Written by
Marianne Moore |
Fanaticism?No.Writing is exciting
and baseball is like writing.
You can never tell with either
how it will go
or what you will do;
generating excitement--
a fever in the victim--
pitcher, catcher, fielder, batter.
Victim in what category?
Owlman watching from the press box?
To whom does it apply?
Who is excited?Might it be I?
It's a pitcher's battle all the way--a duel--
a catcher's, as, with cruel
puma paw, Elston Howard lumbers lightly
back to plate.(His spring
de-winged a bat swing.)
They have that killer instinct;
yet Elston--whose catching
arm has hurt them all with the bat--
when questioned, says, unenviously,
"I'm very satisfied.We won."
Shorn of the batting crown, says, "We";
robbed by a technicality.
When three players on a side play three positions
and modify conditions,
the massive run need not be everything.
"Going, going . . . "Is
it?Roger Maris
has it, running fast.You will
never see a finer catch.Well . . .
"Mickey, leaping like the devil"--why
gild it, although deer sounds better--
snares what was speeding towards its treetop nest,
one-handing the souvenir-to-be
meant to be caught by you or me.
Assign Yogi Berra to Cape Canaveral;
he could handle any missile.
He is no feather."Strike! . . . Strike two!"
Fouled back.A blur.
It's gone.You would infer
that the bat had eyes.
He put the wood to that one.
Praised, Skowron says, "Thanks, Mel.
I think I helped a little bit."
All business, each, and modesty.
Blanchard, Richardson, Kubek, Boyer.
In that galaxy of nine, say which
won the pennant?Each.It was he.
Those two magnificent saves from the knee-throws
by Boyer, finesses in twos--
like Whitey's three kinds of pitch and pre-
diagnosis
with pick-off psychosis.
Pitching is a large subject.
Your arm, too true at first, can learn to
catch your corners--even trouble
Mickey Mantle.("Grazed a Yankee!
My baby pitcher, Montejo!"
With some pedagogy,
you'll be tough, premature prodigy.)
They crowd him and curve him and aim for the knees.Trying
indeed!The secret implying:
"I can stand here, bat held steady."
One may suit him;
none has hit him.
Imponderables smite him.
Muscle kinks, infections, spike wounds
require food, rest, respite from ruffians.(Drat it!
Celebrity costs privacy!)
Cow's milk, "tiger's milk," soy milk, carrot juice,
brewer's yeast (high-potency--
concentrates presage victory
sped by Luis Arroyo, Hector Lopez--
deadly in a pinch.And "Yes,
it's work; I want you to bear down,
but enjoy it
while you're doing it."
Mr. Houk and Mr. Sain,
if you have a rummage sale,
don't sell Roland Sheldon or Tom Tresh.
Studded with stars in belt and crown,
the Stadium is an adastrium.
O flashing Orion,
your stars are muscled like the lion.
|
Written by
Erin Moure |
Unspeakable. The word that fills up the
poem, that the head
tries to excise.
At 6 a.m., the wet lion. Its sewn plush face
on the porch rail in the rain.
Heavy rains later, & maybe a thunderstorm.
12 or 13 degrees.
Inside: an iris, candle, poster of the
many-breasted Artemis in a stone hat
from Anatolia
A little pedal steel guitar
A photograph of her at a table by the sea,
her shoulder blocked by the red geranium.
The sea tho invisible can be smelled by the casual watcher
Incredible salt air
in my throat when I see her.
"Suddenly you discover that you'll spend your entire life
in disorder; it's all that you have; you must learn to live
with it."
2
Four tanks, & the human white-shirted body
stopped on June 5 in Place Tian an Men.
Or "a red pullover K-Way." There is not much time left
to say these things. The urgency of that,
desire that dogged the body all winter
& has scarcely left,
now awaits the lilacs, their small white bunches.
Gaily.
As if their posies will light up
the curious old intentional bruise.
Adjective, adjective, adjective, noun!
3
Or just, lilac moon.
What we must, & cannot, excise from the head.
Her hand holding, oh, The New Path to the Waterfall?
Or the time I walked in too quickly, looked up
at her shirtless, grinning.
Pulling her down into the front of me, silly!
Sitting down sudden to make a lap for her...
Kissing the back of her leg.
