Written by
Charles Bukowski |
George was lying in his trailer, flat on his back, watching a small portable T.V. His
dinner dishes were undone, his breakfast dishes were undone, he needed a shave, and ash
from his rolled cigarettes dropped onto his undershirt. Some of the ash was still burning.
Sometimes the burning ash missed the undershirt and hit his skin, then he cursed, brushing
it away. There was a knock on the trailer door. He got slowly to his feet and answered the
door. It was Constance. She had a fifth of unopened whiskey in a bag.
"George, I left that son of a *****, I couldn't stand that son of a *****
anymore."
"Sit down."
George opened the fifth, got two glasses, filled each a third with whiskey, two thirds
with water. He sat down on the bed with Constance. She took a cigarette out of her purse
and lit it. She was drunk and her hands trembled.
"I took his damn money too. I took his damn money and split while he was at work.
You don't know how I've suffered with that son of a *****." "
Lemme have a smoke," said George. She handed it to him and as she leaned near,
George put his arm around her, pulled her over and kissed her.
"You son of a *****," she said, "I missed you."
"I miss those good legs of yours , Connie. I've really missed those good
legs."
"You still like 'em?"
"I get hot just looking."
"I could never make it with a college guy," said Connie. "They're too
soft, they're milktoast. And he kept his house clean. George , it was like having a maid.
He did it all. The place was spotless. You could eat beef stew right off the crapper. He
was antisceptic, that's what he was."
"Drink up, you'll feel better."
"And he couldn't make love."
"You mean he couldn't get it up?"
"Oh he got it up, he got it up all the time. But he didn't know how to make a
woman happy, you know. He didn't know what to do. All that money, all that education, he
was useless."
"I wish I had a college education."
"You don't need one. You have everything you need, George."
"I'm just a flunkey. All the **** jobs."
"I said you have everything you need, George. You know how to make a woman
happy."
"Yeh?"
"Yes. And you know what else? His mother came around! His mother! Two or three
times a week. And she'd sit there looking at me, pretending to like me but all the time
she was treating me like I was a whore. Like I was a big bad whore stealing her son away
from her! Her precious Wallace! Christ! What a mess!" "He claimed he loved me.
And I'd say, 'Look at my pussy, Walter!' And he wouldn't look at my pussy. He said, 'I
don't want to look at that thing.' That thing! That's what he called it! You're not afraid
of my pussy, are you, George?"
"It's never bit me yet." "But you've bit it, you've nibbled it, haven't
you George?"
"I suppose I have."
"And you've licked it , sucked it?"
"I suppose so."
"You know damn well, George, what you've done."
"How much money did you get?"
"Six hundred dollars."
"I don't like people who rob other people, Connie."
"That's why you're a fucking dishwasher. You're honest. But he's such an ass,
George. And he can afford the money, and I've earned it... him and his mother and his
love, his mother-love, his clean l;ittle wash bowls and toilets and disposal bags and
breath chasers and after shave lotions and his little hard-ons and his precious
love-making. All for himself, you understand, all for himself! You know what a woman
wants, George."
"Thanks for the whiskey, Connie. Lemme have another cigarette."
George filled them up again. "I missed your legs, Connie. I've really missed those
legs. I like the way you wear those high heels. They drive me crazy. These modern women
don't know what they're missing. The high heel shapes the calf, the thigh, the ass; it
puts rythm into the walk. It really turns me on!"
"You talk like a poet, George. Sometimes you talk like that. You are one hell of a
dishwasher."
"You know what I'd really like to do?"
"What?"
"I'd like to whip you with my belt on the legs, the ass, the thighs. I'd like to
make you quiver and cry and then when you're quivering and crying I'd slam it into you
pure love."
"I don't want that, George. You've never talked like that to me before. You've
always done right with me."
"Pull your dress up higher."
"What?"
"Pull your dress up higher, I want to see more of your legs."
"You like my legs, don't you, George?"
"Let the light shine on them!"
Constance hiked her dress.
"God christ ****," said George.
"You like my legs?"
"I love your legs!" Then george reached across the bed and slapped Constance
hard across the face. Her cigarette flipped out of her mouth.
"what'd you do that for?"
"You fucked Walter! You fucked Walter!"
"So what the hell?"
