Written by
Langston Hughes |
Fine living .
.
.
a la carte?
Come to the Waldorf-Astoria!
LISTEN HUNGRY ONES!
Look! See what Vanity Fair says about the
new Waldorf-Astoria:
"All the luxuries of private home.
.
.
.
"
Now, won't that be charming when the last flop-house
has turned you down this winter?
Furthermore:
"It is far beyond anything hitherto attempted in the hotel
world.
.
.
.
" It cost twenty-eight million dollars.
The fa-
mous Oscar Tschirky is in charge of banqueting.
Alexandre Gastaud is chef.
It will be a distinguished
background for society.
So when you've no place else to go, homeless and hungry
ones, choose the Waldorf as a background for your rags--
(Or do you still consider the subway after midnight good
enough?)
ROOMERS
Take a room at the new Waldorf, you down-and-outers--
sleepers in charity's flop-houses where God pulls a
long face, and you have to pray to get a bed.
They serve swell board at the Waldorf-Astoria.
Look at the menu, will
you:
GUMBO CREOLE
CRABMEAT IN CASSOLETTE
BOILED BRISKET OF BEEF
SMALL ONIONS IN CREAM
WATERCRESS SALAD
PEACH MELBA
Have luncheon there this afternoon, all you jobless.
Why not?
Dine with some of the men and women who got rich off of
your labor, who clip coupons with clean white fingers
because your hands dug coal, drilled stone, sewed gar-
ments, poured steel to let other people draw dividends
and live easy.
(Or haven't you had enough yet of the soup-lines and the bit-
ter bread of charity?)
Walk through Peacock Alley tonight before dinner, and get
warm, anyway.
You've got nothing else to do.
|
Written by
Billy Collins |
I knew that James Whistler was part of the Paris scene,
but I was still surprised when I found the painting
of his mother at the Musée d'Orsay
among all the colored dots and mobile brushstrokes
of the French Impressionists.
And I was surprised to notice
after a few minutes of benign staring,
how that woman, stark in profile
and fixed forever in her chair,
began to resemble my own ancient mother
who was now fixed forever in the stars, the air, the earth.
You can understand why he titled the painting
"Arrangement in Gray and Black"
instead of what everyone naturally calls it,
but afterward, as I walked along the river bank,
I imagined how it might have broken
the woman's heart to be demoted from mother
to a mere composition, a study in colorlessness.
As the summer couples leaned into each other
along the quay and the wide, low-slung boats
full of spectators slid up and down the Seine
between the carved stone bridges
and their watery reflections,
I thought: how ridiculous, how off-base.
It would be like Botticelli calling "The Birth of Venus"
"Composition in Blue, Ochre, Green, and Pink,"
or the other way around
like Rothko titling one of his sandwiches of color
"Fishing Boats Leaving Falmouth Harbor at Dawn.
"
Or, as I scanned the menu at the cafe
where I now had come to rest,
it would be like painting something laughable,
like a chef turning on a spit
over a blazing fire in front of an audience of ducks
and calling it "Study in Orange and White.
"
But by that time, a waiter had appeared
with my glass of Pernod and a clear pitcher of water,
and I sat there thinking of nothing
but the women and men passing by--
mothers and sons walking their small fragile dogs--
and about myself,
a kind of composition in blue and khaki,
and, now that I had poured
some water into the glass, milky-green.
|
Written by
Chris Tusa |
after Sue Owen
Born from flour anointed with oil,
from a roux dark and mean as a horse’s breath,
you remind me of some strange, mystical stew
spawned from a muddy version of Macbeth.
Only someone’s replaced the spells with spices,
the witches with a Cajun chef.
Maybe you’re a recipe torn from Satan’s Cookbook,
a kind of dumb-downed devil’s brew
where evil stirs its wicked spoon
in a swampy sacrificial hue.
Maybe God damned the okra that thickens
your soup, the muddy bones that haunt your stew.
Maybe this is why, when we smell the cayenne,
we’re struck dumb as a moth.
Maybe this is why everything that crawls or flies
seems to find its way into your swampy broth.
|
Written by
Hilaire Belloc |
Who played with a Dangerous Toy, and suffered a Catastrophe of considerable Dimensions
When George's Grandmamma was told
That George had been as good as gold,
She promised in the afternoon
To buy him an Immense BALLOON.
