Written by
David Lehman |
Some people find out they are Jews.
They can't believe it.
Thy had always hated Jews.
As children they had roamed in gangs on winter nights in the old
neighborhood, looking for Jews.
They were not Jewish, they were Irish.
They brandished broken bottles, tough guys with blood on their
lips, looking for Jews.
They intercepted Jewish boys walking alone and beat them up.
Sometimes they were content to chase a Jew and he could elude
them by running away. They were happy just to see him run
away. The coward! All Jews were yellow.
They spelled Jew with a small j jew.
And now they find out they are Jews themselves.
It happened at the time of the Spanish Inquisition.
To escape persecution, they pretended to convert to Christianity.
They came to this country and settled in the Southwest.
At some point oral tradition failed the family, and their
secret faith died.
No one would ever have known if not for the bones that turned up
on the dig.
A disaster. How could it have happened to them?
They are in a state of panic--at first.
Then they realize that it is the answer to their prayers.
They hasten to the synagogue or build new ones.
They are Jews at last!
They are free to marry other Jews, and divorce them, and intermarry
with Gentiles, God forbid.
They are model citizens, clever and thrifty.
They debate the issues.
They fire off earnest letters to the editor.
They vote.
They are resented for being clever and thrifty.
They buy houses in the suburbs and agree not to talk so loud.
They look like everyone else, drive the same cars as everyone else,
yet in their hearts they know they're different.
In every minyan there are always two or three, hated by
the others, who give life to one ugly stereotype or another:
The grasping Jew with the hooked nose or the Ivy League Bolshevik
who thinks he is the agent of world history.
But most of them are neither ostentatiously pious nor
excessively avaricious.
How I envy them! They believe.
How I envy them their annual family reunion on Passover,
anniversary of the Exodus, when all the uncles and aunts and
cousins get together.
They wonder about the heritage of Judaism they are passing along
to their children.
Have they done as much as they could to keep the old embers
burning?
Others lead more dramatic lives.
A few go to Israel.
One of them calls Israel "the ultimate concentration camp."
He tells Jewish jokes.
On the plane he gets tipsy, tries to seduce the stewardess.
People in the Midwest keep telling him reminds them of Woody
Allen.
He wonders what that means. I'm funny? A sort of nervous
intellectual type from New York? A Jew?
Around this time somebody accuses him of not being Jewish enough.
It is said by resentful colleagues that his parents changed their
name from something that sounded more Jewish.
Everything he publishes is scrutinized with reference to "the
Jewish question."
It is no longer clear what is meant by that phrase.
He has already forgotten all the Yiddish he used to know, and
the people of that era are dying out one after another.
The number of witnesses keeps diminishing.
Soon there will be no one left to remind the others and their
children.
That is why he came to this dry place where the bones have come
to life.
To live in a state of perpetual war puts a tremendous burden on the
population. As a visitor he felt he had to share that burden.
With his gift for codes and ciphers, he joined the counter-
terrorism unit of army intelligence.
Contrary to what the spook novels say, he found it possible to
avoid betraying either his country or his lover.
This was the life: strange bedrooms, the perfume of other men's
wives.
As a spy he has a unique mission: to get his name on the front
page of the nation's newspaper of record. Only by doing that
would he get the message through to his immediate superior.
If he goes to jail, he will do so proudly; if they're going to
hang him anyway, he'll do something worth hanging for.
In time he may get used to being the center of attention, but
this was incredible:
To talk his way into being the chief suspect in the most
flamboyant murder case in years!
And he was innocent!
He could prove it!
And what a book he would write when they free him from this prison:
A novel, obliquely autobiographical, set in Vienna in the twilight
of the Hapsburg Empire, in the year that his mother was born.
|
Written by
Maya Angelou |
The night has been long,
The wound has been deep,
The pit has been dark,
And the walls have been steep.
Under a dead blue sky on a distant beach,
I was dragged by my braids just beyond your reach.
Your hands were tied, your mouth was bound,
You couldn't even call out my name.
