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Best Famous Collapse Poems

Here is a collection of the all-time best famous Collapse poems. This is a select list of the best famous Collapse poetry. Reading, writing, and enjoying famous Collapse poetry (as well as classical and contemporary poems) is a great past time. These top poems are the best examples of collapse poems.

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Written by Maya Angelou | Create an image from this poem

The Lesson

I keep on dying again.
Veins collapse, opening like the Small fists of sleeping Children.
Memory of old tombs, Rotting flesh and worms do Not convince me against The challenge.
The years And cold defeat live deep in Lines along my face.
They dull my eyes, yet I keep on dying, Because I love to live.


Written by David Berman | Create an image from this poem

Self-Portrait At 28

 I know it's a bad title
but I'm giving it to myself as a gift
on a day nearly canceled by sunlight
when the entire hill is approaching
the ideal of Virginia
brochured with goldenrod and loblolly
and I think "at least I have not woken up
with a bloody knife in my hand"
by then having absently wandered
one hundred yards from the house
while still seated in this chair
with my eyes closed.
It is a certain hill the one I imagine when I hear the word "hill" and if the apocalypse turns out to be a world-wide nervous breakdown if our five billion minds collapse at once well I'd call that a surprise ending and this hill would still be beautiful a place I wouldn't mind dying alone or with you.
I am trying to get at something and I want to talk very plainly to you so that we are both comforted by the honesty.
You see there is a window by my desk I stare out when I am stuck though the outdoors has rarely inspired me to write and I don't know why I keep staring at it.
My childhood hasn't made good material either mostly being a mulch of white minutes with a few stand out moments, popping tar bubbles on the driveway in the summer a certain amount of pride at school everytime they called it "our sun" and playing football when the only play was "go out long" are what stand out now.
If squeezed for more information I can remember old clock radios with flipping metal numbers and an entree called Surf and Turf.
As a way of getting in touch with my origins every night I set the alarm clock for the time I was born so that waking up becomes a historical reenactment and the first thing I do is take a reading of the day and try to flow with it like when you're riding a mechanical bull and you strain to learn the pattern quickly so you don't inadverantly resist it.
II two I can't remember being born and no one else can remember it either even the doctor who I met years later at a cocktail party.
It's one of the little disappointments that makes you think about getting away going to Holly Springs or Coral Gables and taking a room on the square with a landlady whose hands are scored by disinfectant, telling the people you meet that you are from Alaska, and listen to what they have to say about Alaska until you have learned much more about Alaska than you ever will about Holly Springs or Coral Gables.
Sometimes I am buying a newspaper in a strange city and think "I am about to learn what it's like to live here.
" Oftentimes there is a news item about the complaints of homeowners who live beside the airport and I realize that I read an article on this subject nearly once a year and always receive the same image.
I am in bed late at night in my house near the airport listening to the jets fly overhead a strange wife sleeping beside me.
In my mind, the bedroom is an amalgamation of various cold medicine commercial sets (there is always a box of tissue on the nightstand).
I know these recurring news articles are clues, flaws in the design though I haven't figured out how to string them together yet, but I've begun to notice that the same people are dying over and over again, for instance Minnie Pearl who died this year for the fourth time in four years.
III three Today is the first day of Lent and once again I'm not really sure what it is.
How many more years will I let pass before I take the trouble to ask someone? It reminds of this morning when you were getting ready for work.
