Written by
Barry Tebb |
for Daniel Weissbort
Some poems meant only for my eyes
About a grief I can’t let go
But I want to, want to throw
It away like an old worn-out cloak
Or screw up like a ball of over-written
Trash and toss into the corner bin.
I said it must come up or out
I don't know which but either way
Will do, I know I can't write in the vein
Of ‘Bridge’ this time, it takes an optimistic view,
Bright day stuff, sunlight on
Roundhay Park's Childrens’ Day
Or just wandering round the streets
With Margaret, occasionally stopping
To whisper or to kiss.
Now over sixty I wonder
How and where to go from here
Daniel your rolled out verse
Unending Kaddish gave me hints
But what can you or anyone say
About our son, the other one, who from
Such a bright childhood came to such
A death-in-life?
Dreamless sleep is better than the consciousness
Of bitter days; I sit in silent prayer and read
Of Job, the Prodigal, the Sermon on the Mount.
I read and think and sigh aloud to my silent,
Silent self.
I write him letters long or short
About the weather or a book I've read and hope
His studies are kept up.
I can’t say ‘How much
Do you drink? Is it more or less or just the same?’
Its your own life
But then its partly one we shared for years
From birth along a road I thought we went
Along as one.
Some years ago I sensed a change,
An invisible glass wall between us, between
It seemed you and everyone, the way friends
Hurried past, patting your shoulder in passing,
A joke in the pub, the Leeds boy who'd made good
Then threw it all away for drink.
Your boxed-up books, texts in five languages
Or six, the well-thumbed classics worn cassettes
Of Bach, Tippett’s ‘Knot Garden’, invitation
Cards, the total waste, my own and your’s and her’s.
Love does not seem an answer
That you want to know,
The hours, the years of waiting
Gather loss on loss until
My hopes are brief as days
That rush and go like speeding trains
That never stop.
You drink, I pay,
You ramble through an odd text-book
And go and eat and drink and talk
And lose your way, then phone
‘To set things straight’ but nothing’s
Ever straight with you, the binges
Start and stop, a local train that
Locals know will never go beyond
The halt where only you get off.
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Written by
Robert Creeley |
Window's tree trunk's predominant face
a single eye-leveled hole where limb's torn off
another larger contorts to swell growing in around
imploding wound beside a clutch of thin twigs
hold to one two three four five six dry twisted
yellowish brown leaves flat against the other
gray trees in back stick upright then the glimpse
of lighter still grayish sky behind the close
welted solid large trunk with clumps of gray-green
lichen seen in boxed glass squared window back
of two shaded lamps on brown chiffonier between
two beds echo in mirror on far wall of small room.
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Written by
Carl Sandburg |
THE BALLOONS hang on wires in the Marigold Gardens.
They spot their yellow and gold, they juggle their blue and red, they float their faces on the face of the sky.
Balloon face eaters sit by hundreds reading the eat cards, asking, “What shall we eat?”—and the waiters, “Have you ordered?” they are sixty ballon faces sifting white over the tuxedoes.
Poets, lawyers, ad men, mason contractors, smartalecks discussing “educated jackasses,” here they put crabs into their balloon faces.
Here sit the heavy balloon face women lifting crimson lobsters into their crimson faces, lobsters out of Sargossa sea bottoms.
Here sits a man cross-examining a woman, “Where were you last night? What do you do with all your money? Who’s buying your shoes now, anyhow?”
So they sit eating whitefish, two balloon faces swept on God’s night wind.
And all the time the balloon spots on the wires, a little mile of festoons, they play their own silence play of film yellow and film gold, bubble blue and bubble red.
The wind crosses the town, the wind from the west side comes to the banks of marigolds boxed in the Marigold Gardens.
Night moths fly and fix their feet in the leaves and eat and are seen by the eaters.
The jazz outfit sweats and the drums and the saxophones reach for the ears of the eaters.
The chorus brought from Broadway works at the fun and the slouch of their shoulders, the kick of their ankles, reach for the eyes of the eaters.
