Written by
James Tate |
Some people go their whole lives
without ever writing a single poem.
Extraordinary people who don't hesitate
to cut somebody's heart or skull open.
They go to baseball games with the greatest of ease.
and play a few rounds of golf as if it were nothing.
These same people stroll into a church
as if that were a natural part of life.
Investing money is second nature to them.
They contribute to political campaigns
that have absolutely no poetry in them
and promise none for the future.
They sit around the dinner table at night
and pretend as though nothing is missing.
Their children get caught shoplifting at the mall
and no one admits that it is poetry they are missing.
The family dog howls all night,
lonely and starving for more poetry in his life.
Why is it so difficult for them to see
that, without poetry, their lives are effluvial.
Sure, they have their banquets, their celebrations,
croquet, fox hunts, their sea shores and sunsets,
their cocktails on the balcony, dog races,
and all that kissing and hugging, and don't
forget the good deeds, the charity work,
nursing the baby squirrels all through the night,
filling the birdfeeders all winter,
helping the stranger change her tire.
Still, there's that disagreeable exhalation
from decaying matter, subtle but everpresent.
They walk around erect like champions.
They are smooth-spoken and witty.
When alone, rare occasion, they stare
into the mirror for hours, bewildered.
There was something they meant to say, but didn't:
"And if we put the statue of the rhinoceros
next to the tweezers, and walk around the room three times,
learn to yodel, shave our heads, call
our ancestors back from the dead--"
poetrywise it's still a bust, bankrupt.
You haven't scribbled a syllable of it.
You're a nowhere man misfiring
the very essence of your life, flustering
nothing from nothing and back again.
The hereafter may not last all that long.
Radiant childhood sweetheart,
secret code of everlasting joy and sorrow,
fanciful pen strokes beneath the eyelids:
all day, all night meditation, knot of hope,
kernel of desire, pure ordinariness of life
seeking, through poetry, a benediction
or a bed to lie down on, to connect, reveal,
explore, to imbue meaning on the day's extravagant labor.
And yet it's cruel to expect too much.
It's a rare species of bird
that refuses to be categorized.
Its song is barely audible.
It is like a dragonfly in a dream--
here, then there, then here again,
low-flying amber-wing darting upward
then out of sight.
And the dream has a pain in its heart
the wonders of which are manifold,
or so the story is told.
|
Written by
Robert Pinsky |
to Robert Hass and in memory of Elliot Gilbert
Slow dulcimer, gavotte and bow, in autumn,
Bashõ and his friends go out to view the moon;
In summer, gasoline rainbow in the gutter,
The secret courtesy that courses like ichor
Through the old form of the rude, full-scale joke,
Impossible to tell in writing. "Bashõ"
He named himself, "Banana Tree": banana
After the plant some grateful students gave him,
Maybe in appreciation of his guidance
Threading a long night through the rules and channels
Of their collaborative linking-poem
Scored in their teacher's heart: live, rigid, fluid
Like passages etched in a microscopic cicuit.
Elliot had in his memory so many jokes
They seemed to breed like microbes in a culture
Inside his brain, one so much making another
It was impossible to tell them all:
In the court-culture of jokes, a top banana.
Imagine a court of one: the queen a young mother,
Unhappy, alone all day with her firstborn child
And her new baby in a squalid apartment
Of too few rooms, a different race from her neighbors.
She tells the child she's going to kill herself.
She broods, she rages. Hoping to distract her,
The child cuts capers, he sings, he does imitations
Of different people in the building, he jokes,
He feels if he keeps her alive until the father
Gets home from work, they'll be okay till morning.
It's laughter versus the bedroom and the pills.
What is he in his efforts but a courtier?
Impossible to tell his whole delusion.
In the first months when I had moved back East
From California and had to leave a message
On Bob's machine, I used to make a habit
Of telling the tape a joke; and part-way through,
I would pretend that I forgot the punchline,
Or make believe that I was interrupted--
As though he'd be so eager to hear the end
He'd have to call me back. The joke was Elliot's,
More often than not. The doctors made the blunder
That killed him some time later that same year.
