Written by
Anne Sexton |
You always read about it:
the plumber with the twelve children
who wins the Irish Sweepstakes.
From toilets to riches.
That story.
Or the nursemaid,
some luscious sweet from Denmark
who captures the oldest son's heart.
from diapers to Dior.
That story.
Or a milkman who serves the wealthy,
eggs, cream, butter, yogurt, milk,
the white truck like an ambulance
who goes into real estate
and makes a pile.
From homogenized to martinis at lunch.
Or the charwoman
who is on the bus when it cracks up
and collects enough from the insurance.
From mops to Bonwit Teller.
That story.
Once
the wife of a rich man was on her deathbed
and she said to her daughter Cinderella:
Be devout. Be good. Then I will smile
down from heaven in the seam of a cloud.
The man took another wife who had
two daughters, pretty enough
but with hearts like blackjacks.
Cinderella was their maid.
She slept on the sooty hearth each night
and walked around looking like Al Jolson.
Her father brought presents home from town,
jewels and gowns for the other women
but the twig of a tree for Cinderella.
She planted that twig on her mother's grave
and it grew to a tree where a white dove sat.
Whenever she wished for anything the dove
would drop it like an egg upon the ground.
The bird is important, my dears, so heed him.
Next came the ball, as you all know.
It was a marriage market.
The prince was looking for a wife.
All but Cinderella were preparing
and gussying up for the event.
Cinderella begged to go too.
Her stepmother threw a dish of lentils
into the cinders and said: Pick them
up in an hour and you shall go.
The white dove brought all his friends;
all the warm wings of the fatherland came,
and picked up the lentils in a jiffy.
No, Cinderella, said the stepmother,
you have no clothes and cannot dance.
That's the way with stepmothers.
Cinderella went to the tree at the grave
and cried forth like a gospel singer:
Mama! Mama! My turtledove,
send me to the prince's ball!
The bird dropped down a golden dress
and delicate little slippers.
Rather a large package for a simple bird.
So she went. Which is no surprise.
Her stepmother and sisters didn't
recognize her without her cinder face
and the prince took her hand on the spot
and danced with no other the whole day.
As nightfall came she thought she'd better
get home. The prince walked her home
and she disappeared into the pigeon house
and although the prince took an axe and broke
it open she was gone. Back to her cinders.
These events repeated themselves for three days.
However on the third day the prince
covered the palace steps with cobbler's wax
and Cinderella's gold shoe stuck upon it.
Now he would find whom the shoe fit
and find his strange dancing girl for keeps.
He went to their house and the two sisters
were delighted because they had lovely feet.
The eldest went into a room to try the slipper on
but her big toe got in the way so she simply
sliced it off and put on the slipper.
The prince rode away with her until the white dove
told him to look at the blood pouring forth.
That is the way with amputations.
They just don't heal up like a wish.
The other sister cut off her heel
but the blood told as blood will.
The prince was getting tired.
He began to feel like a shoe salesman.
But he gave it one last try.
This time Cinderella fit into the shoe
like a love letter into its envelope.
At the wedding ceremony
the two sisters came to curry favor
and the white dove pecked their eyes out.
Two hollow spots were left
like soup spoons.
Cinderella and the prince
lived, they say, happily ever after,
like two dolls in a museum case
never bothered by diapers or dust,
never arguing over the timing of an egg,
never telling the same story twice,
never getting a middle-aged spread,
their darling smiles pasted on for eternity.
Regular Bobbsey Twins.
That story.
|
Written by
Richard Brautigan |
Sometimes life is merely a matter of coffee and whatever intimacy a cup of coffee
affords. I once read something about coffee. The thing said that coffee is good for you;
it stimulates all the organs.
I thought at first this was a strange way to put it, and not altogether pleasant, but
as time goes by I have found out that it makes sense in its own limited way. I'll tell you
what I mean.