"So pull your dress up higher!"
"No!"
"Do what I say!" George slapped again, harder. Constance hiked her skirt.
"Just up to the panties!" shouted George. "I don't quite want to see the
panties!"
"Christ, george, what's gone wrong with you?"
"You fucked Walter!"
"George, I swear, you've gone crazy. I want to leave. Let me out of here,
George!"
"Don't move or I'll kill you!"
"You'd kill me?"
"I swear it!" George got up and poured himself a shot of straight whiskey,
drank it, and sat down next to Constance. He took the cigarette and held it against her
wrist. She screamed. HE held it there, firmly, then pulled it away.
"I'm a man , baby, understand that?"
"I know you're a man , George."
"Here, look at my muscles!" george sat up and flexed both of his arms.
"Beautiful, eh ,baby? Look at that muscle! Feel it! Feel it!"
Constance felt one of the arms, then the other.
"Yes, you have a beautiful body, George."
"I'm a man. I'm a dishwasher but I'm a man, a real man."
"I know it, George." "I'm not the milkshit you left."
"I know it."
"And I can sing, too. You ought to hear my voice."
Constance sat there. George began to sing. He sang "Old man River." Then he
sang "Nobody knows the trouble I've seen." He sang "The St. Louis
Blues." He sasng "God Bless America," stopping several times and laughing.
Then he sat down next to Constance. He said, "Connie, you have beautiful legs."
He asked for another cigarette. He smoked it, drank two more drinks, then put his head
down on Connie's legs, against the stockings, in her lap, and he said, "Connie, I
guess I'm no good, I guess I'm crazy, I'm sorry I hit you, I'm sorry I burned you with
that cigarette."
Constance sat there. She ran her fingers through George's hair, stroking him, soothing
him. Soon he was asleep. She waited a while longer. Then she lifted his head and placed it
on the pillow, lifted his legs and straightened them out on the bed. She stood up, walked
to the fifth, poured a jolt of good whiskey in to her glass, added a touch of water and
drank it sown. She walked to the trailer door, pulled it open, stepped out, closed it. She
walked through the backyard, opened the fence gate, walked up the alley under the one
o'clock moon. The sky was clear of clouds. The same skyful of clouds was up there. She got
out on the boulevard and walked east and reached the entrance of The Blue Mirror. She
walked in, and there was Walter sitting alone and drunk at the end of the bar. She walked
up and sat down next to him. "Missed me, baby?" she asked. Walter looked up. He
recognized her. He didn't answer. He looked at the bartender and the bartender walked
toward them They all knew eachother.
|
Written by
Gwendolyn Brooks |
arrive. The Ladies from the Ladies' Betterment
League
Arrive in the afternoon, the late light slanting
In diluted gold bars across the boulevard brag
Of proud, seamed faces with mercy and murder hinting
Here, there, interrupting, all deep and debonair,
The pink paint on the innocence of fear;
Walk in a gingerly manner up the hall.
Cutting with knives served by their softest care,
Served by their love, so barbarously fair.
Whose mothers taught: You'd better not be cruel!
You had better not throw stones upon the wrens!
Herein they kiss and coddle and assault
Anew and dearly in the innocence
With which they baffle nature. Who are full,
Sleek, tender-clad, fit, fiftyish, a-glow, all
Sweetly abortive, hinting at fat fruit,
Judge it high time that fiftyish fingers felt
Beneath the lovelier planes of enterprise.
To resurrect. To moisten with milky chill.
To be a random hitching post or plush.
To be, for wet eyes, random and handy hem.
Their guild is giving money to the poor.
The worthy poor. The very very worthy
And beautiful poor. Perhaps just not too swarthy?
Perhaps just not too dirty nor too dim
Nor--passionate. In truth, what they could wish
Is--something less than derelict or dull.
Not staunch enough to stab, though, gaze for gaze!
God shield them sharply from the beggar-bold!
The noxious needy ones whose battle's bald
Nonetheless for being voiceless, hits one down.
But it's all so bad! and entirely too much for them.
The stench; the urine, cabbage, and dead beans,
Dead porridges of assorted dusty grains,
The old smoke, heavy diapers, and, they're told,
Something called chitterlings. The darkness. Drawn
Darkness, or dirty light. The soil that stirs.
