Written by
Seamus Heaney |
As you plaited the harvest bow
You implicated the mellowed silence in you
In wheat that does not rust
But brightens as it tightens twist by twist
Into a knowable corona,
A throwaway love-knot of straw.
Hands that aged round ashplants and cane sticks
And lapped the spurs on a lifetime of game cocks
Harked to their gift and worked with fine intent
Until your fingers moved somnambulant:
I tell and finger it like braille,
Gleaning the unsaid off the palpable,
And if I spy into its golden loops
I see us walk between the railway slopes
Into an evening of long grass and midges,
Blue smoke straight up, old beds and ploughs in hedges,
An auction notice on an outhouse wall--
You with a harvest bow in your lapel,
Me with the fishing rod, already homesick
For the big lift of these evenings, as your stick
Whacking the tips off weeds and bushes
Beats out of time, and beats, but flushes
Nothing: that original townland
Still tongue-tied in the straw tied by your hand.
The end of art is peace
Could be the motto of this frail device
That I have pinned up on our deal dresser--
Like a drawn snare
Slipped lately by the spirit of the corn
Yet burnished by its passage, and still warm.
|
Written by
Pritish Nandy |
When you first came, quiet as the rain that never fell,
in the sunlight that never shone, I whispered words
I had never known and now shall never forget. These
words have grown into secret songs. We have known, and
loved, and shared what only lovers can share in lyric
guilt. There can be nothing simpler than this love of
ours, nothing truer when this darkness flowers.
If only you could reach me, I would take me along with
you. We would listen to the frenzied wings battering
at the wind; we would watch the trees go down on their
knees before the evening sunlight on the hills. And
before my hands can memorise the braille of your
beautiful movements, I shall assume whatever promise
there is in silence and allow your slender body to wrap
itself around me. Your eyes return my words more
beautifully than the silence of rain.
As the rains do not scar the dark hills, my body shall
leave no trace on yours. When the wind and wild hawk meet,
we shall celebrate our distances. Till then, do not ask
me my name, nor the shipwrecked start, we always return to
solitude: I know no longer where anything begins.
Silence follows the footsteps of men.
Tonight I draw your body to my lips: your hand, your
mouth, your breasts, the small of your back. I draw
blood to every secret nerve and gently kiss their tips, as
you move under me, anchored to a rough sea. I cling to
you, your music and your knees. I touch the secret vibes
of your body, I fill my hands with the darkness of
your hair. This passion alone can resurrect our love.
I have travelled all the lonely highways in the
autumn and watched all the lonesome cities pale at
dust. I have held all those tired strangers in my
|
Written by
Edward Taylor |
for my father, 1922-1944
Your face did not rot
like the others--the co-pilot,
for example, I saw him
yesterday. His face is corn-
mush: his wife and daughter,
the poor ignorant people, stare
as if he will compose soon.
He was more wronged than Job.
But your face did not rot
like the others--it grew dark,
and hard like ebony;
the features progressed in their
distinction. If I could cajole
you to come back for an evening,
down from your compulsive
orbiting, I would touch you,
read your face as Dallas,
your hoodlum gunner, now,
with the blistered eyes, reads
his braille editions. I would
touch your face as a disinterested
scholar touches an original page.
However frightening, I would
discover you, and I would not
turn you in; I would not make
you face your wife, or Dallas,
or the co-pilot, Jim. You
could return to your crazy
orbiting, and I would not try
to fully understand what
it means to you. All I know
is this: when I see you,
as I have seen you at least
once every year of my life,
spin across the wilds of the sky
like a tiny, African god,
I feel dead. I feel as if I were
the residue of a stranger's life,
that I should pursue you.
My head cocked toward the sky,
I cannot get off the ground,
and, you, passing over again,
fast, perfect, and unwilling
to tell me that you are doing
well, or that it was mistake
that placed you in that world,
and me in this; or that misfortune
placed these worlds in us.
|
Written by
James Tate |
for my father, 1922-1944
Your face did not rot
like the others--the co-pilot,
for example, I saw him
yesterday. His face is corn-
mush: his wife and daughter,
the poor ignorant people, stare
as if he will compose soon.
He was more wronged than Job.
But your face did not rot
like the others--it grew dark,
and hard like ebony;
the features progressed in their
distinction. If I could cajole
you to come back for an evening,
down from your compulsive
orbiting, I would touch you,
read your face as Dallas,
your hoodlum gunner, now,
with the blistered eyes, reads
his braille editions. I would
touch your face as a disinterested
scholar touches an original page.