Yesterday morning I went over to see a girl. I like her. Whatever we had going for us
is gone now. She does not care for me. I blew it and wish I hadn't.
I rang the door bell and waited on the stairs. I could hear her moving around upstairs.
The way she moved I could tell that she was getting up. I had awakened her.
Then she came down the stairs. I could feel her approach in my stomach. Every step she
took stirred my feelings and lead indirectly to her opening the door. She saw me and it
did not please her.
Once upon a time it pleased her very much, last week. I wonder where it went,
pretending to be naive.
"I feel strange now," she said. "I don't want to talk."
"I want a cup of coffee," I said, because it was the last thing in the world
that I wanted. I said it in such a way that it sounded as if I were reading her a telegram
from somebody else, a person who really wanted a cup of coffee, who cared about nothing
else.
"All right," she said.
I followed her up the stairs. It was ridiculous. She had just put some clothes on. They
had not quite adjusted themselves to her body. I could tell you about her ass. We went
into the kitchen.
She took a jar of instant coffee off the shelf and put it on the table. She placed a
cup next to it, and a spoon. I looked at them. She put a pan full of water on the stove
and turned the gas on under it.
All this time she did not say a word. Her clothes adjusted themselves to her body. I
won't. She left the kitchen.
Then she went down the stairs and outside to see if she had any mail. I didn't remember
seeing any. She came back up the stairs and went into another room. She closed the door
after her. I looked at the pan full of water on the stove.
I knew that it would take a year before the water started to boil. It was now October
and there was too much water in the pan. That was the problem. I threw half of the water
into the sink.
The water would boil faster now. It would take only six months. The house was quiet.
I looked out the back porch. There were sacks of garbage there. I stared at the garbage
and tried to figure out what she had been eating lately by studying the containers and
peelings and stuff. I couldn't tell a thing.
It was now March. The water started to boil. I was pleased by this.
I looked at the table. There was the jar of instant coffee, the empty cup and the spoon
all laid out like a funeral service. These are the things that you need to make a cup of
coffee.
When I left the house ten minutes later, the cup of coffee safely inside me like a
grave, I said, "Thank you for the cup of coffee."
"You're welcome," she said. Her voice came from behind a closed door. Her
voice sounded like another telegram. It was really time for me to leave.
I spent the rest of the day not making coffee. It was a comfort. And evening came, I
had dinner in a restaurant and went to a bar. I had some drinks and talked to some people.
We were bar people and said bar things. None of them remembered, and the bar closed. It
was two o'clock in the morning. I had to go outside. It was foggy and cold in San
Francisco. I wondered about the fog and felt very human and exposed.
I decided to go visit another girl. We had not been friends for over a year. Once we
were very close. I wondered what she was thinking about now.
I went to her house. She didn't have a door bell. That was a small victory. One must
keep track of all the small victories. I do, anyway.
She answered the door. She was holding a robe in front of her. She didn't believe that
she was seeing me. "What do you want?" she said, believing now that she was
seeing me. I walked right into the house.
She turned and closed the door in such a way that I could see her profile. She had not
bothered to wrap the robe completely around herself. She was just holding the robe in
front of herself.
I could see an unbroken line of body running from her head to her feet. It looked kind
of strange. Perhaps because it was so late at night.
"What do you want?" she said.
"I want a cup of coffee," I said. What a funny thing to say, to say again for
a cup of coffee was not what I really wanted.
She looked at me and wheeled slightly on the profile. She was not pleased to see me.
Let the AMA tell us that time heals. I looked at the unbroken line of her body.
"Why don't you have a cup of coffee with me?" I said. "I feel like
talking to you. We haven't talked for a long time."
She looked at me and wheeled slightly on the profile. I stared at the unbroken line of
her body. This was not good.
"It's too late," she said. "I have to get up in the morning. If you want
a cup of coffee, there's instant in the kitchen. I have to go to bed."