The soil that looks the soil of centuries.
And for that matter the general oldness. Old
Wood. Old marble. Old tile. Old old old.
Note homekind Oldness! Not Lake Forest, Glencoe.
Nothing is sturdy, nothing is majestic,
There is no quiet drama, no rubbed glaze, no
Unkillable infirmity of such
A tasteful turn as lately they have left,
Glencoe, Lake Forest, and to which their cars
Must presently restore them. When they're done
With dullards and distortions of this fistic
Patience of the poor and put-upon.
They've never seen such a make-do-ness as
Newspaper rugs before! In this, this "flat,"
Their hostess is gathering up the oozed, the rich
Rugs of the morning (tattered! the bespattered . . . ),
Readies to spread clean rugs for afternoon.
Here is a scene for you. The Ladies look,
In horror, behind a substantial citizeness
Whose trains clank out across her swollen heart.
Who, arms akimbo, almost fills a door.
All tumbling children, quilts dragged to the floor
And tortured thereover, potato peelings, soft-
Eyed kitten, hunched-up, haggard, to-be-hurt.
Their League is allotting largesse to the Lost.
But to put their clean, their pretty money, to put
Their money collected from delicate rose-fingers
Tipped with their hundred flawless rose-nails seems . . .
They own Spode, Lowestoft, candelabra,
Mantels, and hostess gowns, and sunburst clocks,
Turtle soup, Chippendale, red satin "hangings,"
Aubussons and Hattie Carnegie. They Winter
In Palm Beach; cross the Water in June; attend,
When suitable, the nice Art Institute;
Buy the right books in the best bindings; saunter
On Michigan, Easter mornings, in sun or wind.
Oh Squalor! This sick four-story hulk, this fibre
With fissures everywhere! Why, what are bringings
Of loathe-love largesse? What shall peril hungers
So old old, what shall flatter the desolate?
Tin can, blocked fire escape and chitterling
And swaggering seeking youth and the puzzled wreckage
Of the middle passage, and urine and stale shames
And, again, the porridges of the underslung
And children children children. Heavens! That
Was a rat, surely, off there, in the shadows? Long
And long-tailed? Gray? The Ladies from the Ladies'
Betterment League agree it will be better
To achieve the outer air that rights and steadies,
To hie to a house that does not holler, to ring
Bells elsetime, better presently to cater
To no more Possibilities, to get
Away. Perhaps the money can be posted.
Perhaps they two may choose another Slum!
Some serious sooty half-unhappy home!--
Where loathe-lover likelier may be invested.
Keeping their scented bodies in the center
Of the hall as they walk down the hysterical hall,
They allow their lovely skirts to graze no wall,
Are off at what they manage of a canter,
And, resuming all the clues of what they were,
Try to avoid inhaling the laden air.
|
Written by
Frank Bidart |
The only thing I miss about Los Angeles
is the Hollywood Freeway at midnight, windows down and
radio blaring
bearing right into the center of the city, the Capitol Tower
on the right, and beyond it, Hollywood Boulevard
blazing
--pimps, surplus stores, footprints of the stars
--descending through the city
fast as the law would allow
through the lights, then rising to the stack
out of the city
to the stack where lanes are stacked six deep
and you on top; the air
now clean, for a moment weightless
without memories, or
need for a past.
The need for the past
is so much at the center of my life
I write this poem to record my discovery of it,
my reconciliation.
It was in Bishop, the room was done
in California plush: we had gone into the coffee shop, were told
you could only get a steak in the bar:
I hesitated,
not wanting to be an occasion of temptation for my father
but he wanted to, so we entered
a dark room, with amber water glasses, walnut
tables, captain's chairs,
plastic doilies, papier-mâché bas-relief wall ballerinas,
German memorial plates "bought on a trip to Europe,"
Puritan crosshatch green-yellow wallpaper,
frilly shades, cowhide
booths--
I thought of Cambridge:
the lovely congruent elegance
of Revolutionary architecture, even of
ersatz thirties Georgian
seemed alien, a threat, sign
of all I was not--
to bode order and lucidity
as an ideal, if not reality--
not this California plush, which
also
I was not.
And so I made myself an Easterner,
finding it, after all, more like me
than I had let myself hope.