And so she did; but when it came,
It got into the candle flame,
And being of a dangerous sort
Exploded with a loud report!
The lights went out! The windows broke!
The room was filled with reeking smoke.
And in the darkness shrieks and yells
Were mingled with electric bells,
And falling masonry and groans,
And crunching, as of broken bones,
And dreadful shrieks, when, worst of all,
The house itself began to fall!
It tottered, shuddering to and fro,
Then crashed into the street below-
Which happened to be Savile Row.
When help arrived, among the dead
Were Cousin Mary, Little Fred,
The Footmen (both of them), the Groom,
The man that cleaned the Billiard-Room,
The Chaplain, and the Still-Room Maid.
And I am dreadfully afraid
That Monsieur Champignon, the Chef,
Will now be permanently deaf-
And both his aides are much the same;
While George, who was in part to blame,
Received, you will regret to hear,
A nasty lump behind the ear.
Moral:
The moral is that little boys
Should not be given dangerous toys.
|
Written by
Thomas Lux |
They are, the surfaces, gorgeous: a master
pastry chef at work here, the dips and whorls,
the wrist-twist
squeezes of cream from the tube
to the tart, sweet bleak sugarwork, needlework
toward the perfect lace doily
where sit the bone-china teacups, a little maze
of meaning maybe in their arrangement
sneaky obliques, shadow
allusives all piling
atop one another.
Textures succulent but famished,
banal, bereft.
These surfaces,
these flickering patinas,
through which,
if you could drill, or hack,
or break a trapdoor latch, if you could penetrate
these surfaces' milky cataracts, you
would drop,
free-fall
like a hope chest full of lead
to nowhere, no place, a dry-wind, sour,
nada place,
and you would keep dropping,
tumbling, slow
motion, over and over for one day, six days, fourteen
decades, eleven centuries (a long time
falling to fill a zero) and in that time
not a leaf, no rain,
not a single duck, nor hearts, not one human, nor sleep,
nor grace, nor graves--falling
to where the bottom, finally, is again the surface,
which is gorgeous, of course,
which is glue, saw- and stone-dust,
which is blue-gray
ice, which is
the barely glinting grit
of abyss.
|
Written by
Robert William Service |
Three widows of the Middle West
We're grimly chewing gum;
The Lido chef a quail had dressed
With garlic and with rum,
And they were painfully oppressed
For they had eaten some.
Said One: "This famed El Greco guy
Gives me the blessed pip;
Them Saints look like they want to die -
Let's give our guide the slip,
And in some bodega close by
A glass of vino sip.
"
Said Two: "It's this Cathedral stuff
That fairly gets me down.
I think one church is quite enough
In any Spanish town;
But here there's four - that's pretty tough
No matter their renown.
"
Said Three: "It's that Alcázar show
That simply knocked me out;
That dismal dungeon down below,
Then ruins all about;
That funny, fat old Moscardo
Who put the Reds to rout.
"
Hey, Mister Guide! implored the Three,
"Return to gay Madrid.
"
The guide was shocked, but trained was he
To do as he was bid.
So three dames of the Middle West,
Dyspeptically glum
Went back to town, and quite depressed
The guide was chewing gum.
|
Written by
Rudyard Kipling |
In Lowestoft a boat was laid,
Mark well what I do say!
And she was built for the herring-trade,
But she has gone a-rovin', a-rovin', a-rovin',
The Lord knows where!
They gave her Government coal to burn,
And a Q.
F.
gun at bow and stern,
And sent her out a-rovin', etc.
Her skipper was mate of a bucko ship
Which always killed one man per trip,
So he is used to rovin', etc.
Her mate was skipper of a chapel in Wales,
And so he fights in topper and tails--
Religi-ous tho' rovin', etc.
Her engineer is fifty-eight,'
So he's prepared to meet his fate,
Which ain't unlikely rovin', etc.
Her leading-stoker's seventeen,
So he don't know what the Judgments mean,
Unless he cops 'em rovin', etc.
Her cook was chef in the Lost Dogs' Home,
Mark well what I do say!
And I'm sorry for Fritz when they all come
A-rovin', a-rovin', a-roarin' and a-rovin',
Round the North Sea rovin',
The Lord knows where!
|