The kitchen light was on. I looked down the hall into the kitchen. I didn't feel like
going into the kitchen and having another cup of coffee by myself. I didn't feel like
going to anybody else's house and asking them for a cup of coffee.
I realized that the day had been committed to a very strange pilgrimage, and I had not
planned it that way. At least the jar of instant coffee was not on the table, beside an
empty white cup and a spoon.
They say in the spring a young man's fancy turns to thoughts of love. Perhaps if he has
enough time left over, his fancy can even make room for a cup of coffee.
-from Revenge of the Lawn
|
Written by
Barry Tebb |
There was a hope for poetry in the sixties
And for education and society, teachers free
To do as they wanted: I could and did teach
Poetry and art all day and little else -
That was my way.
I threw rainbows against the classroom walls,
Gold and silver dragons in the corridors and
Halls; the children’s eyes were full of stars;
I taught the alphabet in Greek and spoke of
Peace and war in Vietnam, of birth and sex and
Death and immortality - the essences of lyric poetry;
Richards and Ogden on ‘The Meaning of Meaning’,
Schopenhauer on sadness, Nietzsche and Lawrence on
Civilisation and Plato on the Theory of Forms;
I read aloud ‘The Rainbow’ and the children drew
The waterfall with Gudrun bathing, I showed
Them Gauguin and Fra Angelico in gold and a film
On painting from life, and the nude girls
Bothered no-one.
It was the Sixties -
Art was life and life was art and in the
Staff-room we talked of poetry and politics
And passionately I argued with John. a clinical
Psychologist, on Freud and Jung; Anne, at forty
One, wanted to be sterilised and amazingly asked
My advice but that was how it was then: Dianne
Went off to join weekly rep at Brighton, Dave
Clark had given up law to teach a ‘D’ stream in the
Inner city. I was more lucky and had the brightest
Children - Sheila Pritchard my genius child-poet with
Her roguish eye and high bright voice, drawing skulls
In Avernus and burning white chrysanthemums, teasing me
With her long legs and gold salmon-flecked eyes.
It was a surprise when I made it into Penguin Books;
Michael Horovitz busy then as now and madly idealistic
As me; getting ready for the Albert Hall jamboree,
The rainbow bomb of peace and poetry.
|
Written by
T S (Thomas Stearns) Eliot |
There's a whisper down the line at 11.39
When the Night Mail's ready to depart,
Saying "Skimble where is Skimble has he gone to hunt the thimble?
We must find him or the train can't start."
All the guards and all the porters and the stationmaster's daughters
They are searching high and low,
Saying "Skimble where is Skimble for unless he's very nimble
Then the Night Mail just can't go."
At 11.42 then the signal's nearly due
And the passengers are frantic to a man—
Then Skimble will appear and he'll saunter to the rear:
He's been busy in the luggage van!
He gives one flash of his glass-green eyes
And the signal goes "All Clear!"
And we're off at last for the northern part
Of the Northern Hemisphere!
You may say that by and large it is Skimble who's in charge
Of the Sleeping Car Express.
From the driver and the guards to the bagmen playing cards
He will supervise them all, more or less.
Down the corridor he paces and examines all the faces
Of the travellers in the First and the Third;
He establishes control by a regular patrol
And he'd know at once if anything occurred.
He will watch you without winking and he sees what you are thinking
And it's certain that he doesn't approve
Of hilarity and riot, so the folk are very quiet
When Skimble is about and on the move.
You can play no pranks with Skimbleshanks!
He's a Cat that cannot be ignored;
So nothing goes wrong on the Northern Mail
When Skimbleshanks is aboard.
Oh, it's very pleasant when you have found your little den
With your name written up on the door.
And the berth is very neat with a newly folded sheet
And there's not a speck of dust on the floor.
There is every sort of light-you can make it dark or bright;
There's a handle that you turn to make a breeze.
There's a funny little basin you're supposed to wash your face in
And a crank to shut the window if you sneeze.
Then the guard looks in politely and will ask you very brightly
"Do you like your morning tea weak or strong?"