One day when I got home I found a message
On my machine from Bob. He had a story
About two rabbis, one of them tall, one short,
One day while walking along the street together
They see the corpse of a Chinese man before them,
And Bob said, sorry, he forgot the rest.
Of course he thought that his joke was a dummy,
Impossible to tell--a dead-end challenge.
But here it is, as Elliot told it to me:
The dead man's widow came to the rabbis weeping,
Begging them, if they could, to resurrect him.
Shocked, the tall rabbi said absolutely not.
But the short rabbi told her to bring the body
Into the study house, and ordered the shutters
Closed so the room was night-dark. Then he prayed
Over the body, chanting a secret blessing
Out of Kabala. "Arise and breathe," he shouted;
But nothing happened. The body lay still. So then
The little rabbi called for hundreds of candles
And danced around the body, chanting and praying
In Hebrew, then Yiddish, then Aramaic. He prayed
In Turkish and Egyptian and Old Galician
For nearly three hours, leaping about the coffin
In the candlelight so that his tiny black shoes
Seemed not to touch the floor. With one last prayer
Sobbed in the Spanish of before the Inquisition
He stopped, exhausted, and looked in the dead man's face.
Panting, he raised both arms in a mystic gesture
And said, "Arise and breathe!" And still the body
Lay as before. Impossible to tell
In words how Elliot's eyebrows flailed and snorted
Like shaggy mammoths as--the Chinese widow
Granting permission--the little rabbi sang
The blessing for performing a circumcision
And removed the dead man's foreskin, chanting blessings
In Finnish and Swahili, and bathed the corpse
From head to foot, and with a final prayer
In Babylonian, gasping with exhaustion,
He seized the dead man's head and kissed the lips
And dropped it again and leaping back commanded,
"Arise and breathe!" The corpse lay still as ever.
At this, as when Bashõ's disciples wind
Along the curving spine that links the renga
Across the different voices, each one adding
A transformation according to the rules
Of stasis and repetition, all in order
And yet impossible to tell beforehand,
Elliot changes for the punchline: the wee
Rabbi, still panting, like a startled boxer,
Looks at the dead one, then up at all those watching,
A kind of Mel Brooks gesture: "Hoo boy!" he says,
"Now that's what I call really dead." O mortal
Powers and princes of earth, and you immortal
Lords of the underground and afterlife,
Jehovah, Raa, Bol-Morah, Hecate, Pluto,
What has a brilliant, living soul to do with
Your harps and fires and boats, your bric-a-brac
And troughs of smoking blood? Provincial stinkers,
Our languages don't touch you, you're like that mother
Whose small child entertained her to beg her life.
Possibly he grew up to be the tall rabbi,
The one who washed his hands of all those capers
Right at the outset. Or maybe he became
The author of these lines, a one-man renga
The one for whom it seems to be impossible
To tell a story straight. It was a routine
Procedure. When it was finished the physicians
Told Sandra and the kids it had succeeded,
But Elliot wouldn't wake up for maybe an hour,
They should go eat. The two of them loved to bicker
In a way that on his side went back to Yiddish,
On Sandra's to some Sicilian dialect.
He used to scold her endlessly for smoking.
When she got back from dinner with their children
The doctors had to tell them about the mistake.
Oh swirling petals, falling leaves! The movement
Of linking renga coursing from moment to moment
Is meaning, Bob says in his Haiku book.
Oh swirling petals, all living things are contingent,
Falling leaves, and transient, and they suffer.
But the Universal is the goal of jokes,
Especially certain ethnic jokes, which taper
Down through the swirling funnel of tongues and gestures
Toward their preposterous Ithaca. There's one
A journalist told me. He heard it while a hero
Of the South African freedom movement was speaking
To elderly Jews. The speaker's own right arm
Had been blown off by right-wing letter-bombers.