I was sitting by the space heater numbly watching you dress and when you asked why I never wear a robe I had so many good reasons I didn't know where to begin.
If you were cool in high school you didn't ask too many questions.
You could tell who'd been to last night's big metal concert by the new t-shirts in the hallway.
You didn't have to ask and that's what cool was: the ability to deduct to know without asking.
And the pressure to simulate coolness means not asking when you don't know, which is why kids grow ever more stupid.
A yearbook's endpages, filled with promises to stay in touch, stand as proof of the uselessness of a teenager's promise.
Not like I'm dying for a letter from the class stoner ten years on but.
.
.
Do you remember the way the girls would call out "love you!" conveniently leaving out the "I" as if they didn't want to commit to their own declarations.
I agree that the "I" is a pretty heavy concept and hope you won't get uncomfortable if I should go into some deeper stuff here.
IV four There are things I've given up on like recording funny answering machine messages.
It's part of growing older and the human race as a group has matured along the same lines.
It seems our comedy dates the quickest.
If you laugh out loud at Shakespeare's jokes I hope you won't be insulted if I say you're trying too hard.
Even sketches from the original Saturday Night Live seem slow-witted and obvious now.
It's just that our advances are irrepressible.
Nowadays little kids can't even set up lemonade stands.
It makes people too self-conscious about the past, though try explaining that to a kid.
I'm not saying it should be this way.
All this new technology will eventually give us new feelings that will never completely displace the old ones leaving everyone feeling quite nervous and split in two.
We will travel to Mars even as folks on Earth are still ripping open potato chip bags with their teeth.
Why? I don't have the time or intelligence to make all the connections like my friend Gordon (this is a true story) who grew up in Braintree Massachusetts and had never pictured a brain snagged in a tree until I brought it up.
He'd never broken the name down to its parts.
By then it was too late.
He had moved to Coral Gables.
V five The hill out my window is still looking beautiful suffused in a kind of gold national park light and it seems to say, I'm sorry the world could not possibly use another poem about Orpheus but I'm available if you're not working on a self-portrait or anything.
I'm watching my dog have nightmares, twitching and whining on the office floor and I try to imagine what beast has cornered him in the meadow where his dreams are set.
I'm just letting the day be what it is: a place for a large number of things to gather and interact -- not even a place but an occasion a reality for real things.
Friends warned me not to get too psychedelic or religious with this piece: "They won't accept it if it's too psychedelic or religious," but these are valid topics and I'm the one with the dog twitching on the floor possibly dreaming of me that part of me that would beat a dog for no good reason no reason that a dog could see.
I am trying to get at something so simple that I have to talk plainly so the words don't disfigure it and if it turns out that what I say is untrue then at least let it be harmless like a leaky boat in the reeds that is bothering no one.
VI six I can't trust the accuracy of my own memories, many of them having blended with sentimental telephone and margarine commercials plainly ruined by Madison Avenue though no one seems to call the advertising world "Madison Avenue" anymore.
Have they moved? Let's get an update on this.
But first I have some business to take care of.
I walked out to the hill behind our house which looks positively Alaskan today and it would be easier to explain this if I had a picture to show you but I was with our young dog and he was running through the tall grass like running through the tall grass is all of life together until a bird calls or he finds a beer can and that thing fills all the space in his head.
You see, his mind can only hold one thought at a time and when he finally hears me call his name he looks up and cocks his head and for a single moment my voice is everything: Self-portrait at 28.
Written by Margaret Atwood | Create an image from this poem