And now, staring into the embittered face of
my father,
again, for two weeks, as twice a year,
I was back.
The waitress asked us if we wanted a drink.
Grimly, I waited until he said no...
Before the tribunal of the world I submit the following
document:
Nancy showed it to us,
in her apartment at the model,
as she waited month by month
for the property settlement, her children grown
and working for their father,
at fifty-three now alone,
a drink in her hand:
as my father said,
"They keep a drink in her hand":
Name Wallace du Bois
Box No 128 Chino, Calif.
Date July 25 ,19 54
Mr Howard Arturian
I am writing a letter to you this afternoon while I'm in the
mood of writing. How is everything getting along with you these
fine days, as for me everything is just fine and I feel great except for
the heat I think its lot warmer then it is up there but I don't mind
it so much. I work at the dairy half day and I go to trade school the
other half day Body & Fender, now I am learning how to spray
paint cars I've already painted one and now I got another car to
paint. So now I think I've learned all I want after I have learned all
this. I know how to straighten metals and all that. I forgot to say
"Hello" to you. The reason why I am writing to you is about a job,
my Parole Officer told me that he got letter from and that you want
me to go to work for you. So I wanted to know if its truth. When
I go to the Board in Feb. I'll tell them what I want to do and where
I would like to go, so if you want me to work for you I'd rather have
you sent me to your brother John in Tonapah and place to stay for
my family. The Old Lady says the same thing in her last letter that
she would be some place else then in Bishop, thats the way I feel
too.and another thing is my drinking problem. I made up my mind
to quit my drinking, after all what it did to me and what happen.
This is one thing I'll never forget as longs as I live I never want
to go through all this mess again. This sure did teach me lot of things
that I never knew before. So Howard you can let me know soon
as possible. I sure would appreciate it.
P.S From Your Friend
I hope you can read my Wally Du Bois
writing. I am a little nervous yet
--He and his wife had given a party, and
one of the guests was walking away
just as Wallace started backing up his car.
He hit him, so put the body in the back seat
and drove to a deserted road.
There he put it before the tires, and
ran back and forth over it several times.
When he got out of Chino, he did,
indeed, never do that again:
but one child was dead, his only son,
found with the rest of the family
immobile in their beds with typhoid,
next to the mother, the child having been
dead two days:
he continued to drink, and as if it were the Old West
shot up the town a couple of Saturday nights.
"So now I think I've learned all I want
after I have learned all this: this sure did teach me a lot of things
that I never knew before.
I am a little nervous yet."
It seems to me
an emblem of Bishop--
For watching the room, as the waitresses in their
back-combed, Parisian, peroxided, bouffant hairdos,
and plastic belts,
moved back and forth
I thought of Wallace, and
the room suddenly seemed to me
not uninteresting at all:
they were the same. Every plate and chair
had its congruence with
all the choices creating
these people, created
by them--by me,
for this is my father's chosen country, my origin.
Before, I had merely been anxious, bored; now,
I began to ask a thousand questions...
He was, of course, mistrustful, knowing I was bored,
knowing he had dragged me up here from Bakersfield
after five years
of almost managing to forget Bishop existed.
But he soon became loquacious, ordered a drink,
and settled down for
an afternoon of talk...
He liked Bishop: somehow, it was to his taste, this
hard-drinking, loud, visited-by-movie-stars town.
"Better to be a big fish in a little pond."
And he was: when they came to shoot a film,
he entertained them; Miss A--, who wore
nothing at all under her mink coat; Mr. M--,
good horseman, good shot.
"But when your mother
let me down" (for alcoholism and
infidelity, she divorced him)
"and Los Angeles wouldn't give us water any more,
I had to leave.
We were the first people to grow potatoes in this valley."
When he began to tell me
that he lost control of the business
because of the settlement he gave my mother,
because I had heard it
many times,
in revenge, I asked why people up here drank so much.
He hesitated. "Bored, I guess.
--Not much to do."
And why had Nancy's husband left her?
In bitterness, all he said was:
"People up here drink too damn much."
And that was how experience
had informed his life.
"So now I think I've learned all I want
after I have learned all this: this sure did teach me a lot of things
that I never knew before.
I am a little nervous yet."