He told his listeners they had to cast their ballots
For the ANC--a group the old Jews feared
As "in with the Arabs." But they started weeping
As the old one-armed fighter told them their country
Needed them to vote for what was right, their vote
Could make a country their children could return to
From London and Chicago. The moved old people
Applauded wildly, and the speaker's friend
Whispered to the journalist, "It's the Belgian Army
Joke come to life." I wish I could tell it
To Elliot. In the Belgian Army, the feud
Between the Flemings and Walloons grew vicious,
So out of hand the army could barely function.
Finally one commander assembled his men
In one great room, to deal with things directly.
They stood before him at attention. "All Flemings,"
He ordered, "to the left wall." Half the men
Clustered to the left. "Now all Walloons," he ordered,
"Move to the right." An equal number crowded
Against the right wall. Only one man remained
At attention in the middle: "What are you, soldier?"
Saluting, the man said, "Sir, I am a Belgian."
"Why, that's astonishing, Corporal--what's your name?"
Saluting again, "Rabinowitz," he answered:
A joke that seems at first to be a story
About the Jews. But as the renga describes
Religious meaning by moving in drifting petals
And brittle leaves that touch and die and suffer
The changing winds that riffle the gutter swirl,
So in the joke, just under the raucous music
Of Fleming, Jew, Walloon, a courtly allegiance
Moves to the dulcimer, gavotte and bow,
Over the banana tree the moon in autumn--
Allegiance to a state impossible to tell.
|
Written by
Henry David Thoreau |
I think awhile of Love, and while I think,
Love is to me a world,
Sole meat and sweetest drink,
And close connecting link
Tween heaven and earth.
I only know it is, not how or why,
My greatest happiness;
However hard I try,
Not if I were to die,
Can I explain.
I fain would ask my friend how it can be,
But when the time arrives,
Then Love is more lovely
Than anything to me,
And so I'm dumb.
For if the truth were known, Love cannot speak,
But only thinks and does;
Though surely out 'twill leak
Without the help of Greek,
Or any tongue.
A man may love the truth and practise it,
Beauty he may admire,
And goodness not omit,
As much as may befit
To reverence.
But only when these three together meet,
As they always incline,
And make one soul the seat,
And favorite retreat,
Of loveliness;
When under kindred shape, like loves and hates
And a kindred nature,
Proclaim us to be mates,
Exposed to equal fates
Eternally;
And each may other help, and service do,
Drawing Love's bands more tight,
Service he ne'er shall rue
While one and one make two,
And two are one;
In such case only doth man fully prove
Fully as man can do,
What power there is in Love
His inmost soul to move
Resistlessly.
________________________________
Two sturdy oaks I mean, which side by side,
Withstand the winter's storm,
And spite of wind and tide,
Grow up the meadow's pride,
For both are strong
Above they barely touch, but undermined
Down to their deepest source,
Admiring you shall find
Their roots are intertwined
Insep'rably.
|
Written by
Robinson Jeffers |
I. Reference to a Passage in Plutarch's Life of Sulla
The people buying and selling, consuming pleasures, talking in the archways,
Were all suddenly struck quiet
And ran from under stone to look up at the sky: so shrill and mournful,
So fierce and final, a brazen
Pealing of trumpets high up in the air, in the summer blue over Tuscany.
They marvelled; the soothsayers answered:
"Although the Gods are little troubled toward men, at the end of each period
A sign is declared in heaven
Indicating new times, new customs, a changed people; the Romans
Rule, and Etruria is finished;
A wise mariner will trim the sails to the wind."
I heard yesterday
So shrill and mournful a trumpet-blast,
It was hard to be wise.... You must eat change and endure; not be much troubled
For the people; they will have their happiness.
When the republic grows too heavy to endure, then Caesar will carry It;
When life grows hateful, there's power ...
II. To the Children
Power's good; life is not always good but power's good.
So you must think when abundance
Makes pawns of people and all the loaves are one dough.
The steep singleness of passion
Dies; they will say, "What was that?" but the power triumphs.
Loveliness will live under glass
And beauty will go savage in the secret mountains.
There is beauty in power also.