The Moment

 The moment when, after many years
of hard work and a long voyage
you stand in the centre of your room,
house, half-acre, square mile, island, country,
knowing at last how you got there,
and say, I own this,

is the same moment when the trees unloose
their soft arms from around you,
the birds take back their language,
the cliffs fissure and collapse,
the air moves back from you like a wave
and you can't breathe.
No, they whisper.
You own nothing.
You were a visitor, time after time climbing the hill, planting the flag, proclaiming.
We never belonged to you.
You never found us.
It was always the other way round.
Written by Eavan Boland | Create an image from this poem

Witness

 Against the enormous rocks of a rough coast
The ocean rams itself in pitched assault
And spastic rage to which there is no halt;
Foam-white brigades collapse; but the huge host

Has infinite reserves; at each attack
The impassive cliffs look down in gray disdain
At scenes of sacrifice, unrelieved pain,
Figured in froth, aquamarine and black.
Something in the blood-chemistry of life, Unspeakable, impressive, undeterred, Expresses itself without needing a word In this sea-crazed Empedoclean Strife.
It is a scene of unmatched melancholy, Weather of misery, cloud cover of distress, To which there are not witnesses, unless One counts the briny, tough and thorned sea holly.
Written by Richard Wilbur | Create an image from this poem

Shame

 It is a cramped little state with no foreign policy,
Save to be thought inoffensive.
The grammar of the language Has never been fathomed, owing to the national habit Of allowing each sentence to trail off in confusion.
Those who have visited Scusi, the capital city, Report that the railway-route from Schuldig passes Through country best described as unrelieved.
Sheep are the national product.
The faint inscription Over the city gates may perhaps be rendered, "I'm afraid you won't find much of interest here.
" Census-reports which give the population As zero are, of course, not to be trusted, Save as reflecting the natives' flustered insistence That they do not count, as well as their modest horror Of letting one's sex be known in so many words.
The uniform grey of the nondescript buildings, the absence Of churches or comfort-stations, have given observers An odd impression of ostentatious meanness, And it must be said of the citizens (muttering by In their ratty sheepskins, shying at cracks in the sidewalk) That they lack the peace of mind of the truly humble.
The tenor of life is careful, even in the stiff Unsmiling carelessness of the border-guards And douaniers, who admit, whenever they can, Not merely the usual carloads of deodorant But gypsies, g-strings, hasheesh, and contraband pigments.
Their complete negligence is reserved, however, For the hoped-for invasion, at which time the happy people (Sniggering, ruddily naked, and shamelessly drunk) Will stun the foe by their overwhelming submission, Corrupt the generals, infiltrate the staff, Usurp the throne, proclaim themselves to be sun-gods, And bring about the collapse of the whole empire.


Written by Anne Sexton | Create an image from this poem

The Touch

 For months my hand was sealed off
in a tin box.
Nothing was there but the subway railings.
Perhaps it is bruised, I thought, and that is why they have locked it up.
You could tell time by this, I thought, like a clock, by its five knuckles and the thin underground veins.
It lay there like an unconscious woman fed by tubes she knew not of.
The hand had collapse, a small wood pigeon that had gone into seclusion.
I turned it over and the palm was old, its lines traced like fine needlepoint and stitched up into fingers.
It was fat and soft and blind in places.
Nothing but vulnerable.
And all this is metaphor.
An ordinary hand -- just lonely for something to touch that touches back.
The dog won't do it.
Her tail wags in the swamp for a frog.
I'm no better than a case of dog food.
She owns her own hunger.
My sisters won't do it.
They live in school except for buttons and tears running down like lemonade.
My father won't do it.
He comes in the house and even at night he lives in a machine made by my mother and well oiled by his job, his job.
The trouble is that I'd let my gestures freeze.
The trouble was not in the kitchen or the tulips but only in my head, my head.
Then all this became history.
Your hand found mine.
Life rushed to my fingers like a blood clot.
Oh, my carpenter, the fingers are rebuilt.
They dance with yours.
They dance in the attic and in Vienna.
My hand is alive all over America.
Not even death will stop it, death shedding her blood.
Nothing will stop it, for this is the kingdom and the kingdom come.
Written by Mahmoud Darwish | Create an image from this poem