You were helpless and so was I,
But unfortunately throughout history
You've worn a badge of shame.
I say, the night has been long,
The wound has been deep,
The pit has been dark
And the walls have been steep.
But today, voices of old spirit sound
Speak to us in words profound,
Across the years, across the centuries,
Across the oceans, and across the seas.
They say, draw near to one another,
Save your race.
You have been paid for in a distant place,
The old ones remind us that slavery's chains
Have paid for our freedom again and again.
The night has been long,
The pit has been deep,
The night has been dark,
And the walls have been steep.
The hells we have lived through and live through still,
Have sharpened our senses and toughened our will.
The night has been long.
This morning I look through your anguish
Right down to your soul.
I know that with each other we can make ourselves whole.
I look through the posture and past your disguise,
And see your love for family in your big brown eyes.
I say, clap hands and let's come together in this meeting ground,
I say, clap hands and let's deal with each other with love,
I say, clap hands and let us get from the low road of indifference,
Clap hands, let us come together and reveal our hearts,
Let us come together and revise our spirits,
Let us come together and cleanse our souls,
Clap hands, let's leave the preening
And stop impostering our own history.
Clap hands, call the spirits back from the ledge,
Clap hands, let us invite joy into our conversation,
Courtesy into our bedrooms,
Gentleness into our kitchen,
Care into our nursery.
The ancestors remind us, despite the history of pain
We are a going-on people who will rise again.
And still we rise.
Poem read at the Million Man March
|
Written by
Robert Desnos |
Far from me and like the stars, the sea and all the trappings of poetic myth,
Far from me but here all the same without your knowing,
Far from me and even more silent because I imagine you endlessly.
Far from me, my lovely mirage and eternal dream, you cannot know.
If you only knew.
Far from me and even farther yet from being unaware of me and still unaware.
Far from me because you undoubtedly do not love me or, what amounts to the
same thing, that I doubt you do.
Far from me because you consciously ignore my passionate desires.
Far from me because you are cruel.
If you only knew.
Far from me, joyful as a flower dancing in the river at the tip of its aquatic stem,
sad as seven p.m. in a mushroom bed.
Far from me yet silent in my presence and still joyful like a stork-shaped hour
falling from on high.
Far from me at the moment when the stills are singing, at the moment when the
silent and loud sea curls up on its white pillows.
If you only knew.
Far from me, o my ever-present torment, far from me in the magnificent noise of
oyster shells crushed by a night owl passing a restaurant at first light.
If you only knew.
Far from me, willed, physical mirage.
Far from me there's an island that turns aside when ships pass.
Far from me a calm herd of cattle takes the wrong path, pulls up stubbornly at the
edge of a steep cliff, far from me, cruel woman.
Far from me, a shooting star falls into the poet's nightly bottle.
He corks it right away and from then on watches the star enclosed in the glass, the
constellations born on its walls, far from me, you are so far from me.
If you only knew.
Far from me a house has just been built.
A bricklayer in white coveralls at the top of the scaffolding sings a very sad little
song and, suddenly, in the tray full of mortar, the future of the house appears:
lovers' kisses and double suicides nakedness in the bedrooms strange beautiful
women
and their midnight dreams, voluptuous secrets caught in the act by the parquet
floors.
Far from me, If you only knew.
If you only knew how I love you and, though you do not love me, how happy I
am, how strong and proud I am, with your image in my mind,
to leave the universe.
How happy I am to die for it.
If you only knew how the world has yielded to me.
And you, beautiful unyielding woman, how you too are my prisoner.
O you, far-from-me, who I yield to.
If you only knew.
|
Written by
Philip Levine |
THE DREAM
This has nothing to do with war
or the end of the world. She
dreams there are gray starlings
on the winter lawn and the buds
of next year's oranges alongside
this year's oranges, and the sun
is still up, a watery circle
of fire settling into the sky
at dinner time, but there's no
flame racing through the house
or threatening the bed. When she
wakens the phone is ringing
in a distant room, but she
doesn't go to answer it. No
one is home with her, and the cars
passing before the house hiss
in the rain. "My children!" she
almost says, but there are no
longer children at home, there
are no longer those who would
turn to her, their faces running
with tears, and ask her forgiveness.