These girls from Kokomo and Peoria, these hungry girls, since they are paid-for, let us look on and listen, let us get their number.
Why do I go again to the balloons on the wires, something for nothing, kin women of the half-moon, dream women?
And the half-moon swinging on the wind crossing the town—these two, the half-moon and the wind—this will be about all, this will be about all.
Eaters, go to it; your mazuma pays for it all; it’s a knockout, a classy knockout—and payday always comes.
The moths in the marigolds will do for me, the half-moon, the wishing wind and the little mile of balloon spots on wires—this will be about all, this will be about all.
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Written by
George Herbert |
Oh King of grief! (a title strange, yet true,
To thee of all kings only due)
Oh King of wounds! how shall I grieve for thee,
Who in all grief preventest me?
Shall I weep blood? why thou has wept such store
That all thy body was one door.
Shall I be scourged, flouted, boxed, sold?
'Tis but to tell the tale is told.
'My God, my God, why dost thou part from me? '
Was such a grief as cannot be.
Shall I then sing, skipping, thy doleful story,
And side with thy triumphant glory?
Shall thy strokes be my stroking? thorns, my flower?
Thy rod, my posy? cross, my bower?
But how then shall I imitate thee, and
Copy thy fair, though bloody hand?
Surely I will revenge me on thy love,
And try who shall victorious prove.
If thou dost give me wealth, I will restore
All back unto thee by the poor.
If thou dost give me honour, men shall see,
The honour doth belong to thee.
I will not marry; or, if she be mine,
She and her children shall be thine.
My bosom friend, if he blaspheme thy name,
I will tear thence his love and fame.
One half of me being gone, the rest I give
Unto some Chapel, die or live.
As for thy passion - But of that anon,
When with the other I have done.
For thy predestination I'll contrive,
That three years hence, if I survive,
I'll build a spittle, or mend common ways,
But mend mine own without delays.
Then I will use the works of thy creation,
As if I us'd them but for fashion.
The world and I will quarrel; and the year
Shall not perceive, that I am here.
My music shall find thee, and ev'ry string
Shall have his attribute to sing;
That all together may accord in thee,
And prove one God, one harmony.
If thou shalt give me wit, it shall appear;
If thou hast giv'n it me, 'tis here.
Nay, I will read thy book, and never move
Till I have found therein thy love;
Thy art of love, which I'll turn back on thee,
O my dear Saviour, Victory!
Then for thy passion - I will do for that -
Alas, my God, I know not what.
|
Written by
Lewis Carroll |
I painted her a gushing thing,
With years about a score;
I little thought to find they were
A least a dozen more;
My fancy gave her eyes of blue,
A curly auburn head:
I came to find the blue a green,
The auburn turned to red.
She boxed my ears this morning,
They tingled very much;
I own that I could wish her
A somewhat lighter touch;
And if you ask me how
Her charms might be improved,
I would not have them added to,
But just a few removed!
She has the bear's ethereal grace,
The bland hyaena's laugh,
The footstep of the elephant,
The neck of a giraffe;
I love her still, believe me,
Though my heart its passion hides;
"She's all my fancy painted her,"
But oh! how much besides!