But Skimble's just behind him and was ready to remind him,
For Skimble won't let anything go wrong.
And when you creep into your cosy berth
And pull up the counterpane,
You ought to reflect that it's very nice
To know that you won't be bothered by mice—
You can leave all that to the Railway Cat,
The Cat of the Railway Train!
In the watches of the night he is always fresh and bright;
Every now and then he has a cup of tea
With perhaps a drop of Scotch while he's keeping on the watch,
Only stopping here and there to catch a flea.
You were fast asleep at Crewe and so you never knew
That he was walking up and down the station;
You were sleeping all the while he was busy at Carlisle,
Where he greets the stationmaster with elation.
But you saw him at Dumfries, where he speaks to the police
If there's anything they ought to know about:
When you get to Gallowgate there you do not have to wait—
For Skimbleshanks will help you to get out!
He gives you a wave of his long brown tail
Which says: "I'll see you again!
You'll meet without fail on the Midnight Mail
The Cat of the Railway Train."
|
Written by
Ogden Nash |
Some singers sing of ladies' eyes,
And some of ladies lips,
Refined ones praise their ladylike ways,
And course ones hymn their hips.
The Oxford Book of English Verse
Is lush with lyrics tender;
A poet, I guess, is more or less
Preoccupied with gender.
Yet I, though custom call me crude,
Prefer to sing in praise of food.
Food,
Yes, food,
Just any old kind of food.
Pheasant is pleasant, of course,
And terrapin, too, is tasty,
Lobster I freely endorse,
In pate or patty or pasty.
But there's nothing the matter with butter,
And nothing the matter with jam,
And the warmest greetings I utter
To the ham and the yam and the clam.
For they're food,
All food,
And I think very fondly of food.
Through I'm broody at times
When bothered by rhymes,
I brood
On food.
Some painters paint the sapphire sea,
And some the gathering storm.
Others portray young lambs at play,
But most, the female form.
“Twas trite in that primeval dawn
When painting got its start,
That a lady with her garments on
Is Life, but is she Art?
By undraped nymphs
I am not wooed;
I'd rather painters painted food.
Food,
Just food,
Just any old kind of food.
Go purloin a sirloin, my pet,
If you'd win a devotion incredible;
And asparagus tips vinaigrette,
Or anything else that is edible.
Bring salad or sausage or scrapple,
A berry or even a beet.
Bring an oyster, an egg, or an apple,
As long as it's something to eat.
If it's food,
It's food;
Never mind what kind of food.
When I ponder my mind
I consistently find
It is glued
On food.
|
Written by
Sharon Olds |
Then dirt scared me, because of the dirt
he had put on her face. And her training bra
scared me—the newspapers, morning and evening,
kept saying it, training bra,
as if the cups of it had been calling
the breasts up—he buried her in it,
perhaps he had never bothered to take it
off. They found her underpants
in a garbage can. And I feared the word
eczema, like my acne and like
the X in the paper which marked her body,
as if he had killed her for not being flawless.
I feared his name, Burton Abbott,
the first name that was a last name,
as if he were not someone specific.
It was nothing one could learn from his face.
His face was dull and ordinary,
it took away what I’d thought I could count on
about evil. He looked thin and lonely,
it was horrifying, he looked almost humble.
I felt awe that dirt was so impersonal,
and pity for the training bra,
pity and terror of eczema.
And I could not sit on my mother’s electric
blanket anymore, I began to have a
fear of electricity—
the good people, the parents, were going to
fry him to death. This was what
his parents had been telling us:
Burton Abbott, Burton Abbott,
death to the person, death to the home planet.
The worst thing was to think of her,
of what it had been to be her, alive,
to be walked, alive, into that cabin,
to look into those eyes, and see the human
|
Written by
Rudyard Kipling |
Speakin' in general, I'ave tried 'em all
The 'appy roads that take you o'er the world.