You children must widen your minds' eyes to take mountains
Instead of faces, and millions
Instead of persons; not to hate life; and massed power
After the lone hawk's dead.
III
That light blood-loving weasel, a tongue of yellow
Fire licking the sides of the gray stones,
Has a more passionate and more pure heart
In the snake-slender flanks than man can imagine;
But he is betrayed by his own courage,
The man who kills him is like a cloud hiding a star.
Then praise the jewel-eyed hawk and the tall blue heron;
The black cormorants that fatten their sea-rock
With shining slime; even that ruiner of anthills
The red-shafted woodpecker flying,
A white star between blood-color wing-clouds,
Across the glades of the wood and the green lakes of shade.
These live their felt natures; they know their norm
And live it to the brim; they understand life.
While men moulding themselves to the anthill have choked
Their natures until the souls the in them;
They have sold themselves for toys and protection:
No, but consider awhile: what else? Men sold for toys.
Uneasy and fractional people, having no center
But in the eyes and mouths that surround them,
Having no function but to serve and support
Civilization, the enemy of man,
No wonder they live insanely, and desire
With their tongues, progress; with their eyes, pleasure; with their hearts, death.
Their ancestors were good hunters, good herdsmen and swordsman,
But now the world is turned upside down;
The good do evil, the hope's in criminals; in vice
That dissolves the cities and war to destroy them.
Through wars and corruptions the house will fall.
Mourn whom it falls on. Be glad: the house is mined, it will fall.
IV
Rain, hail and brutal sun, the plow in the roots,
The pitiless pruning-iron in the branches,
Strengthen the vines, they are all feeding friends
Or powerless foes until the grapes purple.
But when you have ripened your berries it is time to begin to perish.
The world sickens with change, rain becomes poison,
The earth is a pit, it Is time to perish.
The vines are fey, the very kindness of nature
Corrupts what her cruelty before strengthened.
When you stand on the peak of time it is time to begin to perish.
Reach down the long morbid roots that forget the plow,
Discover the depths; let the long pale tendrils
Spend all to discover the sky, now nothing is good
But only the steel mirrors of discovery . . .
And the beautiful enormous dawns of time, after we perish.
V
Mourning the broken balance, the hopeless prostration of the earth
Under men's hands and their minds,
The beautiful places killed like rabbits to make a city,
The spreading fungus, the slime-threads
And spores; my own coast's obscene future: I remember the farther
Future, and the last man dying
Without succession under the confident eyes of the stars.
It was only a moment's accident,
The race that plagued us; the world resumes the old lonely immortal
Splendor; from here I can even
Perceive that that snuffed candle had something . . . a fantastic virtue,
A faint and unshapely pathos . . .
So death will flatter them at last: what, even the bald ape's by-shot
Was moderately admirable?
VI. Palinode
All summer neither rain nor wave washes the cormorants'
Perch, and their droppings have painted it shining white.
If the excrement of fish-eaters makes the brown rock a snow-mountain
At noon, a rose in the morning, a beacon at moonrise
On the black water: it is barely possible that even men's present
Lives are something; their arts and sciences (by moonlight)
Not wholly ridiculous, nor their cities merely an offense.
VII
Under my windows, between the road and the sea-cliff, bitter wild grass
Stands narrowed between the people and the storm.
The ocean winter after winter gnaws at its earth, the wheels and the feet
Summer after summer encroach and destroy.
Stubborn green life, for the cliff-eater I cannot comfort you, ignorant which color,
Gray-blue or pale-green, will please the late stars;
But laugh at the other, your seed shall enjoy wonderful vengeances and suck
The arteries and walk in triumph on the faces.
|
Written by
Edward Taylor |
Some people go their whole lives
without ever writing a single poem.
Extraordinary people who don't hesitate
to cut somebody's heart or skull open.
They go to baseball games with the greatest of ease.
and play a few rounds of golf as if it were nothing.
These same people stroll into a church
as if that were a natural part of life.
Investing money is second nature to them.
They contribute to political campaigns
that have absolutely no poetry in them
and promise none for the future.