Yet, as my mother said,
returning, as always, to the past,
"I wouldn't change any of it.
It taught me so much. Gladys
is such an innocent creature: you look into her face
and somehow it's empty, all she worries about
are sales and the baby.
her husband's too good!"
It's quite pointless to call this rationalization:
my mother, for uncertain reasons, has had her
bout with insanity, but she's right:
the past in maiming us,
makes us,
fruition
is also
destruction:
I think of Proust, dying
in a cork-linked room, because he refuses to eat
because he thinks that he cannot write if he eats
because he wills to write, to finish his novel
--his novel which recaptures the past, and
with a kind of joy, because
in the debris
of the past, he has found the sources of the necessities
which have led him to this room, writing
--in this strange harmony, does he will
for it to have been different?
And I can't not think of the remorse of Oedipus,
who tries to escape, to expiate the past
by blinding himself, and
then, when he is dying, sees that he has become a Daimon
--does he, discovering, at last, this cruel
coherence created by
"the order of the universe"
--does he will
anything reversed?
I look at my father:
as he drinks his way into garrulous, shaky
defensiveness, the debris of the past
is just debris--; whatever I reason, it is a desolation
to watch...
must I watch?
He will not change; he does not want to change;
every defeated gesture implies
the past is useless, irretrievable...
--I want to change: I want to stop fear's subtle
guidance of my life--; but, how can I do that
if I am still
afraid of its source?
|
Written by
Lawrence Ferlinghetti |
One grand boulevard with trees
with one grand cafe in sun
with strong black coffee in very small cups.
One not necessarily very beautiful
man or woman who loves you.
One fine day.
|
Written by
Yves Bonnefoy |
I remember, it was a morning, in summer,
The window was half-open, I drew near,
I could see my father at the end of the garden.
He was motionless, looking for something,
I could not tell what, or where, beyond the world,
His body was already bent over, but his gaze
Was lifted toward the unaccomplished or the impossible.
He had put aside his pick and his spade,
The air was fresh on that morning of the world,
But even freshness can be impenetrable, and cruel
The memory of the mornings of childhood.
Who was he, who had he been in the light,
I did not know, I still do not.
But I also see him on the boulevard,
Walking slowly, so much weariness
Weighing down the way he now moved,
He was going back to work, while I
Was wandering about with some of my classmates
At the beginning of an afternoon still free from time.
To this figure, seen from afar, moving on its way,
I dedicate the words that cannot say what they would.
(In the dining room
Of the Sunday afternoon, in summer,
The shutters closed against the heat,
The table cleared, he suggested
Cards, since these are the only pictures
In the childhood house to satisfy
The needs of dream, but he leaves,
And when he does, the child clumsily takes the cards,
He puts the winning ones in the other’s hand,
Then waits feverishly for the game to begin again,
And for the one who was losing to win, and so triumphantly
That he might see in this victory a sign, something
To nourish some hope the child cannot know.
After this, two paths part, and one of them
Vanishes, and almost immediately, forgetfulness
Sets in, avid, relentless.
I have crossed out
These words a hundred times, in verse, in prose,
But I cannot
Stop them from coming back.)
|
Written by
Eavan Boland |
It was the first gift he ever gave her,
buying it for five five francs in the Galeries
in pre-war Paris. It was stifling.
A starless drought made the nights stormy.
They stayed in the city for the summer.
The met in cafes. She was always early.
He was late. That evening he was later.
They wrapped the fan. He looked at his watch.
She looked down the Boulevard des Capucines.
She ordered more coffee. She stood up.
The streets were emptying. The heat was killing.
She thought the distance smelled of rain and lightning.
These are wild roses, appliqued on silk by hand,
darkly picked, stitched boldly, quickly.
The rest is tortoiseshell and has the reticent clear patience
of its element. It is
a worn-out, underwater bullion and it keeps,
even now, an inference of its violation.
The lace is overcast as if the weather
it opened for and offset had entered it.
The past is an empty cafe terrace.
An airless dusk before thunder. A man running.