Speakin' in general, I'ave found them good
For such as cannot use one bed too long,
But must get 'ence, the same as I'ave done,
An' go observin' matters till they die.
What do it matter where or 'ow we die,
So long as we've our 'ealth to watch it all—
The different ways that different things are done,
An' men an' women lovin' in this world;
Takin' our chances as they come along,
An' when they ain't, pretendin' they are good?
In cash or credit—no, it aren't no good;
You've to 'ave the 'abit or you'd die,
Unless you lived your life but one day long,
Nor didn't prophesy nor fret at all,
But drew your tucker some'ow from the world,
An' never bothered what you might ha' done.
But, Gawd, what things are they I'aven't done?
I've turned my 'and to most, an' turned it good,
In various situations round the world
For 'im that doth not work must surely die;
But that's no reason man should labour all
'Is life on one same shift—life's none so long.
Therefore, from job to job I've moved along.
Pay couldn't 'old me when my time was done,
For something in my 'ead upset it all,
Till I'ad dropped whatever 'twas for good,
An', out at sea, be'eld the dock-lights die,
An' met my mate—the wind that tramps the world!
It's like a book, I think, this bloomin, world,
Which you can read and care for just so long,
But presently you feel that you will die
Unless you get the page you're readi'n' done,
An' turn another—likely not so good;
But what you're after is to turn'em all.
Gawd bless this world! Whatever she'oth done—
Excep' When awful long—I've found it good.
So write, before I die, "'E liked it all!"
|
Written by
Charles Bukowski |
We are like roses that have never bothered to
bloom when we should have bloomed and
it is as if
the sun has become disgusted with
waiting
|
Written by
Erin Belieu |
It bothers me: the genital smell of the bay
drifting toward me on the T stop, the train
circling the city like a dingy, year-round
Christmas display. The Puritans were right! Sin
is everywhere in Massachusetts, hell-bound
in the population. it bothers me
because it's summer now and sticky - no rain
to cool things down; heat like a wound
that will not close. Too hot, these shameful
percolations of the body that bloom
between strangers on a train. It bothers me
now that I'm alone and singles foam
around the city, bothered by the lather, the rings
of sweat. Know this bay's a watery animal, hind-end
perpetually raised: a wanting posture, pain
so apparent, wanting so much that it bothers me.
|
Written by
Rudyard Kipling |
Speakin' in general, I'ave tried 'em all
The 'appy roads that take you o'er the world.
Speakin' in general, I'ave found them good
For such as cannot use one bed too long,
But must get 'ence, the same as I'ave done,
An' go observin' matters till they die.
What do it matter where or 'ow we die,
So long as we've our 'ealth to watch it all --
The different ways that different things are done,
An' men an' women lovin' in this world;
Takin' our chances as they come along,
An' when they ain't, pretendin' they are good?
In cash or credit -- no, it aren't no good;
You've to 'ave the 'abit or you'd die,
Unless you lived your life but one day long,
Nor didn't prophesy nor fret at all,
But drew your tucker some'ow from the world,
An' never bothered what you might ha' done.
But, Gawd, what things are they I'aven't done?
I've turned my 'and to most, an' turned it good,
In various situations round the world
For 'im that doth not work must surely die;
But that's no reason man should labour all
'Is life on one same shift -- life's none so long.
Therefore, from job to job I've moved along.
Pay couldn't 'old me when my time was done,
For something in my 'ead upset it all,
Till I'ad dropped whatever 'twas for good,
An', out at sea, be'eld the dock-lights die,
An' met my mate -- the wind that tramps the world!
It's like a book, I think, this bloomin, world,
Which you can read and care for just so long,
But presently you feel that you will die
Unless you get the page you're readi'n' done,
An' turn another -- likely not so good;
But what you're after is to turn'em all.
Gawd bless this world! Whatever she'oth done --
Excep' When awful long -- I've found it good.
So write, before I die, "'E liked it all!"
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