Robinson Jeffers |
I followed the narrow cliffside trail half way up the mountain
Above the deep river-canyon.
There was a little cataract crossed the path,
Over tree roots and rocks, shaking the jeweled fern-fronds, bright bubbling
Pure from the mountain, but a bad smell came up.
Wondering at it I clam-
bered down the steep stream
Some forty feet, and found in the midst of bush-oak and laurel,
Hung like a bird's nest on the precipice brink a small hidden clearing,
Grass and a shallow pool.
But all about there were bones Iying in the grass,
clean bones and stinking bones,
Antlers and bones: I understood that the place was a refuge for wounded
deer; there are so many
Hurt ones escape the hunters and limp away to lie hidden; here they have
water for the awful thirst
And peace to die in; dense green laurel and grim cliff
Make sanctuary, and a sweet wind blows upward from the deep gorge.
wish my bones were with theirs.
But that's a foolish thing to confess, and a little cowardly.
We know that life
Is on the whole quite equally good and bad, mostly gray neutral, and can
To the dim end, no matter what magic of grass, water and precipice, and
pain of wounds,
Makes death look dear.
We have been given life and have used it--not a
great gift perhaps--but in honesty
Should use it all.
Mine's empty since my love died--Empty? The flame-
haired grandchild with great blue eyes
That look like hers?--What can I do for the child? I gaze at her and wonder
what sort of man
In the fall of the world .
I am growing old, that is the trouble.
dren and little grandchildren
Will find their way, and why should I wait ten years yet, having lived sixty-
seven, ten years more or less,
Before I crawl out on a ledge of rock and die snapping, like a wolf
Who has lost his mate?--I am bound by my own thirty-year-old decision:
who drinks the wine
Should take the dregs; even in the bitter lees and sediment
New discovery may lie.
The deer in that beautiful place lay down their
bones: I must wear mine.
Nazim Hikmet |
You're like a scorpion, my brother,
you live in cowardly darkness
like a scorpion.
You're like a sparrow, my brother,
always in a sparrow's flutter.
You're like a clam, my brother,
closed like a clam, content,
And you're frightening, my brother,
like the mouth of an extinct volcano.
unfortunately, you number millions.
You're like a sheep, my brother:
when the cloaked drover raises his stick,
you quickly join the flock
and run, almost proudly, to the slaughterhouse.
I mean you're strangest creature on earth--
even stranger than the fish
that couldn't see the ocean for the water.
And the oppression in this world
is thanks to you.
And if we're hungry, tired, covered with blood,
and still being crushed like grapes for our wine,
the fault is yours--
I can hardly bring myself to say it,
but most of the fault, my dear brother, is yours.
Carl Sandburg |
SMOKE of the fields in spring is one,
Smoke of the leaves in autumn another.
Smoke of a steel-mill roof or a battleship funnel,
They all go up in a line with a smokestack,
Or they twist … in the slow twist … of the wind.
If the north wind comes they run to the south.
If the west wind comes they run to the east.
By this sign
know each other.
Smoke of the fields in spring and leaves in autumn,
Smoke of the finished steel, chilled and blue,
By the oath of work they swear: “I know you.
Hunted and hissed from the center
Deep down long ago when God made us over,
Deep down are the cinders we came from—
You and I and our heads of smoke.
Some of the smokes God dropped on the job
Cross on the sky and count our years
And sing in the secrets of our numbers;
Sing their dawns and sing their evenings,
Sing an old log-fire song:
You may put the damper up,
You may put the damper down,
The smoke goes up the chimney just the same.
Smoke of a city sunset skyline,
Smoke of a country dusk horizon—
They cross on the sky and count our years.
Smoke of a brick-red dust
Winds on a spiral
Out of the stacks
For a hidden and glimpsing moon.
This, said the bar-iron shed to the blooming mill,
This is the slang of coal and steel.
The day-gang hands it to the night-gang,
The night-gang hands it back.
Stammer at the slang of this—
Let us understand half of it.
In the rolling mills and sheet mills,
In the harr and boom of the blast fires,
The smoke changes its shadow
And men change their shadow;
A nigger, a wop, a bohunk changes.