THE WAR
The Michigan Central Terminal
the day after victory. Her brother
home from Europe after years
of her mother's terror, and he still
so young but now with the dark
shadow of a beard, holding her
tightly among all the others
calling for their wives or girls.
That night in the front room
crowded with family and neighbors --
he was first back on the block --
he sat cross-legged on the floor
still in his wool uniform, smoking
and drinking as he spoke of passing
high over the dark cities she'd
only read about. He'd wanted to
go back again and again. He'd wanted
to do this for the country,
for this -- a small house with upstairs
bedrooms -- so he'd asked to go
on raid after raid as though
he hungered to kill or be killed.
THE PRESIDENT
Today on television men
will enter space and return,
men she cannot imagine.
Lost in gigantic paper suits,
they move like sea creatures.
A voice will crackle from out
there where no voices are
speaking of the great theater
of conquest, of advancing
beyond the simple miracles
of flight, the small ventures
of birds and beasts. The President
will answer with words she
cannot remember having
spoken ever to anyone.
THE PHONE CALL
She calls Chicago, but no one
is home. The operator asks
for another number but still
no one answers. Together
they try twenty-one numbers,
and at each no one is ever home.
"Can I call Baltimore?" she asks.
She can, but she knows no one
in Baltimore, no one in
St. Louis, Boston, Washington.
She imagines herself standing
before the glass wall high
over Lake Shore Drive, the cars
below fanning into the city.
East she can see all the way
to Gary and the great gray clouds
of exhaustion rolling over
the lake where her vision ends.
This is where her brother lives.
At such height there's nothing,
no birds, no growing, no noise.
She leans her sweating forehead
against the cold glass, shudders,
and puts down the receiver.
THE GARDEN
Wherever she turns her garden
is alive and growing. The thin
spears of wild asparagus, shaft
of tulip and flag, green stain
of berry buds along the vines,
even in the eaten leaf of
pepper plants and clipped stalk
of snap bean. Mid-afternoon
and already the grass is dry
under the low sun. Bluejay
and dark capped juncos hidden
in dense foliage waiting
the sun's early fall, when she
returns alone to hear them
call and call back, and finally
in the long shadows settle
down to rest and to silence
in the sudden rising chill.
THE GAME
Two boys are playing ball
in the backyard, throwing it
back and forth in the afternoon's
bright sunshine as a black mongrel
big as a shepherd races
from one to the other. She
hides behind the heavy drapes
in her dining room and listens,
but they're too far. Who are
they? They move about her yard
as though it were theirs. Are they
the sons of her sons? They've
taken off their shirts, and she
sees they're not boys at all --
a dark smudge of hair rises
along the belly of one --, and now
they have the dog down thrashing
on his back, snarling and flashing
his teeth, and they're laughing.
AFTER DINNER
She's eaten dinner talking
back to the television, she's
had coffee and brandy, done
the dishes and drifted into
and out of sleep over a book
she found beside the couch. It's
time for bed, but she goes
instead to the front door, unlocks
it, and steps onto the porch.
Behind her she can hear only
the silence of the house. The lights
throw her shadow down the stairs
and onto the lawn, and she walks
carefully to meet it. Now she's
standing in the huge, whispering
arena of night, hearing her
own breath tearing out of her
like the cries of an animal.
She could keep going into
whatever the darkness brings,
she could find a presence there
her shaking hands could hold
instead of each other.
SLEEP
A dark sister lies beside her
all night, whispering
that it's not a dream, that fire
has entered the spaces between
one face and another.
There will be no wakening.
When she wakens, she can't
catch her own breath, so she yells
for help. It comes in the form
of sleep. They whisper
back and forth, using new words
that have no meaning
to anyone. The aspen shreds
itself against her window.