Under Siege

 Here on the slopes of hills, facing the dusk and the cannon of time 
Close to the gardens of broken shadows, 
We do what prisoners do, 
And what the jobless do: 
We cultivate hope.
*** A country preparing for dawn.
We grow less intelligent For we closely watch the hour of victory: No night in our night lit up by the shelling Our enemies are watchful and light the light for us In the darkness of cellars.
*** Here there is no "I".
Here Adam remembers the dust of his clay.
*** On the verge of death, he says: I have no trace left to lose: Free I am so close to my liberty.
My future lies in my own hand.
Soon I shall penetrate my life, I shall be born free and parentless, And as my name I shall choose azure letters.
.
.
*** You who stand in the doorway, come in, Drink Arabic coffee with us And you will sense that you are men like us You who stand in the doorways of houses Come out of our morningtimes, We shall feel reassured to be Men like you! *** When the planes disappear, the white, white doves Fly off and wash the cheeks of heaven With unbound wings taking radiance back again, taking possession Of the ether and of play.
Higher, higher still, the white, white doves Fly off.
Ah, if only the sky Were real [a man passing between two bombs said to me].
*** Cypresses behind the soldiers, minarets protecting The sky from collapse.
Behind the hedge of steel Soldiers piss—under the watchful eye of a tank— And the autumnal day ends its golden wandering in A street as wide as a church after Sunday mass.
.
.
*** [To a killer] If you had contemplated the victim’s face And thought it through, you would have remembered your mother in the Gas chamber, you would have been freed from the reason for the rifle And you would have changed your mind: this is not the way to find one’s identity again.
*** The siege is a waiting period Waiting on the tilted ladder in the middle of the storm.
*** Alone, we are alone as far down as the sediment Were it not for the visits of the rainbows.
*** We have brothers behind this expanse.
Excellent brothers.
They love us.
They watch us and weep.
Then, in secret, they tell each other: "Ah! if this siege had been declared.
.
.
" They do not finish their sentence: "Don’t abandon us, don’t leave us.
" *** Our losses: between two and eight martyrs each day.
And ten wounded.
And twenty homes.
And fifty olive trees.
.
.
Added to this the structural flaw that Will arrive at the poem, the play, and the unfinished canvas.
*** A woman told the cloud: cover my beloved For my clothing is drenched with his blood.
*** If you are not rain, my love Be tree Sated with fertility, be tree If you are not tree, my love Be stone Saturated with humidity, be stone If you are not stone, my love Be moon In the dream of the beloved woman, be moon [So spoke a woman to her son at his funeral] *** Oh watchmen! Are you not weary Of lying in wait for the light in our salt And of the incandescence of the rose in our wound Are you not weary, oh watchmen? *** A little of this absolute and blue infinity Would be enough To lighten the burden of these times And to cleanse the mire of this place.
*** It is up to the soul to come down from its mount And on its silken feet walk By my side, hand in hand, like two longtime Friends who share the ancient bread And the antique glass of wine May we walk this road together And then our days will take different directions: I, beyond nature, which in turn Will choose to squat on a high-up rock.
*** On my rubble the shadow grows green, And the wolf is dozing on the skin of my goat He dreams as I do, as the angel does That life is here.
.
.
not over there.
*** In the state of siege, time becomes space Transfixed in its eternity In the state of siege, space becomes time That has missed its yesterday and its tomorrow.
*** The martyr encircles me every time I live a new day And questions me: Where were you? Take every word You have given me back to the dictionaries And relieve the sleepers from the echo’s buzz.
*** The martyr enlightens me: beyond the expanse I did not look For the virgins of immortality for I love life On earth, amid fig trees and pines, But I cannot reach it, and then, too, I took aim at it With my last possession: the blood in the body of azure.
*** The martyr warned me: Do not believe their ululations Believe my father when, weeping, he looks at my photograph How did we trade roles, my son, how did you precede me.
I first, I the first one! *** The martyr encircles me: my place and my crude furniture are all that I have changed.
I put a gazelle on my bed, And a crescent of moon on my finger To appease my sorrow.
*** The siege will last in order to convince us we must choose an enslavement that does no harm, in fullest liberty! *** Resisting means assuring oneself of the heart’s health, The health of the testicles and of your tenacious disease: The disease of hope.
*** And in what remains of the dawn, I walk toward my exterior And in what remains of the night, I hear the sound of footsteps inside me.
*** Greetings to the one who shares with me an attention to The drunkenness of light, the light of the butterfly, in the Blackness of this tunnel! *** Greetings to the one who shares my glass with me In the denseness of a night outflanking the two spaces: Greetings to my apparition.
*** My friends are always preparing a farewell feast for me, A soothing grave in the shade of oak trees A marble epitaph of time And always I anticipate them at the funeral: Who then has died.
.
.
who? *** Writing is a puppy biting nothingness Writing wounds without a trace of blood.
*** Our cups of coffee.
Birds green trees In the blue shade, the sun gambols from one wall To another like a gazelle The water in the clouds has the unlimited shape of what is left to us Of the sky.
And other things of suspended memories Reveal that this morning is powerful and splendid, And that we are the guests of eternity.
Written by Wystan Hugh (W H) Auden | Create an image from this poem