They sit around the dinner table at night
and pretend as though nothing is missing.
Their children get caught shoplifting at the mall
and no one admits that it is poetry they are missing.
The family dog howls all night,
lonely and starving for more poetry in his life.
Why is it so difficult for them to see
that, without poetry, their lives are effluvial.
Sure, they have their banquets, their celebrations,
croquet, fox hunts, their sea shores and sunsets,
their cocktails on the balcony, dog races,
and all that kissing and hugging, and don't
forget the good deeds, the charity work,
nursing the baby squirrels all through the night,
filling the birdfeeders all winter,
helping the stranger change her tire.
Still, there's that disagreeable exhalation
from decaying matter, subtle but everpresent.
They walk around erect like champions.
They are smooth-spoken and witty.
When alone, rare occasion, they stare
into the mirror for hours, bewildered.
There was something they meant to say, but didn't:
"And if we put the statue of the rhinoceros
next to the tweezers, and walk around the room three times,
learn to yodel, shave our heads, call
our ancestors back from the dead--"
poetrywise it's still a bust, bankrupt.
You haven't scribbled a syllable of it.
You're a nowhere man misfiring
the very essence of your life, flustering
nothing from nothing and back again.
The hereafter may not last all that long.
Radiant childhood sweetheart,
secret code of everlasting joy and sorrow,
fanciful pen strokes beneath the eyelids:
all day, all night meditation, knot of hope,
kernel of desire, pure ordinariness of life
seeking, through poetry, a benediction
or a bed to lie down on, to connect, reveal,
explore, to imbue meaning on the day's extravagant labor.
And yet it's cruel to expect too much.
It's a rare species of bird
that refuses to be categorized.
Its song is barely audible.
It is like a dragonfly in a dream--
here, then there, then here again,
low-flying amber-wing darting upward
then out of sight.
And the dream has a pain in its heart
the wonders of which are manifold,
or so the story is told.
|
Written by
Tupac Shakur |
Father forgive us for living
Why are all my homies stuck in prison?
Barely breathing, believing that this world is a prison
It's like a ghetto we can never leave
A broken rose giving bloom through the cracks of the concrete
So many things for us to see
Things to be
Our history so full of tragedy and misery
To all the homies who never made it home
The dead peers I shed tattooed tears for when I'm alone
Picture us inside a ghetto heaven
A place to rest finding peace through this land of stress
In my chest I feel pain come in sudden storms
A life full of rain in this game watch for land thorns
Our unborn never got to grow, never got to see what's next
In this world filled with countless threats
I beg God to find a way for our ghetto kids to breath
Show a sign make us all believe
|
Written by
Sylvia Plath |
You do not do, you do not do
Any more, black shoe
In which I have lived like a foot
For thirty years, poor and white,
Barely daring to breathe or Achoo.
Daddy, I have had to kill you.
You died before I had time---
Marble-heavy, a bag full of God,
Ghastly statue with one gray toe
Big as a Frisco seal
And a head in the freakish Atlantic
Where it pours bean green over blue
In the waters off the beautiful Nauset.
I used to pray to recover you.
Ach, du.
In the German tongue, in the Polish town
Scraped flat by the roller
Of wars, wars, wars.
But the name of the town is common.
My Polack friend
Says there are a dozen or two.
So I never could tell where you
Put your foot, your root,
I never could talk to you.
The tongue stuck in my jaw.
It stuck in a barb wire snare.
Ich, ich, ich, ich,
I could hardly speak.
I thought every German was you.
And the language obscene
An engine, an engine,
Chuffing me off like a Jew.
A Jew to Dachau, Auschwitz, Belsen.
I began to talk like a Jew.
I think I may well be a Jew.
The snows of the Tyrol, the clear beer of Vienna
Are not very pure or true.
With my gypsy ancestress and my weird luck
And my Taroc pack and my Taroc pack
I may be a bit of a Jew.
I have always been sacred of you,
With your Luftwaffe, your gobbledygoo.