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Written by
Chris Mansell |
the population controller
slips into disguise
his charming suit
his veil of words
conceals his gaze
he has laid out the fields
and filled them with blossoms
and counted the money jars
in his SimCity slim city
androgyn sharp
bodies are worry perfect
slicked back souped up
cool as drones
the neutered ones
will dance for one another
in the pages of glib
they make their ideal
hexagonal cubicles
gleam with honey
they gel their wings
catch their reflections
in passing pools
hope they’ll win
somehow against
the odds
they won’t
the beekeeper has
a boxed and ready fear
of bees
he won’t
let them forget
he tells them
duty honour
the sacredness of home
and holds a smoking gun
for dissident and obedient alike
those who gather in the courtyards
of fame he’ll teach his rules
those who gather in the squares
he’ll fight with guns and scorn
those who write destinations in the air
he’ll silence
his fields and his alone
are edible he’ll say
and all the rest are poison
and all those who disagree
are fools or mad
and must be fought
for sanity and for country
and the bees obey
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Written by
Rg Gregory |
heeley (sheffield) autumn 1988
dodging the broken bottles
dog-**** the pavement spew
i wheel my young son matthew
through the heeley streets
shop to shop this early
morning (short of milk)
unsettled day - the sun
comes through the clouds in
ragged strips where windy
rain has had the night
to puff and piddle
puddles idle in
the dips of surfaces
neglected for decades
another place where caring's
lost a public vision
only detritus of hope
dares poke its battered
visage out of doors
no pride here on pavements
what's local's long been
squashed - wealth's dogs
prefer more stately
avenues to piss up
the air is fresh
i'm moving briskly
getting a lift from
my negotiating skills
take a buggy on
two wheels to skirt
a sudden pool a twirl
past faeces - a kind of
hop-scotch over jags
of milky glass - and come
to stop on a hillside
where slopes of grass drop
sleekly on what were
backs of houses
i'm out of breath
a darkness ripples
past my eyes and knocks
on my unfitness
i am locked for one
brief aeon as a rock
that's held its place upon
this hill inscrutably
a wildness explodes
from every blade of grass
i touch upon deep springs
(a healing flow upsurging
through the **** and glass
the torn-down homes)
my body's lapped - my
old eyes washed of dirt
a comb's gone through the
landscape at my feet
the muck's redeemed
a larger time lets
nothing be what is
but everything is used
for what is coming
today-defunct breeds
trees that bloom tomorrow
nothing's next step on
is one - what's poor is
where new worlds are just
beginning - the ****
spew glass the death
of hope have done their time
(cartons which the future's
thrown away as minds
and spirits snout amongst
the refuse seeking forms
to dress their fresh selves in)
the meek are gathered
in millions on this hill
disparaged destitute
of any say in this
dead time as others
roll their tongues
round easy riches
but here's the future
too - a start of ages
a cry whose agony's
a pinprick or a seedling
a drib of red and green
the statute's blind to
across the valley
sheffield snarls itself
to this day's life
its smoke-tuned buildings
boxed-in by the past
(upheavals mortised in
its joints make it confused)
for all its roar it
slumbers through its present
wanting its glory back
the talk of its old
workers flawed with steely
pride (that stainless stain)
there's no dawn there - its power
and wealth have long borne
all its sons away
it's in the detritus
i stand in (in this mix
of race and stymied
passion heeley has become
- and all such cast-off
cesspits of our dreams)
the not-yet written
songs of human dignity
are not yet being sung
the shudder leaves me
i'm just this oldish
man with his youngest son
pushing a buggy through
scarred heeley streets
more concerned to get
no **** upon the wheels
than to hold a sand-grain
to the world and turn
its atoms inside out
i'll not live to see
the newlaid honest
pavements going down
and houses have that look
within their glass that sings
of confidence-returned
i push on up the hill
(to where my oldest son
has done his house up)
once more safely in
the compound of my
aging flesh talking
with matthew playing
buggy games
triumphant
only that after
so many sorry shops
i'd found one that did
sell milk - the morning
cup of tea reclaimed
the real world put to rights
|
Written by
Charles Bukowski |
in the hospitals and jails
it's the worst
in madhouses
it's the worst
in penthouses
it's the worst
in skid row flophouses
it's the worst
at poetry readings
at rock concerts
at benefits for the disabled
it's the worst
at funerals
at weddings
it's the worst
at parades
at skating rinks
at sexual orgies
it's the worst
at midnight
at 3 a.
m.
at 5:45 p.
m.
it's the worst
falling through the sky
firing squads
that's the best
thinking of India
looking at popcorn stands
watching the bull get the matador
that's the best
boxed lightbulbs
an old dog scratching
peanuts in a celluloid bag
that's the best
spraying roaches
a clean pair of stockings
natural guts defeating natural talent
that's the best
in front of firing squads
throwing crusts to seagulls
slicing tomatoes
that's the best
rugs with cigarette burns
cracks in sidewalks
waitresses still sane
that's the best
my hands dead
my heart dead
silence
adagio of rocks
the world ablaze
that's the best
for me.
|
Written by
Andrew Barton Paterson |
Now is the law of the Overland that all in the West obey --
A man must cover with travelling sheep a six-mile stage a day;
But this is the law which the drovers make, right easily understood,
They travel their stage where the grass is bad, but they camp where the grass is good;
They camp, and they ravage the squatter's grass till never a blade remains.