And no way to know what happened then—
none at all—unless ,of course, you improvise:
The blackbird on this first sultry morning,
in summer, finding buds, worms, fruit,
feels the heat. Suddenly she puts out her wing—
the whole, full, flirtatious span of it.
|
Written by
Mark Doty |
The intact facade's now almost black
in the rain; all day they've torn at the back
of the building, "the oldest concrete structure
in New England," the newspaper said. By afternoon,
when the backhoe claw appears above
three stories of columns and cornices,
the crowd beneath their massed umbrellas cheer.
Suddenly the stairs seem to climb down themselves,
atomized plaster billowing: dust of 1907's
rooming house, this year's bake shop and florist's,
the ghosts of their signs faint above the windows
lined, last week, with loaves and blooms.
We love disasters that have nothing to do
with us: the metal scoop seems shy, tentative,
a Japanese monster tilting its yellow head
and considering what to topple next. It's a weekday,
and those of us with the leisure to watch
are out of work, unemployable or academics,
joined by a thirst for watching something fall.
All summer, at loose ends, I've read biographies,
Wilde and Robert Lowell, and fallen asleep
over a fallen hero lurching down a Paris boulevard,
talking his way to dinner or a drink,
unable to forget the vain and stupid boy
he allowed to ruin him. And I dreamed
I was Lowell, in a manic flight of failing
and ruthless energy, and understood
how wrong I was with a passionate exactitude
which had to be like his. A month ago,
at Saint-Gauden's house, we ran from a startling downpour
into coincidence: under a loggia built
for performances on the lawn
hulked Shaw's monument, splendid
in its plaster maquette, the ramrod-straight colonel
high above his black troops. We crouched on wet gravel
and waited out the squall; the hieratic woman
-- a wingless angel? -- floating horizontally
above the soldiers, her robe billowing like plaster dust,
seemed so far above us, another century's
allegorical decor, an afterthought
who'd never descend to the purely physical
soldiers, the nearly breathing bronze ranks crushed
into a terrible compression of perspective,
as if the world hurried them into the ditch.
"The unreadable," Wilde said, "is what occurs."
And when the brutish metal rears
above the wall of unglazed windows --
where, in a week, the kids will skateboard
in their lovely loops and spray
their indecipherable ideograms
across the parking lot -- the single standing wall
seems Roman, momentarily, an aqueduct,
all that's left of something difficult
to understand now, something Oscar
and Bosie might have posed before, for a photograph.
Aqueducts and angels, here on Main,
seem merely souvenirs; the gaps
where the windows opened once
into transients' rooms are pure sky.
It's strange how much more beautiful
the sky is to us when it's framed
by these columned openings someone meant us
to take for stone. The enormous, articulate shovel
nudges the highest row of moldings
and the whole thing wavers as though we'd dreamed it,
our black classic, and it topples all at once.
|
Written by
Philip Levine |
A good man is seized by the police
and spirited away. Months later
someone brags that he shot him once
through the back of the head
with a Walther 7.65, and his life
ended just there. Those who loved
him go on searching the cafés
in the Barrio Chino or the bars
near the harbor. A comrade swears
he saw him at a distance buying
two kilos of oranges in the market
of San José and called out, "Andrés,
Andrés," but instead of turning
to a man he'd known since child-
hood and opening his great arms
wide, he scurried off, the oranges
tumbling out of the damp sack, one
after another, a short bright trail
left on the sidewalk to say,
Farewell! Farewell to what? I ask.
I asked then and I ask now. I first
heard the story fifty years ago;
it became part of the mythology I
hauled with me from one graveyard
to another, this belief in the power
of my yearning. The dead are every-
where, crowding the narrow streets
that jut out from the wide boulevard
on which we take our morning walk.
They stand in the cold shadows
of men and women come to sell
themselves to anyone, they stride
along beside me and stop when I
stop to admire the bright garlands
or the little pyramids of fruit,
they reach a hand out to give
money or to take change, they say
"Good morning" or "Thank you," they
turn with me and retrace my steps
back to the bare little room I've
come to call home. Patiently,
they stand beside me staring out
over the soiled roofs of the world
until the light fades and we are
all one or no one. They ask for
so little, a prayer now and then,
a toast to their health which is
our health, a few lies no one reads
incised on a dull plaque between
a pharmacy and a sports store,
the least little daily miracle.
|
Written by
Robert William Service |
He's yonder, on the terrace of the Cafe de la Paix,
The little wizened Spanish man, I see him every day.