A bar of steel—it is only
Smoke at the heart of it, smoke and the blood of a man.
A runner of fire ran in it, ran out, ran somewhere else,
And left—smoke and the blood of a man
And the finished steel, chilled and blue.
So fire runs in, runs out, runs somewhere else again,
And the bar of steel is a gun, a wheel, a nail, a shovel,
A rudder under the sea, a steering-gear in the sky;
And always dark in the heart and through it,
Smoke and the blood of a man.
Pittsburg, Youngstown, Gary—they make their steel with men.
In the blood of men and the ink of chimneys
The smoke nights write their oaths:
Smoke into steel and blood into steel;
Homestead, Braddock, Birmingham, they make their steel with men.
Smoke and blood is the mix of steel.
The birdmen drone
in the blue; it is steel
a motor sings and zooms.
Steel barb-wire around The Works.
Steel guns in the holsters of the guards at the gates of The Works.
Steel ore-boats bring the loads clawed from the earth by steel, lifted and lugged by arms of steel, sung on its way by the clanking clam-shells.
The runners now, the handlers now, are steel; they dig and clutch and haul; they hoist their automatic knuckles from job to job; they are steel making steel.
Fire and dust and air fight in the furnaces; the pour is timed, the billets wriggle; the clinkers are dumped:
Liners on the sea, skyscrapers on the land; diving steel in the sea, climbing steel in the sky.
Finders in the dark, you Steve with a dinner bucket, you Steve clumping in the dusk on the sidewalks with an evening paper for the woman and kids, you Steve with your head wondering where we all end up—
Finders in the dark, Steve: I hook my arm in cinder sleeves; we go down the street together; it is all the same to us; you Steve and the rest of us end on the same stars; we all wear a hat in hell together, in hell or heaven.
Smoke nights now, Steve.
Smoke, smoke, lost in the sieves of yesterday;
Dumped again to the scoops and hooks today.
Smoke like the clocks and whistles, always.
Smoke nights now.
To-morrow something else.
Luck moons come and go:
Five men swim in a pot of red steel.
Their bones are kneaded into the bread of steel:
Their bones are knocked into coils and anvils
And the sucking plungers of sea-fighting turbines.
Look for them in the woven frame of a wireless station.
So ghosts hide in steel like heavy-armed men in mirrors.
Peepers, skulkers—they shadow-dance in laughing tombs.
They are always there and they never answer.
One of them said: “I like my job, the company is good to me, America is a wonderful country.
One: “Jesus, my bones ache; the company is a liar; this is a free country, like hell.
One: “I got a girl, a peach; we save up and go on a farm and raise pigs and be the boss ourselves.
And the others were roughneck singers a long ways from home.
Look for them back of a steel vault door.
They laugh at the cost.
They lift the birdmen into the blue.
It is steel a motor sings and zooms.
In the subway plugs and drums,
In the slow hydraulic drills, in gumbo or gravel,
Under dynamo shafts in the webs of armature spiders,
They shadow-dance and laugh at the cost.
The ovens light a red dome.
Spools of fire wind and wind.
Quadrangles of crimson sputter.
The lashes of dying maroon let down.
Fire and wind wash out the slag.
Forever the slag gets washed in fire and wind.
The anthem learned by the steel is:
Do this or go hungry.
Look for our rust on a plow.
Listen to us in a threshing-engine razz.
Look at our job in the running wagon wheat.
Fire and wind wash at the slag.
Box-cars, clocks, steam-shovels, churns, pistons, boilers, scissors—
Oh, the sleeping slag from the mountains, the slag-heavy pig-iron will go down many roads.
Men will stab and shoot with it, and make butter and tunnel rivers, and mow hay in swaths, and slit hogs and skin beeves, and steer airplanes across North America, Europe, Asia, round the world.
Hacked from a hard rock country, broken and baked in mills and smelters, the rusty dust waits
Till the clean hard weave of its atoms cripples and blunts the drills chewing a hole in it.
The steel of its plinths and flanges is reckoned, O God, in one-millionth of an inch.