4
Actually the leg kiss was a dream, later enacted
we laughed at it,
why didn't you do it
she said
when you thought of it.
The excisable thought, later
desired or
necessary.
Or shuddered at, in memory.
Later, it is repeated for the cameras
with such unease.
& now, stuck in the head.
Like running the motorcycle full-tilt into the hay bales.
What is the motorcycle doing in the poem
A. said.
It's an image, E. said back.
It's a crash in the head, she said.
It's a real motorcycle.
Afterthought 1
0 excise this: her back turned,
she concentrates on something
in a kitchen sink,
& I sit behind her,
running my fingers on
the table edge.
0 excise this.
Afterthought 2
& after, excise, excise.
If the source of the pain could be located
using geological survey equipment.
Into the sedimentary layers, the slippage,
the surge of the igneous intrusion.
Or the flat bottom of the former sea
I grew up on,
Running the motorcycle into the round
bay bales.
Hay grass poking the skin.
The back wet.
Hey, I shouted,
Her back turned to me, its location
now visible only in the head.
When I can't stand it,
I invent anything, even memories.
She gets up, hair stuck with hay.
I invented this. Yeow.
|
Written by
T S (Thomas Stearns) Eliot |
APENECK SWEENEY spreads his knees
Letting his arms hang down to laugh,
The zebra stripes along his jaw
Swelling to maculate giraffe.
The circles of the stormy moon
Slide westward toward the River Plate,
Death and the Raven drift above
And Sweeney guards the hornèd gate.
Gloomy Orion and the Dog
Are veiled; and hushed the shrunken seas;
The person in the Spanish cape
Tries to sit on Sweeney’s knees
Slips and pulls the table cloth
Overturns a coffee-cup,
Reorganised upon the floor
She yawns and draws a stocking up;
The silent man in mocha brown
Sprawls at the window-sill and gapes;
The waiter brings in oranges
Bananas figs and hothouse grapes;
The silent vertebrate in brown
Contracts and concentrates, withdraws;
Rachel née Rabinovitch
Tears at the grapes with murderous paws;
She and the lady in the cape
Are suspect, thought to be in league;
Therefore the man with heavy eyes
Declines the gambit, shows fatigue,
Leaves the room and reappears
Outside the window, leaning in,
Branches of wistaria
Circumscribe a golden grin;
The host with someone indistinct
Converses at the door apart,
The nightingales are singing near
The Convent of the Sacred Heart,
And sang within the bloody wood
When Agamemnon cried aloud,
And let their liquid siftings fall
To stain the stiff dishonoured shroud.
|
Written by
Randall Jarrell |
About suffering, about adoration, the old masters
Disagree. When someone suffers, no one else eats
Or walks or opens the window--no one breathes
As the sufferers watch the sufferer.
In St. Sebastian Mourned by St. Irene
The flame of one torch is the only light.
All the eyes except the maidservant's (she weeps
And covers them with a cloth) are fixed on the shaft
Set in his chest like a column; St. Irene's
Hands are spread in the gesture of the Madonna,
Revealing, accepting, what she does not understand.
Her hands say: "Lo! Behold!"
Beside her a monk's hooded head is bowed, his hands
Are put together in the work of mourning.
It is as if they were still looking at the lance
Piercing the side of Christ, nailed on his cross.
The same nails pierce all their hands and feet, the same
Thin blood, mixed with water, trickles from their sides.
The taste of vinegar is on every tongue
That gasps, "My God, my God, why hast Thou forsaken me?"
They watch, they are, the one thing in the world.
So, earlier, everything is pointed
In van der Goes' Nativity, toward the naked
Shining baby, like the needle of a compass.
The different orders and sizes of the world:
The angels like Little People, perched in the rafters
Or hovering in mid-air like hummingbirds;
The shepherds, so big and crude, so plainly adoring;
The medium-sized donor, his little family,
And their big patron saints; the Virgin who kneels
Before her child in worship; the Magi out in the hills
With their camels--they ask directions, and have pointed out
By a man kneeling, the true way; the ox
And the donkey, two heads in the manger
So much greater than a human head, who also adore;
Even the offerings, a sheaf of wheat,
A jar and a glass of flowers, are absolutely still
In natural concentration, as they take their part
In the salvation of the natural world.
