerings with lapses of silence.
What is there in the Bible to cover our case, or Shakespere? What poetry can help? Is there any left but Epictetus?
Since you have already chosen to interpret silence for language and silence for despair and silence for contempt and silence for all things but love,
Since you have already chosen to read ashes where God knows there was something else than ashes,
Since silence and ashes are two identical findings for your eyes and there are no apothegms worth handing out like a hung jury’s verdict for a record in our own hearts as well as the community at large,
I can only remember a Russian peasant who told me his grandfather warned him: If you ride too good a horse you will not take the straight road to town.
It will always come back to me in the blur of that hokku: The heart of a woman of thirty is like the red ball of the sun seen through a mist.
Or I will remember the witchery in the eyes of a girl at a barn dance one winter night in Illinois saying: Put off the wedding five times and nobody comes to it.
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