However frightening, I would
discover you, and I would not
turn you in; I would not make
you face your wife, or Dallas,
or the co-pilot, Jim. You
could return to your crazy
orbiting, and I would not try
to fully understand what
it means to you. All I know
is this: when I see you,
as I have seen you at least
once every year of my life,
spin across the wilds of the sky
like a tiny, African god,
I feel dead. I feel as if I were
the residue of a stranger's life,
that I should pursue you.
My head cocked toward the sky,
I cannot get off the ground,
and, you, passing over again,
fast, perfect, and unwilling
to tell me that you are doing
well, or that it was mistake
that placed you in that world,
and me in this; or that misfortune
placed these worlds in us.
|
Written by
Robert William Service |
Out of the night a crash,
A roar, a rampart of light;
A flame that leaped like a lash,
Searing forever my sight;
Out of the night a flash,
Then, oh, forever the Night!
Here in the dark I sit,
I who so loved the sun;
Supple and strong and fit,
In the dark till my days be done;
Aye, that's the hell of it,
Stalwart and twenty-one.
Marie is stanch and true,
Willing to be my wife;
Swears she has eyes for two . . .
Aye, but it's long, is Life.
What is a lad to do
With his heart and his brain at strife?
There now, my pipe is out;
No one to give me a light;
I grope and I grope about.
Well, it is nearly night;
Sleep may resolve my doubt,
Help me to reason right. . . .
(He sleeps and dreams.)
I heard them whispering there by the bed . . .
Oh, but the ears of the blind are quick!
Every treacherous word they said
Was a stab of pain and my heart turned sick.
Then lip met lip and they looked at me,
Sitting bent by the fallen fire,
And they laughed to think that I couldn't see;
But I felt the flame of their hot desire.
He's helping Marie to work the farm,
A dashing, upstanding chap, they say;
And look at me with my flabby arm,
And the fat of sloth, and my face of clay --
Look at me as I sit and sit,
By the side of a fire that's seldom lit,
Sagging and weary the livelong day,
When every one else is out on the field,
Sowing the seed for a golden yield,
Or tossing around the new-mown hay. . . .
Oh, the shimmering wheat that frets the sky,
Gold of plenty and blue of hope,
I'm seeing it all with an inner eye
As out of the door I grope and grope.
And I hear my wife and her lover there,
Whispering, whispering, round the rick,
Mocking me and my sightless stare,
As I fumble and stumble everywhere,
Slapping and tapping with my stick;
Old and weary at thirty-one,
Heartsick, wishing it all was done.
Oh, I'll tap my way around to the byre,
And I'll hear the cows as they chew their hay;
There at least there is none to tire,
There at least I am not in the way.
And they'll look at me with their velvet eyes
And I'll stroke their flanks with my woman's hand,
And they'll answer to me with soft replies,
And somehow I fancy they'll understand.
And the horses too, they know me well;
I'm sure that they pity my wretched lot,
And the big fat ram with the jingling bell . . .
Oh, the beasts are the only friends I've got.
And my old dog, too, he loves me more,
I think, than ever he did before.
Thank God for the beasts that are all so kind,
That know and pity the helpless blind!
Ha! they're coming, the loving pair.
My hand's a-shake as my pipe I fill.
What if I steal on them unaware
With a reaping-hook, to kill, to kill? . . .
I'll do it . . . they're there in the mow of hay,
I hear them saying: "He's out of the way!"
Hark! how they're kissing and whispering. . . .
Closer I creep . . . I crouch . . . I spring. . . .
(He wakes.)
Ugh! What a horrible dream I've had!
And it isn't real . . . I'm glad, I'm glad!
Marie is good and Marie is true . . .
But now I know what it's best to do.
I'll sell the farm and I'll seek my kind,
I'll live apart with my fellow-blind,
And we'll eat and drink, and we'll laugh and joke,
And we'll talk of our battles, and smoke and smoke;
And brushes of bristle we'll make for sale,
While one of us reads a book of Braille.
And there will be music and dancing too,
And we'll seek to fashion our life anew;
And we'll walk the highways hand in hand,
The Brotherhood of the Sightless Band;
Till the years at last shall bring respite
And our night is lost in the Greater Night.
|
Written by
John Berryman |
Old Pussy-cat if he won't eat, he don't
feel good into his tum', old Pussy-cat.
He wants to have eaten.
Tremor, heaves, he sweaterings. He can't.
A dizzy swims of where is Henry at;
. . . somewhere streng verboten.
How come he sleeps & sleeps and sleeps, waking like death:
locate the restorations of which we hear
as of profound sleep.
From daylight he got maintrackt, from friends' breath,
wishes, his hopings. Dreams make crawl with fear
Henry but not get up.
The course his mind his body steer, poor Pussy-cat,
in weakness & disorder, will see him down
whiskers & tail.
'Wastethrift': Oh one of cunning wives know that
he hoardy-squander, where is nor downtown
neither suburba. Braille.
|