And your neat mustache
And your Aryan eye, bright blue.
Panzer-man, panzer-man, O You----
Not God but a swastika
So black no sky could squeak through.
Every woman adores a Fascist,
The boot in the face, the brute
Brute heart of a brute like you.
You stand at the blackboard, daddy,
In the picture I have of you,
A cleft in your chin instead of your foot
But no less a devil for that, no not
Any less the black man who
Bit my pretty red heart in two.
I was ten when they buried you.
At twenty I tried to die
And get back, back, back to you.
I thought even the bones would do.
But they pulled me out of the sack,
And they stuck me together with glue.
And then I knew what to do.
I made a model of you,
A man in black with a Meinkampf look
And a love of the rack and the screw.
And I said I do, I do.
So daddy, I'm finally through.
The black telephone's off at the root,
The voices just can't worm through.
If I've killed one man, I've killed two---
The vampire who said he was you
And drank my blood for a year,
Seven years, if you want to know.
Daddy, you can lie back now.
There's a stake in your fat black heart
And the villagers never liked you.
They are dancing and stamping on you.
They always knew it was you.
Daddy, daddy, you bastard, I'm through.
(1962)
|
Written by
Sylvia Plath |
Since Christmas they have lived with us,
Guileless and clear,
Oval soul-animals,
Taking up half the space,
Moving and rubbing on the silk
Invisible air drifts,
Giving a shriek and pop
When attacked, then scooting to rest, barely trembling.
Yellow cathead, blue fish ----
Such ***** moons we live with
Instead of dead furniture!
Straw mats, white walls
And these traveling
Globes of thin air, red, green,
Delighting
The heart like wishes or free
Peacocks blessing
Old ground with a feather
Beaten in starry metals.
Your small
Brother is making
His balloon squeak like a cat.
Seeming to see
A funny pink world he might eat on the other side of it,
He bites,
Then sits
Back, fat jug
Contemplating a world clear as water.
A red
Shred in his little fist.
|
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
Vladimir Mayakovsky |
Thoughts, go your way home.
Embrace,
depths of the soul and the sea.
In my view,
it is
stupid
to be
always serene.
My cabin is the worst
of all cabins -
All night above me
Thuds a smithy of feet.
All night,
stirring the ceiling’s calm,
dancers stampede
to a moaning motif:
“Marquita,
Marquita,
Marquita my darling,
why won’t you,
Marquita,
why won’t you love me …”
But why
Should marquita love me?!
I have
no francs to spare.
And Marquita
(at the slightest wink!)
for a hundred francs
she’d be brought to your room.
The sum’s not large -
just live for show -
No,
you highbrow,
ruffling your matted hair,
you would thrust upon her
a sewing machine,
in stitches
scribbling
the silk of verse.
Proletarians
arrive at communism
from below -
by the low way of mines,
sickles,
and pitchforks -
But I,
from poetry’s skies,
plunge into communism,
because
without it
I feel no love.
Whether
I’m self-exiled
or sent to mamma -
the steel of words corrodes,
the brass of the brass tarnishes.
Why,
beneath foreign rains,
must I soak,
rot,
and rust?
Here I recline,
having gone oversea,
in my idleness
barely moving
my machine parts.
I myself
feel like a Soviet
factory,
manufacturing happiness.
I object
to being torn up,
like a flower of the fields,
after a long day’s work.
I want
the Gosplan to sweat
in debate,
assignning me
goals a year ahead.
I want
a commissar
with a decree
to lean over the thought of the age.
I want
the heart to earn
its love wage
at a specialist’s rate.
I want
the factory committee
to lock
My lips
when the work is done.
I want
the pen to be on a par
with the bayonet;
and Stalin
to deliver his Politbureau
reports
about verse in the making
as he would about pig iron
and the smelting of steel.
“That’s how it is,
the way it goes …
We’ve attained
the topmost level,
climbing from the workers’ bunks:
in the Union
of Republics
the understanding of verse
now tops
the prewar norm …”
Transcribed: by Mitch Abidor.
|