He's sitting with his Pernod on his customary chair;
He's staring at the passers with his customary stare.
He never takes his piercing eyes from off that moving throng,
That current cosmopolitan meandering along:
Dark diplomats from Martinique, pale Rastas from Peru,
An Englishman from Bloomsbury, a Yank from Kalamazoo;
A poet from Montmartre's heights, a dapper little Jap,
Exotic citizens of all the countries on the map;
A tourist horde from every land that's underneath the sun --
That little wizened Spanish man, he misses never one.
Oh, foul or fair he's always there, and many a drink he buys,
And there's a fire of red desire within his hollow eyes.
And sipping of my Pernod, and a-knowing what I know,
Sometimes I want to shriek aloud and give away the show.
I've lost my nerve; he's haunting me; he's like a beast of prey,
That Spanish man that's watching at the Cafe de la Paix.
Say! Listen and I'll tell you all . . . the day was growing dim,
And I was with my Pernod at the table next to him;
And he was sitting soberly as if he were asleep,
When suddenly he seemed to tense, like tiger for a leap.
And then he swung around to me, his hand went to his hip,
My heart was beating like a gong -- my arm was in his grip;
His eyes were glaring into mine; aye, though I shrank with fear,
His fetid breath was on my face, his voice was in my ear:
"Excuse my brusquerie," he hissed; "but, sir, do you suppose --
That portly man who passed us had a wen upon his nose?"
And then at last it dawned on me, the fellow must be mad;
And when I soothingly replied: "I do not think he had,"
The little wizened Spanish man subsided in his chair,
And shrouded in his raven cloak resumed his owlish stare.
But when I tried to slip away he turned and glared at me,
And oh, that fishlike face of his was sinister to see:
"Forgive me if I startled you; of course you think I'm *****;
No doubt you wonder who I am, so solitary here;
You question why the passers-by I piercingly review . . .
Well, listen, my bibacious friend, I'll tell my tale to you.
"It happened twenty years ago, and in another land:
A maiden young and beautiful, two suitors for her hand.
My rival was the lucky one; I vowed I would repay;
Revenge has mellowed in my heart, it's rotten ripe to-day.
My happy rival skipped away, vamoosed, he left no trace;
And so I'm waiting, waiting here to meet him face to face;
For has it not been ever said that all the world one day
Will pass in pilgrimage before the Cafe de la Paix?"
"But, sir," I made remonstrance, "if it's twenty years ago,
You'd scarcely recognize him now, he must have altered so."
The little wizened Spanish man he laughed a hideous laugh,
And from his cloak he quickly drew a faded photograph.
"You're right," said he, "but there are traits (oh, this you must allow)
That never change; Lopez was fat, he must be fatter now.
His paunch is senatorial, he cannot see his toes,
I'm sure of it; and then, behold! that wen upon his nose.
I'm looking for a man like that. I'll wait and wait until . . ."
"What will you do?" I sharply cried; he answered me: "Why, kill!
He robbed me of my happiness -- nay, stranger, do not start;
I'll firmly and politely put -- a bullet in his heart."
And then that little Spanish man, with big cigar alight,
Uprose and shook my trembling hand and vanished in the night.
And I went home and thought of him and had a dreadful dream
Of portly men with each a wen, and woke up with a scream.
And sure enough, next morning, as I prowled the Boulevard,
A portly man with wenny nose roamed into my regard;
Then like a flash I ran to him and clutched him by the arm:
"Oh, sir," said I, "I do not wish to see you come to harm;
But if your life you value aught, I beg, entreat and pray --
Don't pass before the terrace of the Cafe de la Paix."
That portly man he looked at me with such a startled air,
Then bolted like a rabbit down the rue Michaudière.
"Ha! ha! I've saved a life," I thought; and laughed in my relief,
And straightway joined the Spanish man o'er his apéritif.
And thus each day I dodged about and kept the strictest guard
For portly men with each a wen upon the Boulevard.
And then I hailed my Spanish pal, and sitting in the sun,
We ordered many Pernods and we drank them every one.
And sternly he would stare and stare until my hand would shake,
And grimly he would glare and glare until my heart would quake.
And I would say: "Alphonso, lad, I must expostulate;
Why keep alive for twenty years the furnace of your hate?
