Written by
Billy Collins |
You are the bread and the knife,
The crystal goblet and the wine.
.
.
-Jacques Crickillon
You are the bread and the knife,
the crystal goblet and the wine.
You are the dew on the morning grass
and the burning wheel of the sun.
You are the white apron of the baker,
and the marsh birds suddenly in flight.
However, you are not the wind in the orchard,
the plums on the counter,
or the house of cards.
And you are certainly not the pine-scented air.
There is just no way that you are the pine-scented air.
It is possible that you are the fish under the bridge,
maybe even the pigeon on the general's head,
but you are not even close
to being the field of cornflowers at dusk.
And a quick look in the mirror will show
that you are neither the boots in the corner
nor the boat asleep in its boathouse.
It might interest you to know,
speaking of the plentiful imagery of the world,
that I am the sound of rain on the roof.
I also happen to be the shooting star,
the evening paper blowing down an alley
and the basket of chestnuts on the kitchen table.
I am also the moon in the trees
and the blind woman's tea cup.
But don't worry, I'm not the bread and the knife.
You are still the bread and the knife.
You will always be the bread and the knife,
not to mention the crystal goblet and--somehow--the wine.
|
Written by
James Dickey |
In a stable of boats I lie still,
From all sleeping children hidden.
The leap of a fish from its shadow
Makes the whole lake instantly tremble.
With my foot on the water, I feel
The moon outside
Take on the utmost of its power.
I rise and go our through the boats.
I set my broad sole upon silver,
On the skin of the sky, on the moonlight,
Stepping outward from earth onto water
In quest of the miracle
This village of children believed
That I could perform as I dived
For one who had sunk from my sight.
I saw his cropped haircut go under.
I leapt, and my steep body flashed
Once, in the sun.
Dark drew all the light from my eyes.
Like a man who explores his death
By the pull of his slow-moving shoulders,
I hung head down in the cold,
Wide-eyed, contained, and alone
Among the weeds,
And my fingertips turned into stone
From clutching immovable blackness.
Time after time I leapt upward
Exploding in breath, and fell back
From the change in the children's faces
At my defeat.
Beneath them I swam to the boathouse
With only my life in my arms
To wait for the lake to shine back
At the risen moon with such power
That my steps on the light of the ripples
Might be sustained.
Beneath me is nothing but brightness
Like the ghost of a snowfield in summer.
As I move toward the center of the lake,
Which is also the center of the moon,
I am thinking of how I may be
The savior of one
Who has already died in my care.
The dark trees fade from around me.
The moon's dust hovers together.
I call softly out, and the child's
Voice answers through blinding water.
Patiently, slowly,
He rises, dilating to break
The surface of stone with his forehead.
He is one I do not remember
Having ever seen in his life.
The ground I stand on is trembling
Upon his smile.
I wash the black mud from my hands.
On a light given off by the grave
I kneel in the quick of the moon
At the heart of a distant forest
And hold in my arms a child
Of water, water, water.
|
Written by
Thomas Lux |
furnished rooms, flats, a hayloft,
a tent, motels, under a table,
under an overturned rowboat, in a villa (briefly) but not,
as yet, a yurt.
In these places
he has slept, eaten,
put his forehead to the window glass,
looking out.
He's in a stilt-house now,
the water passing beneath him half the day;
the other half it's mud.
The tides
do this: they come, they go,
while he sleeps, eats, puts his forehead
to the window glass.
He's moving soon: his trailer to a trailer park,
or to the priory to live among the penitents
but in his own cell,
with wheels, to take him, when it's time
to go, to: boathouse, houseboat
with a little motor, putt-putt,
to take him across the sea
or down the river
where at night, anchored by a sandbar
at the bend,
he will eat, sleep, and press his eyelids
to the window
of the pilothouse
until the anchor-hauling hour
when he'll embark again
toward his sanctuary, harborage, saltbox,
home.
|