In Memory of Sigmund Freud


When there are so many we shall have to mourn,
when grief has been made so public, and exposed
to the critique of a whole epoch
the frailty of our conscience and anguish,
of whom shall we speak? For every day they die
among us, those who were doing us some good,
who knew it was never enough but
hoped to improve a little by living.
Such was this doctor: still at eighty he wished
to think of our life from whose unruliness
so many plausible young futures
with threats or flattery ask obedience,
but his wish was denied him: he closed his eyes
upon that last picture, common to us all,
of problems like relatives gathered
puzzled and jealous about our dying.
For about him till the very end were still
those he had studied, the fauna of the night,
and shades that still waited to enter
the bright circle of his recognition
turned elsewhere with their disappointment as he
was taken away from his life interest
to go back to the earth in London,
an important Jew who died in exile.
Only Hate was happy, hoping to augment
his practice now, and his dingy clientele
who think they can be cured by killing
and covering the garden with ashes.
They are still alive, but in a world he changed
simply by looking back with no false regrets;
all he did was to remember
like the old and be honest like children.
He wasn't clever at all: he merely told
the unhappy Present to recite the Past
like a poetry lesson till sooner
or later it faltered at the line where
long ago the accusations had begun,
and suddenly knew by whom it had been judged,
how rich life had been and how silly,
and was life-forgiven and more humble,
able to approach the Future as a friend
without a wardrobe of excuses, without
a set mask of rectitude or an
embarrassing over-familiar gesture.
No wonder the ancient cultures of conceit
in his technique of unsettlement foresaw
the fall of princes, the collapse of
their lucrative patterns of frustration:
if he succeeded, why, the Generalised Life
would become impossible, the monolith
of State be broken and prevented
the co-operation of avengers.
Of course they called on God, but he went his way
down among the lost people like Dante, down
to the stinking fosse where the injured
lead the ugly life of the rejected,
and showed us what evil is, not, as we thought,
deeds that must be punished, but our lack of faith,
our dishonest mood of denial,
the concupiscence of the oppressor.
If some traces of the autocratic pose,
the paternal strictness he distrusted, still
clung to his utterance and features,
it was a protective coloration
for one who'd lived among enemies so long:
if often he was wrong and, at times, absurd,
to us he is no more a person
now but a whole climate of opinion
under whom we conduct our different lives:
Like weather he can only hinder or help,
the proud can still be proud but find it
a little harder, the tyrant tries to
make do with him but doesn't care for him much:
he quietly surrounds all our habits of growth
and extends, till the tired in even
the remotest miserable duchy
have felt the change in their bones and are cheered
till the child, unlucky in his little State,
some hearth where freedom is excluded,
a hive whose honey is fear and worry,
feels calmer now and somehow assured of escape,
while, as they lie in the grass of our neglect,
so many long-forgotten objects
revealed by his undiscouraged shining
are returned to us and made precious again;
games we had thought we must drop as we grew up,
little noises we dared not laugh at,
faces we made when no one was looking.
But he wishes us more than this.
To be free
is often to be lonely.
He would unite
the unequal moieties fractured
by our own well-meaning sense of justice,
would restore to the larger the wit and will
the smaller possesses but can only use
for arid disputes, would give back to
the son the mother's richness of feeling:
but he would have us remember most of all
to be enthusiastic over the night,
not only for the sense of wonder
it alone has to offer, but also
because it needs our love.
With large sad eyes
its delectable creatures look up and beg
us dumbly to ask them to follow:
they are exiles who long for the future
that lives in our power, they too would rejoice
if allowed to serve enlightenment like him,
even to bear our cry of 'Judas',
as he did and all must bear who serve it.
One rational voice is dumb.
Over his grave
the household of Impulse mourns one dearly loved:
sad is Eros, builder of cities,
and weeping anarchic Aphrodite.
Written by Stephen Dunn | Create an image from this poem

Welcome

 if you believe nothing is always what's left
after a while, as I did,
If you believe you have this collection
of ungiven gifts, as I do (right here
behind the silence and the averted eyes)
If you believe an afternoon can collapse
into strange privacies-
how in your backyard, for example,
the shyness of flowers can be suddenly
overwhelming, and in the distance
the clear goddamn of thunder
personal, like a voice,
If you believe there's no correct response
to death, as I do; that even in grief
(where I've sat making plans)
there are small corners of joy
If your body sometimes is a light switch
in a house of insomniacs
If you can feel yourself straining
to be yourself every waking minute
If, as I am, you are almost smiling .
.
.
Written by Adrienne Rich | Create an image from this poem

November 1968

 Stripped
you're beginning to float free
up through the smoke of brushfires
and incinerators
the unleafed branches won't hold you
nor the radar aerials

You're what the autumn knew would happen
after the last collapse
of primary color
once the last absolutes were torn to pieces
you could begin

How you broke open, what sheathed you
until this moment
I know nothing about it
my ignorance of you amazes me
now that I watch you
starting to give yourself away
to the wind

Book: Shattered Sighs