Then they drift away as the white clouds drift on the edge of the saltbush plains:
From camp to camp and from run to run they battle it hand to hand
For a blade of grass and the right to pass on the track of the Overland.
For this is the law of the Great Stock Routes, 'tis written in white and black --
The man that goes with a travelling mob must keep to a half-mile track;
And the drovers keep to a half-mile track on the runs where the grass is dead,
But they spread their sheep on a well-grassed run till they go with a two-mile spread.
So the squatters hurry the drovers on from dawn till the fall of night,
And the squatters' dogs and the drovers' dogs get mixed in a deadly fight.
Yet the squatters' men, thought they haunt the mob, are willing the peace to keep,
For the drovers learn how to use their hands when they go with the travelling sheep;
But this is the tale of a Jackaroo that came from a foreign strand,
And the fight that he fought with Saltbush Bill, the King of the Overland.
Now Saltbush Bill was a drover tough as ever the country knew,
He had fought his way on the Great Stock Routes from the sea to the big Barcoo;
He could tell when he came to a friendly run that gave him a chance to spread,
And he knew where the hungry owners were that hurried his sheep ahead;
He was drifting down in the Eighty drought with a mob that could scarcely creep
(When the kangaroos by the thousand starve, it is rough on the travelling sheep),
And he camped one night at the crossing-place on the edge of the Wilga run;
"We must manage a feed for them here," he said, "or half of the mob are done!"
So he spread them out when they left the camp wherever they liked to go,
Till he grew aware of a Jackaroo with a station-hand in tow.
They set to work on the straggling sheep, and with many a stockwhip crack
The forced them in where the grass was dead in the space of the half-mile track;
And William prayed that the hand of Fate might suddenly strike him blue
But he'd get some grass for his starving sheep in the teeth of that Jackaroo.
So he turned and cursed the Jackaroo; he cursed him, alive or dead,
From the soles of his great unwieldly feet to the crown of his ugly head,
With an extra curse on the moke he rode and the cur at his heels that ran,
Till the Jackaroo from his horse got down and went for the drover-man;
With the station-hand for his picker-up, though the sheep ran loose the while,
They battled it out on the well-grassed plain in the regular prize-ring style.
Now, the new chum fought for his honour's sake and the pride of the English race,
But the drover fought for his daily bread with a smile on his bearded face;
So he shifted ground, and he sparred for wind, and he made it a lengthy mill,
And from time to time as his scouts came in they whispered to Saltbush Bill --
"We have spread the sheep with a two-mile spread, and the grass it is something grand;
You must stick to him, Bill, for another round for the pride of the Overland.
"
The new chum made it a rushing fight, though never a blow got home,
Till the sun rode high in the cloudless sky and glared on the brick-red loam,
Till the sheep drew in to the shelter-trees and settled them down to rest;
Then the drover said he would fight no more, and gave his opponent best.
So the new chum rode to the homestead straight, and told them a story grand
Of the desperate fight that he fought that day with the King of the Overland;
And the tale went home to the Public Schools of the pluck of the English swell --
How the drover fought for his very life, but blood in the end must tell.
But the travelling sheep and the Wilga sheep were boxed on the Old Man Plain;
'Twas a full week's work ere they drafted out and hunted them off again;
A week's good grass in their wretched hides, with a curse and a stockwhip crack
They hunted them off on the road once more to starve on the half-mile track.
And Saltbush Bill, on the Overland, will many a time recite
How the best day's work that he ever did was the day that he lost the fight.
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