Once when I saw the curves of fire, the rough scarf women dancing,
Dancing out of the flues and smoke-stacks—flying hair of fire, flying feet upside down;
Buckets and baskets of fire exploding and chortling, fire running wild out of the steady and fastened ovens;
Sparks cracking a harr-harr-huff from a solar-plexus of rock-ribs of the earth taking a laugh for themselves;
Ears and noses of fire, gibbering gorilla arms of fire, gold mud-pies, gold bird-wings, red jackets riding purple mules, scarlet autocrats tumbling from the humps of camels, assassinated czars straddling vermillion balloons;
I saw then the fires flash one by one: good-by: then smoke, smoke;
And in the screens the great sisters of night and cool stars, sitting women arranging their hair,
Waiting in the sky, waiting with slow easy eyes, waiting and half-murmuring:
“Since you know all
and I know nothing,
tell me what I dreamed last night.
Pearl cobwebs in the windy rain,
in only a flicker of wind,
are caught and lost and never known again.
A pool of moonshine comes and waits,
but never waits long: the wind picks up
loose gold like this and is gone.
A bar of steel sleeps and looks slant-eyed
on the pearl cobwebs, the pools of moonshine;
sleeps slant-eyed a million years,
sleeps with a coat of rust, a vest of moths,
a shirt of gathering sod and loam.
The wind never bothers … a bar of steel.
The wind picks only .
pearl cobwebs .
pools of moonshine.
Ogden Nash |
Some singers sing of ladies' eyes,
And some of ladies lips,
Refined ones praise their ladylike ways,
And course ones hymn their hips.
The Oxford Book of English Verse
Is lush with lyrics tender;
A poet, I guess, is more or less
Preoccupied with gender.
Yet I, though custom call me crude,
Prefer to sing in praise of food.
Just any old kind of food.
Pheasant is pleasant, of course,
And terrapin, too, is tasty,
Lobster I freely endorse,
In pate or patty or pasty.
But there's nothing the matter with butter,
And nothing the matter with jam,
And the warmest greetings I utter
To the ham and the yam and the clam.
For they're food,
And I think very fondly of food.
Through I'm broody at times
When bothered by rhymes,
Some painters paint the sapphire sea,
And some the gathering storm.
Others portray young lambs at play,
But most, the female form.
“Twas trite in that primeval dawn
When painting got its start,
That a lady with her garments on
Is Life, but is she Art?
By undraped nymphs
I am not wooed;
I'd rather painters painted food.
Just any old kind of food.
Go purloin a sirloin, my pet,
If you'd win a devotion incredible;
And asparagus tips vinaigrette,
Or anything else that is edible.
Bring salad or sausage or scrapple,
A berry or even a beet.
Bring an oyster, an egg, or an apple,
As long as it's something to eat.
If it's food,
Never mind what kind of food.
When I ponder my mind
I consistently find
It is glued
Dorothy Parker |
There's little in taking or giving,
There's little in water or wine;
This living, this living, this living
Was never a project of mine.
Oh, hard is the struggle, and sparse is
The gain of the one at the top,
For art is a form of catharsis,
And love is a permanent flop,
And work is the province of cattle,
And rest's for a clam in a shell,
So I'm thinking of throwing the battle-
Would you kindly direct me to hell?
Robert William Service |
Although the Preacher be a bore,
The Atheist is even more.
I ain't religious worth a damn;
My views are reckoned to be broad;
And yet I shut up like a clam
When folks get figgerin' on God;
I'd hate my kids to think like me,
And though they leave me in the lurch,
I'm always mighty glad to see
My fam'ly trot to Church.
Although of books I have a shelf
Of skeptic stuff, I must confess
I keep their knowledge to myself:
Doubt doesn't help to happiness.
I never scoff at Holy Writ,
But envy those who hold it true,
And though I've never been in it
I'm proud to own a pew.
I always was a doubting Tom;
I guess some lads are born that way.
I couldn't stick religion from
The time I broke the Sabbath Day.
Yet unbelief's a bitter brew,
And this in arid ways I've learned;
If you believe a thing, it's true
As far as your concerned.
I'm sentimental, I agree,
For how it always makes me glad
To turn from Ingersoll and see
My little girls Communion-clad.