Perhaps his wedded life was hell; and you, at least, are free . . ."
"That's where you've got it wrong," he snarled; "the fool she took was me.
My rival sneaked, threw up the sponge, betrayed himself a churl:
'Twas he who got the happiness, I only got -- the girl."
With that he looked so devil-like he made me creep and shrink,
And there was nothing else to do but buy another drink.
Now yonder like a blot of ink he sits across the way,
Upon the smiling terrace of the Cafe de la Paix;
That little wizened Spanish man, his face is ghastly white,
His eyes are staring, staring like a tiger's in the night.
I know within his evil heart the fires of hate are fanned,
I know his automatic's ready waiting to his hand.
I know a tragedy is near. I dread, I have no peace . . .
Oh, don't you think I ought to go and call upon the police?
Look there . . . he's rising up . . . my God!
He leaps from out his place . . .
Yon millionaire from Argentine . . . the two are face to face . . .
A shot! A shriek! A heavy fall! A huddled heap! Oh, see
The little wizened Spanish man is dancing in his glee. . . .
I'm sick . . . I'm faint . . . I'm going mad. . . .
Oh, please take me away . . .
There's BLOOD upon the terrace of the Cafe de la Paix. . . .
|
Written by
Robert William Service |
Oh, it's pleasant sitting here,
Seeing all the people pass;
You beside your bock of beer,
I behind my demi-tasse.
Chatting of no matter what.
You the Mummer, I the Bard;
Oh, it's jolly, is it not? --
Sitting on the Boulevard.
More amusing than a book,
If a chap has eyes to see;
For, no matter where I look,
Stories, stories jump at me.
Moving tales my pen might write;
Poems plain on every face;
Monologues you could recite
With inimitable grace.
(Ah! Imagination's power)
See yon demi-mondaine there,
Idly toying with a flower,
Smiling with a pensive air . . .
Well, her smile is but a mask,
For I saw within her ****
Such a wicked little flask:
Vitriol -- ugh! the beastly stuff.
Now look back beside the bar.
See yon curled and scented beau,
Puffing at a fine cigar --
Sale espèce de maquereau.
Well (of course, it's all surmise),
It's for him she holds her place;
When he passes she will rise,
Dash the vitriol in his face.
Quick they'll carry him away,
Pack him in a Red Cross car;
Her they'll hurry, so they say,
To the cells of St. Lazare.
What will happen then, you ask?
What will all the sequel be?
Ah! Imagination's task
Isn't easy . . . let me see . . .
She will go to jail, no doubt,
For a year, or maybe two;
Then as soon as she gets out
Start her bawdy life anew.
He will lie within a ward,
Harmless as a man can be,
With his face grotesquely scarred,
And his eyes that cannot see.
Then amid the city's din
He will stand against a wall,
With around his neck a tin
Into which the pennies fall.
She will pass (I see it plain,
Like a cinematograph),
She will halt and turn again,
Look and look, and maybe laugh.
Well, I'm not so sure of that --
Whether she will laugh or cry.
He will hold a battered hat
To the lady passing by.
He will smile a cringing smile,
And into his grimy hold,
With a laugh (or sob) the while,
She will drop a piece of gold.
"Bless you, lady," he will say,
And get grandly drunk that night.
She will come and come each day,
Fascinated by the sight.
Then somehow he'll get to know
(Maybe by some kindly friend)
Who she is, and so . . . and so
Bring my story to an end.
How his heart will burst with hate!
He will curse and he will cry.
He will wait and wait and wait,
Till again she passes by.
Then like tiger from its lair
He will leap from out his place,
Down her, clutch her by the hair,
Smear the vitriol on her face.
(Ah! Imagination rare)
See . . . he takes his hat to go;
Now he's level with her chair;
Now she rises up to throw. . . .
God! and she has done it too . . .
Oh, those screams; those hideous screams!
I imagined and . . . it's true:
How his face will haunt my dreams!
What a sight! It makes me sick.
Seems I am to blame somehow.
Garcon, fetch a brandy quick . . .
There! I'm feeling better now.
Let's collaborate, we two,
You the Mummer, I the Bard;
Oh, what ripping stuff we'll do,
Sitting on the Boulevard!
|