The oranges she saw that day
in her yard explode
in circles of oil, the few stars
quiet and darken. They go on,
two little girls up long past
their hour, playing in bed.
|
Written by
Leonard Cohen |
Well my friends are gone and my hair is grey
I ache in the places where I used to play
And I'm crazy for love but I'm not coming on
I'm just paying my rent every day
Oh in the Tower of Song
I said to Hank Williams: how lonely does it get?
Hank Williams hasn't answered yet
But I hear him coughing all night long
A hundred floors above me
In the Tower of Song
I was born like this, I had no choice
I was born with the gift of a golden voice
And twenty-seven angels from the Great Beyond
They tied me to this table right here
In the Tower of Song
So you can stick your little pins in that voodoo doll
I'm very sorry, baby, doesn't look like me at all
I'm standing by the window where the light is strong
Ah they don't let a woman kill you
Not in the Tower of Song
Now you can say that I've grown bitter but of this you may
be sure
The rich have got their channels in the bedrooms of the poor
And there's a mighty judgement coming, but I may be wrong
You see, you hear these funny voices
In the Tower of Song
I see you standing on the other side
I don't know how the river got so wide
I loved you baby, way back when
And all the bridges are burning that we might have crossed
But I feel so close to everything that we lost
We'll never have to lose it again
Now I bid you farewell, I don't know when I'll be back
There moving us tomorrow to that tower down the track
But you'll be hearing from me baby, long after I'm gone
I'll be speaking to you sweetly
From a window in the Tower of Song
Yeah my friends are gone and my hair is grey
I ache in the places where I used to play
And I'm crazy for love but I'm not coming on
I'm just paying my rent every day
Oh in the Tower of Song
|
Written by
Spike Milligan |
Maveric Prowles
Had Rumbling Bowles
That thundered in the night.
It shook the bedrooms all around
And gave the folks a fright.
The doctor called;
He was appalled
When through his stethoscope
He heard the sound of a baying hound,
And the acrid smell of smoke.
Was there a cure?
'The higher the fewer'
The learned doctor said,
Then turned poor Maveric inside out
And stood him on his head.
'Just as I though
You've been and caught
An Asiatic flu -
You musn't go near dogs I fear
Unless they come near you.'
Poor Maveric cried.
He went cross-eyed,
His legs went green and blue.
The doctor hit him with a club
And charged him one and two.
And so my friend
This is the end,
A warning to the few:
Stay clear of doctors to the end
Or they'll get rid of you.
|
Written by
Robert Graves |
I hardly remember your voice, but the pain of you
floats in some remote current of my blood.
I carry you in my depths, trapped in the sludge
like one of those corpses the sea refuses to give up.
It was a spoiled remnant of the South. A beach
without fishing boats, where the sun was for sale.
A stretch of shore, now a jungle of lights and languages
that grudgingly offered, defeated, its obligation of sand.
The night of that day punished us at its whim.
I held you so close I could barely see you.
Autumn was brandishing guffaws and dancebands
and the sea tore at the pleasure-boats in a frenzy.
Your hand balanced, with its steady heat,
the wavering tepidness of alcohol. The gardens
came at me from far away through your skirt.
My high-tide mark rose to the level of your breasts.
Carpets, like tentacles, wriggling down to the strand,
attracted passers-by to the mouth of the clamor.
With lights and curtains, above the tedium
the bedrooms murmured in the grand hotels.
There are dark moments when our ballast gives out
from so much banging around. Moments, or centuries,
when the flesh revels in its nakedness and reels
to its own destruction, sucking the life from itself.
I groped around me, trying on your embrace,
but love was not where your embrace was.
I felt your hands stroking that physical ache
but a great nothing went before your hands.
I searched, down the length of your soulless surrender,
for a calm bay where I could cast a net,
yearning to hear a trace of the vendor's voice
still wet with the glimmer of the flapping minnows.
It was a spoiled remnant of the South. The aroma
of muscatel was tainted with whiskey breath.
I carry that dead embrace inside me yet
like a foreign object the flesh tries to reject.
|
Written by
Rafael Guillen |
I hardly remember your voice, but the pain of you
floats in some remote current of my blood.
