Written by
Charles Baudelaire |
CARRYING bouquet, and handkerchief, and gloves,
Proud of her height as when she lived, she moves
With all the careless and high-stepping grace,
And the extravagant courtesan's thin face.
Was slimmer waist e'er in a ball-room wooed?
Her floating robe, in royal amplitude,
Falls in deep folds around a dry foot, shod
With a bright flower-like shoe that gems the sod.
The swarms that hum about her collar-bones
As the lascivious streams caress the stones,
Conceal from every scornful jest that flies,
Her gloomy beauty; and her fathomless eyes
Are made of shade and void; with flowery sprays
Her skull is wreathed artistically, and sways,
Feeble and weak, on her frail vertebrae.
O charm of nothing decked in folly! they
Who laugh and name you a Caricature,
They see not, they whom flesh and blood allure,
The nameless grace of every bleached, bare bone,
That is most dear to me, tall skeleton!
Come you to trouble with your potent sneer
The feast of Life! or are you driven here,
To Pleasure's Sabbath, by dead lusts that stir
And goad your moving corpse on with a spur?
Or do you hope, when sing the violins,
And the pale candle-flame lights up our sins,
To drive some mocking nightmare far apart,
And cool the flame hell lighted in your heart?
Fathomless well of fault and foolishness!
Eternal alembic of antique distress!
Still o'er the curved, white trellis of your sides
The sateless, wandering serpent curls and glides.
And truth to tell, I fear lest you should find,
Among us here, no lover to your mind;
Which of these hearts beat for the smile you gave?
The charms of horror please none but the brave.
Your eyes' black gulf, where awful broodings stir,
Brings giddiness; the prudent reveller
Sees, while a horror grips him from beneath,
The eternal smile of thirty-two white teeth.
For he who has not folded in his arms
A skeleton, nor fed on graveyard charms,
Recks not of furbelow, or paint, or scent,
When Horror comes the way that Beauty went.
O irresistible, with fleshless face,
Say to these dancers in their dazzled race:
"Proud lovers with the paint above your bones,
Ye shall taste death, musk scented skeletons!
Withered Antino?s, dandies with plump faces,
Ye varnished cadavers, and grey Lovelaces,
Ye go to lands unknown and void of breath,
Drawn by the rumour of the Dance of Death.
From Seine's cold quays to Ganges' burning stream,
The mortal troupes dance onward in a dream;
They do not see, within the opened sky,
The Angel's sinister trumpet raised on high.
In every clime and under every sun,
Death laughs at ye, mad mortals, as ye run;
And oft perfumes herself with myrrh, like ye
And mingles with your madness, irony!"
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Written by
Edward Field |
The monster has escaped from the dungeon
where he was kept by the Baron,
who made him with knobs sticking out from each side of his neck
where the head was attached to the body
and stitching all over
where parts of cadavers were sewed together.
He is pursued by the ignorant villagers,
who think he is evil and dangerous because he is ugly
and makes ugly noises.
They wave firebrands at him and cudgels and rakes,
but he escapes and comes to the thatched cottage
of an old blind man playing on the violin Mendelssohn's "Spring Song."
Hearing him approach, the blind man welcomes him:
"Come in, my friend," and takes him by the arm.
"You must be weary," and sits him down inside the house.
For the blind man has long dreamed of having a friend
to share his lonely life.
The monster has never known kindness ‹ the Baron was cruel --
but somehow he is able to accept it now,
and he really has no instincts to harm the old man,
for in spite of his awful looks he has a tender heart:
Who knows what cadaver that part of him came from?
The old man seats him at table, offers him bread,
and says, "Eat, my friend." The monster
rears back roaring in terror.
"No, my friend, it is good. Eat -- gooood"
and the old man shows him how to eat,
and reassured, the monster eats
and says, "Eat -- gooood,"
trying out the words and finding them good too.
The old man offers him a glass of wine,
"Drink, my friend. Drink -- gooood."
The monster drinks, slurping horribly, and says,
"Drink -- gooood," in his deep nutty voice
and smiles maybe for the first time in his life.
Then the blind man puts a cigar in the monster's mouth
and lights a large wooden match that flares up in his face.
The monster, remembering the torches of the villagers,
recoils, grunting in terror.
"No, my friend, smoke -- gooood,"
and the old man demonstrates with his own cigar.
The monster takes a tentative puff
and smiles hugely, saying, "Smoke -- gooood,"
and sits back like a banker, grunting and puffing.
Now the old man plays Mendelssohn's "Spring Song" on the violin
while tears come into our dear monster s eyes
as he thinks of the stones of the mob the pleasures of meal-time,
the magic new words he has learned
and above all of the friend he has found.
