Written by
John Betjeman |
Encase your legs in nylons,
Bestride your hills with pylons
O age without a soul;
Away with gentle willows
And all the elmy billows
That through your valleys roll.
Let's say goodbye to hedges
And roads with grassy edges
And winding country lanes;
Let all things travel faster
Where motor car is master
Till only Speed remains.
Destroy the ancient inn-signs
But strew the roads with tin signs
'Keep Left,' 'M4,' 'Keep Out!'
Command, instruction, warning,
Repetitive adorning
The rockeried roundabout;
For every raw obscenity
Must have its small 'amenity,'
Its patch of shaven green,
And hoardings look a wonder
In banks of floribunda
With floodlights in between.
Leave no old village standing
Which could provide a landing
For aeroplanes to roar,
But spare such cheap defacements
As huts with shattered casements
Unlived-in since the war.
Let no provincial High Street
Which might be your or my street
Look as it used to do,
But let the chain stores place here
Their miles of black glass facia
And traffic thunder through.
And if there is some scenery,
Some unpretentious greenery,
Surviving anywhere,
It does not need protecting
For soon we'll be erecting
A Power Station there.
When all our roads are lighted
By concrete monsters sited
Like gallows overhead,
Bathed in the yellow vomit
Each monster belches from it,
We'll know that we are dead.
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Written by
Galway Kinnell |
1
In late winter
I sometimes glimpse bits of steam
coming up from
some fault in the old snow
and bend close and see it is lung-colored
and put down my nose
and know
the chilly, enduring odor of bear.
2
I take a wolf's rib and whittle
it sharp at both ends
and coil it up
and freeze it in blubber and place it out
on the fairway of the bears.
And when it has vanished
I move out on the bear tracks,
roaming in circles
until I come to the first, tentative, dark
splash on the earth.
And I set out
running, following the splashes
of blood wandering over the world.
At the cut, gashed resting places
I stop and rest,
at the crawl-marks
where he lay out on his belly
to overpass some stretch of bauchy ice
I lie out
dragging myself forward with bear-knives in my fists.
3
On the third day I begin to starve,
at nightfall I bend down as I knew I would
at a turd sopped in blood,
and hesitate, and pick it up,
and thrust it in my mouth, and gnash it down,
and rise
and go on running.
4
On the seventh day,
living by now on bear blood alone,
I can see his upturned carcass far out ahead, a scraggled,
steamy hulk,
the heavy fur riffling in the wind.
I come up to him
and stare at the narrow-spaced, petty eyes,
the dismayed
face laid back on the shoulder, the nostrils
flared, catching
perhaps the first taint of me as he
died.
I hack
a ravine in his thigh, and eat and drink,
and tear him down his whole length
and open him and climb in
and close him up after me, against the wind,
and sleep.
5
And dream
of lumbering flatfooted
over the tundra,
stabbed twice from within,
splattering a trail behind me,
splattering it out no matter which way I lurch,
no matter which parabola of bear-transcendence,
which dance of solitude I attempt,
which gravity-clutched leap,
which trudge, which groan.
6
Until one day I totter and fall --
fall on this
stomach that has tried so hard to keep up,
to digest the blood as it leaked in,
to break up
and digest the bone itself: and now the breeze
blows over me, blows off
the hideous belches of ill-digested bear blood
and rotted stomach
and the ordinary, wretched odor of bear,
blows across
my sore, lolled tongue a song
or screech, until I think I must rise up
and dance.
And I lie still.
7
I awaken I think.
Marshlights
reappear, geese
come trailing again up the flyway.
In her ravine under old snow the dam-bear
lies, licking
lumps of smeared fur
and drizzly eyes into shapes
with her tongue.
And one
hairy-soled trudge stuck out before me,
the next groaned out,
the next,
the next,
the rest of my days I spend
wandering: wondering
what, anyway,
was that sticky infusion, that rank flavor of blood, that
poetry, by which I lived?
from Body Rags, Galway Kinnell (Boston: Houghton Mifflin, 1967).
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