I carry you in my depths, trapped in the sludge
like one of those corpses the sea refuses to give up.
It was a spoiled remnant of the South. A beach
without fishing boats, where the sun was for sale.
A stretch of shore, now a jungle of lights and languages
that grudgingly offered, defeated, its obligation of sand.
The night of that day punished us at its whim.
I held you so close I could barely see you.
Autumn was brandishing guffaws and dancebands
and the sea tore at the pleasure-boats in a frenzy.
Your hand balanced, with its steady heat,
the wavering tepidness of alcohol. The gardens
came at me from far away through your skirt.
My high-tide mark rose to the level of your breasts.
Carpets, like tentacles, wriggling down to the strand,
attracted passers-by to the mouth of the clamor.
With lights and curtains, above the tedium
the bedrooms murmured in the grand hotels.
There are dark moments when our ballast gives out
from so much banging around. Moments, or centuries,
when the flesh revels in its nakedness and reels
to its own destruction, sucking the life from itself.
I groped around me, trying on your embrace,
but love was not where your embrace was.
I felt your hands stroking that physical ache
but a great nothing went before your hands.
I searched, down the length of your soulless surrender,
for a calm bay where I could cast a net,
yearning to hear a trace of the vendor's voice
still wet with the glimmer of the flapping minnows.
It was a spoiled remnant of the South. The aroma
of muscatel was tainted with whiskey breath.
I carry that dead embrace inside me yet
like a foreign object the flesh tries to reject.
|
Written by
Laure-Anne Bosselaar |
amidst swirling wine
and flickers of silver guests quote
Dante, Brecht, Kant and each other.
I wait in the hall after not
powdering my nose, trying to re-
compose that woman who’ll
graciously take her place
at the table and won’t tell her hosts:
I looked into your bedroom
and closets, smelled your
“Obsession” and “Brut,” sat
on your bed, imagined you
in those spotless sheets, looked
long into the sad eyes of your son
staring at your walls from his frame.
I tried to smile at myself
in your mirrors, wondering if you
smile that way too: those resilient
little smiles one smiles
at one’s self before facing the day,
or another long night ahead —
guests coming for dinner.
So I wait in this hall because
there are nights it’s hard
not to blurt out Stop! Stop
our babble: Pulitzer, Wall Street, sex,
Dante, politics, wars, have some Chianti...
let’s stop and talk. Of our thirsts
and obsessions, our bedrooms
and closets, the brutes in our mirrors,
the eyes of our sons.
There is time yet — let’s talk.
I am starving.
|
Written by
Thomas Hardy |
It faces west, and round the back and sides
High beeches, bending, hang a veil of boughs,
And sweep against the roof. Wild honeysucks
Climb on the walls, and seem to sprout a wish
(If we may fancy wish of trees and plants)
To overtop the apple trees hard-by.
Red roses, lilacs, variegated box
Are there in plenty, and such hardy flowers
As flourish best untrained. Adjoining these
Are herbs and esculents; and farther still
A field; then cottages with trees, and last
The distant hills and sky.
Behind, the scene is wilder. Heath and furze
Are everything that seems to grow and thrive
Upon the uneven ground. A stunted thorn
Stands here and there, indeed; and from a pit
An oak uprises, Springing from a seed
Dropped by some bird a hundred years ago.
In days bygone--
Long gone--my father's mother, who is now
Blest with the blest, would take me out to walk.
At such a time I once inquired of her
How looked the spot when first she settled here.
The answer I remember. 'Fifty years
Have passed since then, my child, and change has marked
The face of all things. Yonder garden-plots
And orchards were uncultivated slopes
O'ergrown with bramble bushes, furze and thorn:
That road a narrow path shut in by ferns,
Which, almost trees, obscured the passers-by.
Our house stood quite alone, and those tall firs
And beeches were not planted. Snakes and efts
Swarmed in the summer days, and nightly bats
Would fly about our bedrooms. Heathcroppers
Lived on the hills, and were our only friends;
So wild it was when we first settled here.'
|