The time of the world concentrates
On this one instant: far off in the rocks
You can see Mary and Joseph and their donkey
Coming to Bethlehem; on the grassy hillside
Where their flocks are grazing, the shepherds gesticulate
In wonder at the star; and so many hundreds
Of years in the future, the donor, his wife,
And their children are kneeling, looking: everything
That was or will be in the world is fixed
On its small, helpless, human center.
After a while the masters show the crucifixion
In one corner of the canvas: the men come to see
What is important, see that it is not important.
The new masters paint a subject as they please,
And Veronese is prosecuted by the Inquisition
For the dogs playing at the feet of Christ,
The earth is a planet among galaxies.
Later Christ disappears, the dogs disappear: in abstract
Understanding, without adoration, the last master puts
Colors on canvas, a picture of the universe
In which a bright spot somewhere in the corner
Is the small radioactive planet men called Earth.
|
Written by
Alan Seeger |
In the glad revels, in the happy fetes,
When cheeks are flushed, and glasses gilt and pearled
With the sweet wine of France that concentrates
The sunshine and the beauty of the world,
Drink sometimes, you whose footsteps yet may tread
The undisturbed, delightful paths of Earth,
To those whose blood, in pious duty shed,
Hallows the soil where that same wine had birth.
Here, by devoted comrades laid away,
Along our lines they slumber where they fell,
Beside the crater at the Ferme d'Alger
And up the bloody slopes of La Pompelle,
And round the city whose cathedral towers
The enemies of Beauty dared profane,
And in the mat of multicolored flowers
That clothe the sunny chalk-fields of Champagne.
Under the little crosses where they rise
The soldier rests. Now round him undismayed
The cannon thunders, and at night he lies
At peace beneath the eternal fusillade. . . .
That other generations might possess -- -
From shame and menace free in years to come -- -
A richer heritage of happiness,
He marched to that heroic martyrdom.
Esteeming less the forfeit that he paid
Than undishonored that his flag might float
Over the towers of liberty, he made
His breast the bulwark and his blood the moat.
Obscurely sacrificed, his nameless tomb,
Bare of the sculptor's art, the poet's lines,
Summer shall flush with poppy-fields in bloom,
And Autumn yellow with maturing vines.
There the grape-pickers at their harvesting
Shall lightly tread and load their wicker trays,
Blessing his memory as they toil and sing
In the slant sunshine of October days. . . .
I love to think that if my blood should be
So privileged to sink where his has sunk,
I shall not pass from Earth entirely,
But when the banquet rings, when healths are drunk,
And faces that the joys of living fill
Glow radiant with laughter and good cheer,
In beaming cups some spark of me shall still
Brim toward the lips that once I held so dear.
So shall one coveting no higher plane
Than nature clothes in color and flesh and tone,
Even from the grave put upward to attain
The dreams youth cherished and missed and might have known;
And that strong need that strove unsatisfied
Toward earthly beauty in all forms it wore,
Not death itself shall utterly divide
From the belovèd shapes it thirsted for.
Alas, how many an adept for whose arms
Life held delicious offerings perished here,
How many in the prime of all that charms,
Crowned with all gifts that conquer and endear!
Honor them not so much with tears and flowers,
But you with whom the sweet fulfilment lies,
Where in the anguish of atrocious hours
Turned their last thoughts and closed their dying eyes,
Rather when music on bright gatherings lays
Its tender spell, and joy is uppermost,
Be mindful of the men they were, and raise
Your glasses to them in one silent toast.
Drink to them -- - amorous of dear Earth as well,
They asked no tribute lovelier than this -- -
And in the wine that ripened where they fell,
Oh, frame your lips as though it were a kiss.
|
Written by
D. H. Lawrence |
When she rises in the morning
I linger to watch her;
She spreads the bath-cloth underneath the window
And the sunbeams catch her
Glistening white on the shoulders,
While down her sides the mellow
Golden shadow glows as
She stoops to the sponge, and her swung breasts
Sway like full-blown yellow
Gloire de Dijon roses.
She drips herself with water, and her shoulders
Glisten as silver, they crumple up
Like wet and falling roses, and I listen
For the sluicing of their rain-dishevelled petals.
In the window full of sunlight
Concentrates her golden shadow
Fold on fold, until it glows as
Mellow as the glory roses.
|