And as to church my people plod
I cry to them with simple glee:
"Say, folks, if you should talk to God,
Put in a word for me.
Anne Sexton |
The speaker in this case
is a middle-aged witch, me-
tangled on my two great arms,
my face in a book
and my mouth wide,
ready to tell you a story or two.
I have come to remind you,
all of you:
Alice, Samuel, Kurt, Eleanor,
Jane, Brian, Maryel,
all of you draw near.
at fifty-six do you remember?
Do you remember when you
were read to as a child?
at twenty-two have you forgotten?
Forgotten the ten P.
where the wicked king
went up in smoke?
Are you comatose?
Are you undersea?
let me present to you this boy.
He is sixteen and he wants some answers.
He is each of us.
I mean you.
I mean me.
It is not enough to read Hesse
and drink clam chowder
we must have the answers.
The boy has found a gold key
and he is looking for what it will open.
Upon finding a string
he would look for a harp.
Therefore he holds the key tightly.
Its secrets whimper
like a dog in heat.
He turns the key.
It opens this book of odd tales
which transform the Brothers Grimm.
As if an enlarged paper clip
could be a piece of sculpture.
(And it could.
Anne Sexton |
After I wrote this, a friend scrawled on this page, "Yes.
And I said, merely to myself, "I wish it could be for a
different seizure--as with Molly Bloom and her ‘and
yes I said yes I will Yes.
It is not a turtle
hiding in its little green shell.
It is not a stone
to pick up and put under your black wing.
It is not a subway car that is obsolete.
It is not a lump of coal that you could light.
It is a dead heart.
It is inside of me.
It is a stranger
yet once it was agreeable,
opening and closing like a clam.
What it has cost me you can't imagine,
shrinks, priests, lovers, children, husbands,
friends and all the lot.
An expensive thing it was to keep going.
It gave back too.
Don't deny it!
I half wonder if April would bring it back to life?
A tulip? The first bud?
But those are just musings on my part,
the pity one has when one looks at a cadaver.
How did it die?
I called it EVIL.
I said to it, your poems stink like vomit.
I didn't stay to hear the last sentence.
It died on the word EVIL.
It did it with my tongue.
The tongue, the Chinese say,
is like a sharp knife:
without drawing blood.
Edna St Vincent Millay |
AS I went walking up and down to take the evening air,
(Sweet to meet upon the street, why must I be so shy?)
I saw him lay his hand upon her torn black hair;
("Little dirty Latin child, let the lady by!")
The women squatting on the stoops were slovenly and fat,
(Lay me out in organdie, lay me out in lawn!)
And everywhere I stepped there was a baby or a cat;
(Lord, God in Heaven, will it never be dawn?)
The fruit-carts and clam-carts were ribald as a fair,
(Pink nets and wet shells trodden under heel)
She had haggled from the fruit-man of his rotting ware;
(I shall never get to sleep, the way I feel!)
He walked like a king through the filth and the clutter,
(Sweet to meet upon the street, why did you glance me by?)
But he caught the quaint Italian quip she flung him from the gutter;
(What can there be to cry about that I should lie and cry?)
He laid his darling hand upon her little black head,
(I wish I were a ragged child with ear-rings in my ears! )
And he said she was a baggage to have said what she had said;
(Truly I shall be ill unless I stop these tears!)
Robert William Service |
We bore him to his boneyard lot
One afternoon at three;
The clergyman was on the spot
To earn his modest fee.
We sprinkled on his coffin ld
The customary loam,
And so old Bill was snugly slid
To his last home.
A lonesome celebate we thought,
For close as clam was he;
We never guessed that he had got
A lawful family,
Till lo! we saw a gorgeous wreath
Reposing on his bier,
With on a scarlet scroll beneath:
"To Father Dear.
He ordered it hisself, they said,
Before he had to go.
His folks don't know that he is dead -
Maybe they'll never know.
His step was frail, his hair was grey,
But though his sight was dim,
He liked to kid hisself that they
Still thought of him.
Maybe they did: we never knew,
And he would never tell;
Perhaps their hearts were broken too -
His was, I think .
We left him in the boneyard lot
With none to shed a tear,
And just a wreath, the one he bought:
"To Father Dear.