It is just as well that he is unaware --
being simple enough to believe only in the present --
that the mob will find him and pursue him
for the rest of his short unnatural life,
until trapped at the whirlpool's edge
he plunges to his death.
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Written by
Syl Cheney-Coker |
Always, we searched in the stone river,
while the slaughterhouse was waiting for us,
long before we turned the saccharin of words
into inflammable brawls. Full of ancient gluttony,
we have fed our appetites, eating with hasty mouths
what was meant for our own Passover.
It is thus that we shall be remembered:
the curse on the bellwether, crumbled destinies,
although it was possible, once again,
like some extinct creatures, to wish for another life.
After the charnel house, what was this green pasture
we were promised, when impatient like thirsty cadavers,
we hurried that morning to crown the new emperor,
who was really unveiling his ancient lust?
Even so, someone was saying a new king deserves
vestal virgins, white roosters and the finest harvest—
a crest on his head woven by our hands,
using the most precious leaves; an aged wine
offered to a Messiah, only to be deceived by the false crown
in his teeth, soon after we had silenced the red barbarians.
The chosen was what we could have been,
but since we have only one story to tell:
whether it be of The Athens of West Africa
or the song of the Wretched of the earth—
in our font of secrets, where we change
the name of Christ with our miscreant voices,
—always this ridiculous viaticum—
let us now imagine the face of a different Messiah,
touching his gown with our bloody hands.
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Written by
Jean Delville |
Thus, the souls of dismal feudal lineage,
Perpetuating their pride in illustrious sepulchres,
Stretch out their long, marble sleep upon the flagstones,
Weighted with dead centuries and funereal pasts,
The heraldic and grandiose white cadavers,
With righteous hands joined in ardent rigidity,
Pallid with faith, that rise from their bosoms
With sacerdotal gestures of prayer in eternity.
Beneath a heavy mourning of shadows in the tumulous crypts,
Within the illustrious vision of their solemn brows, slumbers
The barbarous spendour of secular reigns.
And their bodies, where the original blood has congealed,
Sealed within the marbles, austerely patrician,
Are the petrified Phantoms of ancient times
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Written by
Anne Sexton |
Leaping, leaping, leaping,
down line by line,
growling at the cadavers,
filling the holy jugs with their piss,
falling into windows and mauling the parents,
but soft, kiss-soft,
and sobbing sobbing
into their awful dog dish.
No point? No twist for you
in my white tunnel?
Let me speak plainly,
let me whisper it from the podium--
Mother, may I use your pseudonym?
May I take the dove named Mary
and shove out Anne?
May I take my check book, my holographs,
my eight naked books,
and sign it Mary, Mary, Mary
full of grace?
I know my name is not offensive
but my feet hang in the noose.
I want to be white.
I want to be blue.
I want to be a bee digging into an onion heart,
as you did to me, dug and squatted
long after death and its fang.
Hail Mary, full of me,
Nibbling in the sitting room of my head.
Mary, Mary, virgin forever,
whore forever,
give me your name,
give me your mirror.
Boils fester in my soul,
so give me your name so I may kiss them,
and they will fly off,
nameless
but named,
and they will fly off like angel food dogs
with thee
and with thy spirit.
Let me climb the face of my kitchen dog
and fly off into my terrified years.
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Written by
Carl Sandburg |
I AM a hoodlum, you are a hoodlum, we and all of us are a world of hoodlums—maybe so.
I hate and kill better men than I am, so do you, so do all of us—maybe—maybe so.
In the ends of my fingers the itch for another man’s neck, I want to see him hanging, one of dusk’s cartoons against the sunset.
This is the hate my father gave me, this was in my mother’s milk, this is you and me and all of us in a world of hoodlums—maybe so.
Let us go on, brother hoodlums, let us kill and kill, it has always been so, it will always be so, there is nothing more to it.
Let us go on, sister hoodlums, kill, kill, and kill, the torsoes of the world’s mother’s are tireless and the loins of the world’s fathers are strong—so go on—kill, kill, kill.
Lay them deep in the dirt, the stiffs we fixed, the cadavers bumped off, lay them deep and let the night winds of winter blizzards howl their burial service.
The night winds and the winter, the great white sheets of northern blizzards, who can sing better for the lost hoodlums the old requiem, “Kill him! kill him!…”
Today my son, to-morrow yours, the day after your next door neighbor’s—it is all in the wrists of the gods who shoot craps—it is anybody’s guess whose eyes shut next.
Being a hoodlum now, you and I, being all of us a world of hoodlums, let us take up the cry when the mob sluffs by on a thousand shoe soles, let us too yammer, “Kill him! kill him!…”
Let us do this now … for our mothers … for our sisters and wives … let us kill, kill, kill—for the torsoes of the women are tireless and the loins of the men are strong.Chicago, July 29, 1919.
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